Podcasts about Creative Europe

In the 90th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Xavi Font (ZuZú Cinema, Spain) and Sophie Ahrens (Schuldenberg Films, Germany) discuss the co-production of Strange River, directed by Jaume Claret Muxart.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In this episode of OPERA Road Trip, host Sebastian F. Schwarz turns to Belgium—a country whose operatic culture emerged at the crossroads of Europe's great linguistic and political traditions. From the Habsburg courts of Brussels and the French influence on eighteenth-century musical life to the revolutionary atmosphere surrounding Belgian independence in 1830, the episode traces how opera became deeply interwoven with the cultural identity of the young nation. At the centre of that story stands La Monnaie / De Munt—one of Europe's most influential opera houses and a leading force in contemporary music theatre today. The episode features a conversation with Christina Scheppelmann and composer Iain Bell, whose opera Medusa recently received its world premiere in Brussels. Together, they discuss the realities of commissioning new operas in the twenty-first century, the collaboration between institutions and composers, and the importance of understanding the human voice not merely as a dramatic medium, but as one of the composer's central instruments. Special thanks to Iain Bell, La Monnaie / De Munt and Palazzetto Bru Zane for their support and participation in this episode.   Opera Road Trip is hosted by Sebastian F. Schwarz who is Casting Director of Milan's Teatro alla Scala and whose curriculum as an opera manager includes CEO and Artistic Director and Administrator positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera. All episodes: https://operavision.eu/features/opera-road-trip Music extracts for this episode: Introduction: Fidelio (Beethoven): Overture, op. 72 Ecerpts from Thésée (Francois-Joseph Gossec): Virginie Pochon, Les Agrémens, Chœur de Chambre de Namur, Guy van Waas Ecerpts from the duet "De ton epoux voila donc le partage" from La Caravane de Caïre (André-Ernest-Modeste Grétry): Katia Velletaz, Cyrille Dubois, Les Agrémens, Guy van Waas   Ecerpt from the Ouverture from Medusa (Iain Bell): Marie-Nicole Lemieux, La Monnaie Symphony Orchestra and Chorus, Michiel Delanghe   Excerpt from an Aria of Medusa from Medusa (Iain Bell): Claudia Boyle, La Monnaie Symphony Orchestra, Michiel Delanghe Bonus Music: Excerpt from a duet from Hulda (César Franck): Jennifer Holloway, Edgaras Montvidas, Orchestre Philhamonique Royal de Liège, Gergely Madaras   Link to the recorded catalogue of rediscovered works published by Palazzetto Bru Zane: https://bru-zane.com/en/dischi/ OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme.   Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.

In the 89th episode of the Co-production Podcast, Cineuropa's Director Valerio Caruso, and co-producers Maria Zamora (Elastica Films, Spain) and Olimpia Pont Cháfer (Ventall Cinema, Germany) discuss the co-production of Romería written and directed by Carla Simón.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In the 88th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Xavi Font (Filmes Da Ermida, Spain) and Mani Mortazavi (4 à 4 Productions, France) discuss the co-production of Sirat, directed by Óliver Laxe.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In this episode of OPERA Road Trip, host Sebastian F. Schwarz turns to France—one of the historic strongholds of the European operatic tradition—shaped by a dense network of public institutions, a strong culture of state support, and a long-standing belief in opera as a public good. From the court of Louis XIV and the founding of the Académie Royale de Musique to the grand opéra tradition of the 19th century and the decentralisation policies of the post-war period, the episode traces how France developed a uniquely structured and highly institutionalised operatic ecosystem. It is a system built on stability and public investment, yet increasingly confronted with financial pressures, evolving audience expectations, and the need for renewal. At the heart of the episode are conversations with two leading figures of today's French opera landscape: Valérie Chevalier, General Director of Opéra Orchestre National Montpellier Occitanie, reflecting on regional opera, decentralisation, and the realities of leading a major house outside Paris; and Stéphane Degout, one of France's most internationally acclaimed baritones, offering a performer's perspective on the French repertoire, artistic identity, and the relationship between national tradition and global careers. Together, their voices reveal a system negotiating continuity and change—raising questions about how a deeply rooted cultural model can adapt to the demands of the present while preserving its artistic core. Opera Road Trip is hosted by Sebastian F. Schwarz who is Casting Director of Milan's Teatro alla Scala and whose curriculum as an opera manager includes CEO and Artistic Director and Administrator positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera. All episodes: https://operavision.eu/features/opera-road-trip Music extracts for this episode: Introduction: Fidelio (Beethoven): Overture, op. 72 Ecerpts from Herculanum (Félicien David): Véronique Gens, Edgaras Montvidas, Brussels Philharmonic, Hervé Niquet Ecerpts from L'île du rêve (Reynaldo Hahn): Hélène Guilmette, Cyrill Dubois, Munich Radio Orchestra, Hervé Niquet Ecerpts from Werther (Jules Massenet): Marie-Nicole Lemieux, Orchestre del'Opéra Orchestre National Montpellier-Occitanie, Jean-Marie Zeitouni   Excerpt from Le Nozze di Figaro (Wolfgang Amadeus Mozart): Stéphane Degout, Dutch National Opera, Netherlands Chamber Orchestra, Ivor Bolton Bonus Music: Excerpt from Mazeppa (Clémence Grandval): Julien Dran, Munich Radio Orchestra, Mihhail Gerts Link to the recorded catalogue of rediscovered works published by Palazzetto Bru Zane: https://bru-zane.com/en/dischi/ OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme.   Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.       In dieser Episode von OPERA Road Trip richtet Gastgeber Sebastian F. Schwarz den Blick auf Frankreich – eines der historischen Zentren der europäischen Operntradition, geprägt von einem dichten Netz öffentlicher Institutionen, einer ausgeprägten Kultur staatlicher Förderung und dem tief verwurzelten Verständnis von Oper als öffentliches Gut. Vom Hof Ludwigs XIV. und der Gründung der Académie Royale de Musique über die Grand opéra des 19. Jahrhunderts bis hin zu den Dezentralisierungspolitiken der Nachkriegszeit zeichnet die Episode nach, wie sich in Frankreich ein einzigartig strukturiertes und stark institutionalisiertes Opernsystem entwickelt hat. Es ist ein System, das auf Stabilität und öffentlicher Finanzierung beruht, zugleich jedoch zunehmend mit finanziellem Druck, sich wandelnden Publikumserwartungen und dem Bedarf nach Erneuerung konfrontiert ist. Im Zentrum der Episode stehen Gespräche mit zwei prägenden Persönlichkeiten der heutigen französischen Opernlandschaft: Valérie Chevalier, Generaldirektorin des Opéra Orchestre National Montpellier Occitanie, die über regionale Oper, Dezentralisierung und die Realität der Leitung eines großen Hauses außerhalb von Paris spricht; sowie Stéphane Degout, einer der international renommiertesten französischen Baritone, der eine künstlerische Perspektive auf das französische Repertoire, Fragen der Identität und das Spannungsverhältnis zwischen nationaler Tradition und internationaler Karriere einbringt. Gemeinsam zeichnen ihre Stimmen das Bild eines Systems im Spannungsfeld von Kontinuität und Wandel – und werfen die Frage auf, wie sich ein tief verwurzeltes kulturelles Modell an die Anforderungen der Gegenwart anpassen kann, ohne seinen künstlerischen Kern zu verlieren. Opera Road Trip wird moderiert von Sebastian F. Schwarz, Casting Director des Mailänder Teatro alla Scala, dessen Laufbahn als Opernmanager Positionen als CEO, Künstlerischer Leiter und Administrator am Theater an der Wien, bei Glyndebourne, am Teatro Regio Torino, beim Festival della Valle d'Itria, an der Hamburgischen Staatsoper und beim Wexford Festival Opera umfasst. Er ist Vizepräsident der Internationalen Richard-Strauss-Gesellschaft, Mitglied des Vorstands der European Musical Theatre Academy und Mitbegründer des Cesti Competition for Baroque Opera. Alle Episoden: https://operavision.eu/features/opera-road-trip Musikbeispiele dieser Episode: Einleitung: Fidelio (Beethoven): Ouvertüre op. 72 Auszüge aus Herculanum (Félicien David): Véronique Gens, Edgaras Montvidas, Brussels Philharmonic, Hervé Niquet Auszüge aus L'île du rêve (Reynaldo Hahn): Hélène Guilmette, Cyrill Dubois, Münchner Rundfunkorchester, Hervé Niquet Auszüge aus Werther (Jules Massenet): Marie-Nicole Lemieux, Orchestre de l'Opéra Orchestre National Montpellier-Occitanie, Jean-Marie Zeitouni Auszug aus Le Nozze di Figaro (Wolfgang Amadeus Mozart): Stéphane Degout, Dutch National Opera, Netherlands Chamber Orchestra, Ivor Bolton Bonusmusik: Auszug aus Mazeppa (Clémence de Grandval): Julien Dran, Münchner Rundfunkorchester, Mihhail Gerts Link zum Aufnahmen-Katalog wiederentdeckter Werke, herausgegeben vom Palazzetto Bru Zane: https://bru-zane.com/en/dischi/ OperaVision ist eine frei zugängliche Streaming-Plattform für Oper, unterstützt durch das Programm Creative Europe der Europäischen Union. Erleben Sie Live-Streams, während die Aufführungen direkt im Opernhaus stattfinden. Entdecken Sie eine Vielfalt an Formaten – darunter Oper, Operette, Musiktheater, Tanz, Ballett und Konzerte. Ob Opernkenner oder neugieriger Neueinsteiger – bei OperaVision findet jeder etwas.     Dans cet épisode d'OPERA Road Trip, l'animateur Sebastian F. Schwarz se tourne vers la France — l'un des bastions historiques de la tradition lyrique européenne — façonnée par un dense réseau d'institutions publiques, une forte culture de soutien étatique et une conviction durable de l'opéra comme bien public. De la cour de Louis XIV et de la fondation de l'Académie Royale de Musique à la tradition du grand opéra au XIXe siècle, jusqu'aux politiques de décentralisation de l'après-guerre, l'épisode retrace la manière dont la France a développé un écosystème lyrique à la fois fortement structuré et hautement institutionnalisé. Un système fondé sur la stabilité et l'investissement public, mais aujourd'hui confronté à des pressions financières croissantes, à l'évolution des attentes du public et à la nécessité de se renouveler. Au cœur de l'épisode, des entretiens avec deux figures majeures du paysage lyrique français actuel : Valérie Chevalier, directrice générale de l'Opéra Orchestre National Montpellier Occitanie, qui revient sur l'opéra en région, la décentralisation et les réalités de la direction d'une grande maison en dehors de Paris ; et Stéphane Degout, l'un des barytons français les plus acclamés à l'international, qui apporte le point de vue de l'interprète sur le répertoire français, l'identité artistique et le lien entre tradition nationale et carrière internationale. Ensemble, leurs regards dessinent un système en équilibre entre continuité et transformation — et interrogent la capacité d'un modèle culturel profondément ancré à s'adapter aux exigences du présent tout en préservant son essence artistique. Opera Road Trip est présenté par Sebastian F. Schwarz, directeur de casting du Teatro alla Scala de Milan, dont le parcours de directeur d'opéra comprend des fonctions de CEO, directeur artistique et administrateur au Theater an der Wien, à Glyndebourne, au Teatro Regio de Turin, au Festival della Valle d'Itria, à l'Opéra d'État de Hambourg et au Wexford Festival Opera. Il est vice-président de l'International Richard Strauss Society, membre du conseil de l'European Musical Theatre Academy et cofondateur du Cesti Competition for Baroque Opera. Tous les épisodes : https://operavision.eu/features/opera-road-trip Extraits musicaux de cet épisode : Introduction : Fidelio (Beethoven) : Ouverture, op. 72 Extraits de Herculanum (Félicien David) : Véronique Gens, Edgaras Montvidas, Brussels Philharmonic, Hervé Niquet Extraits de L'île du rêve (Reynaldo Hahn) : Hélène Guilmette, Cyrill Dubois, Orchestre de la Radio de Munich, Hervé Niquet Extraits de Werther (Jules Massenet) : Marie-Nicole Lemieux, Orchestre de l'Opéra Orchestre National Montpellier-Occitanie, Jean-Marie Zeitouni Extrait de Le Nozze di Figaro (Wolfgang Amadeus Mozart) : Stéphane Degout, Dutch National Opera, Netherlands Chamber Orchestra, Ivor Bolton Musique bonus : Extrait de Mazeppa (Clémence de Grandval) : Julien Dran, Orchestre de la Radio de Munich, Mihhail Gerts Lien vers le catalogue enregistré des œuvres redécouvertes publié par le Palazzetto Bru Zane : https://bru-zane.com/en/dischi/ OperaVision est une plateforme gratuite de streaming d'opéra, soutenue par le programme Europe créative de l'Union européenne. Regardez des diffusions en direct au moment même où les représentations se déroulent à l'opéra. Profitez d'une grande variété de spectacles — opéra, opérette, théâtre musical, danse, ballet et concerts. Que vous soyez mélomane averti ou simple curieux, OperaVision propose une offre pour tous.      

In the 87th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Martin Vandas (MAUR Film, Czech Republic), Juraj Krasnohorský (Artichoke, Slovakia), Kolja Saksida (ZVVIKS, Slovenia), and Jean-Francois Le Corre (Vivement Lundi !, France) discuss the co-production of Tales from the Magic Garden, directed by David Súkup, Patrik Pašš, Leon Vidmar, and Jean-Claude Rozec.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In this episode of OPERA Road Trip, host Sebastian F. Schwarz turns to the United Kingdom, tracing a uniquely complex operatic landscape shaped as much by private initiative and tradition as by public institutions. From the courtly masques of the 17th century to Purcell's Dido and Aeneas, from Handel's operatic rivalries in London to Britten's reinvention of a modern British voice, the episode explores how opera in the UK evolved along a path distinct from continental Europe. Framed by music from Handel's Semele, it reveals a story of adaptation, tension, and resilience—one that continues today amid funding challenges and shifting cultural priorities. At the heart of the episode are conversations with two key figures representing the breadth of today's British opera ecosystem: Gus Christie of Glyndebourne Festival Opera, reflecting on the legacy and future of the country-house festival model and why it might be good for an opera company not to be dependent on public funding, and Adele Thomas, the new co-CEO of Welsh National Opera, navigating one of the most challenging periods in the company's history and defending subsidy for the preservation of our operatic heritage. Together, their perspectives illuminate a system balancing tradition and reinvention—inviting us to ask not only how British opera remembers its past, but how it imagines its future.   Opera Road Trip is hosted by Sebastian F. Schwarz who is Casting Director of Milan's Teatro alla Scala and whose curriculum as an opera manager includes CEO and Artistic Director and Administrator positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera.   All episodes: https://operavision.eu/feature/operav...   Music extracts for Episode 8:   Introduction: Fidelio (Beethoven): Overture, op. 72   Two excerpts from Semele (Georg Friedrich Händel): Heidi Stober, orchestra of Garsington Opera, conductor Jonathan Cohen, Garsington Opera, 2017   Excerpt from The Rise and Fall of the city of Mahagonny (Kurt Weill): Danielle de Niese, chorus and orchestra of the English National Opera, 2026   Bonus: Excerpt from Dido and Aeneas (Henry Purcell): Kate Lindsey, Les Arts Florissants, William Christie, Gran Teatre del Liceu, Barcelona, 2023       OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme.   Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.   In dieser Episode von OPERA Road Trip wendet sich Gastgeber Sebastian F. Schwarz dem Vereinigten Königreich zu und zeichnet eine einzigartig komplexe Opernlandschaft nach, die ebenso von privater Initiative und Tradition wie von öffentlichen Institutionen geprägt ist. Von den höfischen Maskenspielen des 17. Jahrhunderts über Purcells Dido and Aeneas, von Händels Opernkonkurrenzen in London bis zu Brittens Neuerfindung einer modernen britischen Stimme erkundet die Folge, wie sich die Oper im Vereinigten Königreich auf einem eigenständigen Weg entwickelte – anders als auf dem europäischen Kontinent. Gerahmt von Musik aus Händels Semele entfaltet sich eine Geschichte von Anpassung, Spannungen und Widerstandskraft, die sich heute unter dem Druck finanzieller Herausforderungen und sich wandelnder kulturpolitischer Prioritäten fortschreibt. Im Zentrum der Episode stehen Gespräche mit zwei prägenden Persönlichkeiten des heutigen britischen Opernbetriebs: Gus Christie vom Glyndebourne Festival Opera, der über Herkunft und Zukunft des Country-House-Festivalmodells spricht und darüber, warum es für ein Opernunternehmen von Vorteil sein kann, nicht von öffentlichen Subventionen abhängig zu sein, sowie Adele Thomas, neue Co-CEO der Welsh National Opera, die eines der schwierigsten Kapitel in der Geschichte des Hauses mitgestaltet und für die öffentliche Förderung als Grundlage zur Bewahrung unseres Opernerbes eintritt. Gemeinsam zeichnen ihre Perspektiven das Bild eines Systems zwischen Tradition und Erneuerung – und laden dazu ein, nicht nur zu fragen, wie sich die britische Oper ihrer Vergangenheit erinnert, sondern auch, wie sie ihre Zukunft denkt. Opera Road Trip wird moderiert von Sebastian F. Schwarz, Casting Director der Mailänder Scala. Seine Laufbahn als Opernmanager umfasst Positionen als Intendant, Künstlerischer Leiter und Geschäftsführer am Theater an der Wien, beim Glyndebourne Festival Opera, am Teatro Regio Torino, beim Festival della Valle d'Itria, an der Hamburgischen Staatsoper sowie beim Wexford Festival Opera. Er ist Vizepräsident der Internationalen Richard-Strauss-Gesellschaft, Vorstandsmitglied der Europäischen Musiktheaterakademie und Mitbegründer des Cesti-Wettbewerbs für Barockoper. Alle Episoden: https://operavision.eu/feature/operav... Musikausschnitte in Episode 8: Einleitung: Fidelio (Beethoven): Ouvertüre op. 72 Zwei Ausschnitte aus Semele (Georg Friedrich Händel): Heidi Stober, Orchester von Garsington Opera, Dirigent Jonathan Cohen, Garsington Opera, 2017 Ausschnitt aus Aufstieg und Fall der Stadt Mahagonny (Kurt Weill): Danielle de Niese, Chor und Orchester der English National Opera, 2026 Bonus: Ausschnitt aus Dido and Aeneas (Henry Purcell): Kate Lindsey, Les Arts Florissants, William Christie, Gran Teatre del Liceu, Barcelona, 2023 OperaVision ist eine kostenfreie Streaming-Plattform für Oper, unterstützt durch das Programm „Creative Europe" der Europäischen Union. Erleben Sie Live-Streams, während die Aufführungen im Opernhaus stattfinden. Entdecken Sie eine Vielfalt an Formaten – von Oper und Operette über Musiktheater, Tanz und Ballett bis hin zu Konzerten. Ob Opernkenner oder neugieriger Neueinsteiger: Bei OperaVision ist für alle etwas dabei.     Dans cet épisode d'OPERA Road Trip, le présentateur Sebastian F. Schwarz se tourne vers le Royaume-Uni et retrace un paysage lyrique d'une complexité singulière, façonné autant par l'initiative privée et la tradition que par les institutions publiques. Des masques de cour du XVIIe siècle à Dido and Aeneas de Purcell, des rivalités opératiques de Haendel à Londres à la redéfinition d'une voix britannique moderne par Britten, l'épisode explore la manière dont l'opéra au Royaume-Uni s'est développé selon une trajectoire distincte de celle de l'Europe continentale. Encadré par des extraits de Semele de Haendel, il révèle une histoire d'adaptation, de tensions et de résilience, qui se poursuit aujourd'hui dans un contexte de contraintes financières et d'évolution des priorités culturelles. Au cœur de l'épisode, des échanges avec deux figures majeures représentant la diversité de l'écosystème lyrique britannique actuel : Gus Christie, du Glyndebourne Festival Opera, qui revient sur l'héritage et l'avenir du modèle des festivals en « country house » et sur les avantages pour une maison d'opéra de ne pas dépendre des subventions publiques, et Adele Thomas, nouvelle co-directrice générale du Welsh National Opera, confrontée à l'une des périodes les plus difficiles de l'histoire de l'institution et engagée dans la défense du financement public comme condition de préservation de notre patrimoine lyrique. Ensemble, leurs regards éclairent un système en équilibre entre tradition et réinvention — et nous invitent à nous demander non seulement comment l'opéra britannique se souvient de son passé, mais aussi comment il imagine son avenir. Opera Road Trip est présenté par Sebastian F. Schwarz, directeur de casting du Teatro alla Scala de Milan. Son parcours de manager lyrique comprend des fonctions de directeur général, directeur artistique et administrateur au Theater an der Wien, au Glyndebourne Festival Opera, au Teatro Regio Torino, au Festival della Valle d'Itria, à l'Opéra d'État de Hambourg ainsi qu'au Wexford Festival Opera. Il est vice-président de la Société internationale Richard Strauss, membre du conseil d'administration de l'Académie européenne de théâtre musical et cofondateur du Concours Cesti pour l'opéra baroque. Tous les épisodes : https://operavision.eu/feature/operav... Extraits musicaux de l'épisode 8 : Introduction : Fidelio (Beethoven) : ouverture op. 72 Deux extraits de Semele (Georg Friedrich Haendel) : Heidi Stober, orchestre du Garsington Opera, direction Jonathan Cohen, Garsington Opera, 2017 Extrait de The Rise and Fall of the City of Mahagonny (Kurt Weill) : Danielle de Niese, chœur et orchestre de l'English National Opera, 2026 Bonus : Extrait de Dido and Aeneas (Henry Purcell) : Kate Lindsey, Les Arts Florissants, William Christie, Gran Teatre del Liceu, Barcelone, 2023 OperaVision est une plateforme gratuite de streaming d'opéra, soutenue par le programme Europe Créative de l'Union européenne. Suivez des diffusions en direct au moment même où les spectacles se déroulent à l'opéra. Découvrez une grande variété de productions — opéra, opérette, théâtre musical, danse, ballet et concerts. Amateur éclairé ou curieux débutant : chacun trouvera son bonheur sur OperaVision.  

In the 86th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Amine Benjelloun, Jean Rémi Ducourtioux(Les Films du Nouveau Monde / Ali n' production, France / Morocco) and Simón De Santiago (Mod Producciones, Spain) discuss the co-production of Calle Malaga, directed by Maryam Touzani.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.*this podcast is recorded in french.--- Cineuropa is co-funded by Creative Europe.

In the 85th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Sol Bondy, Fred Burle (One Two Films, Germany), Ewa Puszczyńska (Extreme Emotions, Poland), and Dries Phlypo (Lemming Film België, Belgium) discuss the co-production of Köln 75, directed by Ido Fluk.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

Polish opera takes centre stage in this episode of Opera Road Trip. From Warsaw to Kraków, Gdańsk and Poznań, Sebastian F. Schwarz explores how Poland built one of Europe's most resilient and decentralised operatic ecosystems. Introduced at the royal court in the 17th century, opera became a powerful tool of national identity — especially during the 19th century partitions. Stanisław Moniuszko's Halka, Straszny dwór and Hrabina established a Polish operatic canon that still defines the repertoire today. In the 20th century, Karol Szymanowski's Król Roger reimagined Polish identity through myth and modernism, Krzysztof Penderecki expanded operatic sound into radical new territories, and Mieczysław Weinberg's Pasażerka confronted memory, exile and trauma. The episode features Boris Kudlička, General Director of the Polish National Opera; soprano Olga Pasychnik; and director Sir David Pountney, whose productions have helped bring Polish repertoire to international audiences via OperaVision. Poland emerges as a living operatic culture — balancing heritage, innovation and international collaboration across four centuries. Opera Road Trip is hosted by Sebastian F. Schwarz, whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-President of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera. He currently serves as Casting Manager of Teatro alla Scala , Milan. All episodes: https://operavision.eu/feature/operavision-podcasts Music extracts for this episode: Introduction: Fidelio (Ludwig van Beethoven): Overture, op. 72 Two excerpts from Hrabina – The Countess (Stanisław Moniuszko) Halka's aria from Halka (Stanisław Moniuszko): Julianna Grigorian, Grand Prize Winner, International Stanisław Moniuszko Voice Competition 2022 Roxana's aria from Król Roger (Karol Szymanowski): Olga Pasychnik Sneak preview from Dorian Gray (Elżbieta Sikora), world premiere Poznań, 2025   OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme. Watch live streams as performances unfold in the opera house. Enjoy a variety of shows — including opera, operetta, musical theatre, dance, ballet and concerts. Opera connoisseur or curious newcomer, there is something for everyone on OperaVision.  

In the 84th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Linda Mutawi (Apparaten, Sweden) and Linus Stöhr Torell (Unlimited Stories, Sweden) discuss the co-production of Eagles of the Republic, directed by Tarik Saleh.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In this episode of Opera Road Trip, host Sebastian F. Schwarz turns to Croatia as a revealing case study for the operatic realities of smaller European countries. Blessed with one of the most striking Mediterranean coastlines and internationally known cities such as Split and Dubrovnik, Croatia attracts nearly five times as many visitors each year as it has inhabitants. Yet this global visibility is highly seasonal and geographically concentrated — while the country's operatic infrastructure functions largely inland, year-round, and far from the tourist gaze. The episode argues that Croatia exemplifies a broader structural paradox: strong national institutions, permanent ensembles, and a rich operatic tradition operating under conditions of limited scale, modest international visibility, and constant pressure to justify public funding. Tracing the development of opera from Austro-Hungarian and Italian influences through the Yugoslav period and into the present, the discussion shows how history, politics, and geography continue to shape artistic life today. Alongside historical context, the episode features voices from within the Croatian operatic ecosystem — Iva Hraste-Sočo, general and artistic director of the Croatian National Theatre, Diana Haller and Marko Mimica, two Croatian born and raised and internationally sought-after singers— reflecting on training, career paths, international mobility, and the delicate balance between national repertoire and the international canon. Croatia emerges not as a peripheral operatic culture, but as a concentrated laboratory for many of the questions currently facing opera across Europe.   Opera Road Trip is hosted by Sebastian F. Schwarz whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera.   All episodes: https://operavision.eu/feature/operav... Music extracts for Episode 6: Introduction: Fidelio (Beethoven): Overture, op. 72 Two excerpts from Judita (Frano Parać): ensemble, chorus and orchestra of the Croatian National Theatre Zagreb, 2025 Excerpt from Ero s onoga svijeta – Ero the Joker (Jakov Gotovac): ensemble, chorus and orchestra of the Croatian National Theatre Zagreb, 2025 D'Oreste, d'Ajace from Idomeneo (Wolfgang Amadeus Mozart): Diana Haller,  Staatsoper Stuttgart, 2025 Nella pace del mesto riposo from Maria Stuarda (Gaetano Donizetti): Diana Haller, Croatian National Theatre Varaždin, 2026 Bonus: Final chorus from Nikola Šubić Zrinjski (Ivan pl. Zajc): ensemble, chorus and orchestra of the Croatian National Theatre Zagreb, 2025  OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme.   Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.

In this episode of Opera Road Trip, host Sebastian Schwarz turns the spotlight from national operatic traditions to a crucial gateway for emerging artists: singing competitions. Against the backdrop of increasingly opaque casting processes, the episode explores why competitions continue to play a decisive — and controversial — role in operatic careers today. Schwarz is joined by key figures from some of Europe's most influential competitions, including Beata Klatka (Stanisław Moniuszko International Vocal Competition, Warsaw), Lars Flaaten (Queen Sonja Singing Competition, Oslo), and Andrew Watts (International Vocal Competition 's-Hertogenbosch). They discuss what distinguishes serious, transparent competitions from flawed or purely instrumental ones, and how juries actually think. The episode also features first-hand perspectives from internationally active singers Kristina Mkhitaryan and Shira Patchornik, reflecting on how competitions shaped their careers — for better and for worse. Through live excerpts, career data, and candid discussion, this episode offers young singers realistic insight, practical guidance, and a nuanced view of competitions as one — but not the only — path into the operatic profession.   Opera Road Trip is hosted by Sebastian F. Schwarz whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera.   All episodes: https://operavision.eu/feature/operav...   Music extracts for Episode 5:   Introduction: Fidelio (Beethoven): Overture, op. 72   Cisza dokoła from Straszny Dwor – The haunted manor (Stanisław Moniouszko): Samuel Stopford, Stanisław Moniouszko International Vocal Competition, 2025   Das war sehr gut, Mandryka from Arabella (Richard Strauss): Kathleen O'Mara, Queen Sonja Singing Competition, 2025   Non so le tetre immagini from Il Corsaro (Giuseppe Verdi): Kristina Mkhitaryan,  Valencia       Mon cœur s'ouvre a ta voix from Samson et Dalila (Camille Saint Saens): Claudia Ribas, International Voice Competition s'Hertogenbosch, 2024   Se pietà per me non senti from Giulio Cesare in Egitto (Georg Friedrich Händel): Shira Patchornik, International Singing competition for Baroque Opera Pietro Antonio Cesti, 2021       OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme.   Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.     ABOUT OPERA ROAD TRIP Opera Road Trip is OperaVision's new two-year podcast series, a journey through the 17 countries that currently partner with OperaVision, discovering their operatic history and current relationship with the artform, and meeting along the way young talents finding their voice and seasoned professionals who have devoted their lives to the stage, discovering the diverse paths that have led them to opera and the enduring belief in its relevance, past, present, and future. Opera Road Trip is hosted by Sebastian F. Schwarz whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera.

Opera Road Trip is Operavision's new two-year podcast series, a journey through the 17 countries that currently partner with OperaVision, discovering their operatic history and current relationship with the artform, and meeting along the way young talents finding their voice and seasoned professionals who have devoted their lives to the stage, discovering the diverse paths that have led them to opera and the enduring belief in its relevance, past, present, and future. Opera Road Trip's fourth episode is dedicated to opera in Vienna. We hear from Kristine Tornquist and Jury Everhartz, founders and directors of Sirene Operntheater about the work of the independent opera companies and their newest opera Abendsonne, set in a retirement home. We speak with Stefan Herheim, Intendant of Theater an der Wien about his thoughts on running an opera house. 200 years ago, Vienna's most prominent music critic Eduard Hanslick was born – known for his scathing reviews especially of Richard Wagner's work. Time to have a look at the role of the critic – back then and today - with Vienna's leading music journalist and critic Walter Weidringer. Opera Road Trip is hosted by Sebastian F. Schwarz whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera. All episodes: https://operavision.eu/feature/operav...   Music extracts for Episode 4:   Introduction: Fidelio (Beethoven): Overture, op. 72 Champagner hat's verschuldet from Die Fledermaus (Johann Strauss jun.): Zoryana Kushpler, Ensemble der Wiener Staatsoper Toast au champagne from Die Fledermaus (Johann Strauss jun.): Héloïse Mas, Marie-Eve Munger and Guillaume Andrieux from Opéra de Lille Tarot Scene from Abendsonne (Tomasz Skweres): Juliette Mars from Sirene Operntheater, Vienna Ouverture, from Die Fledermaus (Johann Strauss jun.): Orchester der Wiener Staatsoper, Franz Welser-Möst   OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme. Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.  

In the 83rd episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Nadia Turincev (Akka Films, Switzerland) and Eva Kuperman (Stenola, Belgium) discuss the co-production of Sevda, directed by Ufuk Emiroglu.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In the 82nd episode of the Co-production Podcast, Cineuropa's Director Valerio Caruso, and co-producers Élaine Hébert (Micro_Scope, Canada), Frédéric Corvez (Urban Factory, France), and Nathalie Cloutier (National Film Board, Canada) discuss the co-production of Ghosts of the Sea, directed by Virginia Tangvald.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

Opera Road Trip is Operavision's new two-year podcast series, a journey through the 17 countries that currently partner with OperaVision, discovering their operatic history and current relationship with the artform, and meeting along the way young talents finding their voice and seasoned professionals who have devoted their lives to the stage, discovering the diverse paths that have led them to opera and the enduring belief in its relevance, past, present, and future.   Opera Road Trip's third episode is dedicated to opera in Ireland. We hear from Rosetta Cucchi, Artistic Director of Wexford Festival Opera about rediscovering forgotten repertoire; from Fergus Sheil and Diego Fasciati, respectively Artistic Director and CEO of the relatively young Irish National Opera about the birth of their national institution, and from the three mesmerizing Irish mezzosopranos Ann Murray, Tara Erraught and Niamh O'Sullivan about their paths to opera in a country without a developed operatic infrastructure.   Opera Road Trip is hosted by Sebastian F. Schwarz whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera.   All episodes: https://operavision.eu/feature/operav...   Music extracts for Episode 3:   Introduction: Fidelio (Beethoven): Overture, op. 72 He was despised from Messiah (Georg Friedrich Händel): Niamh O'Sullivan Freude schöner Götterfunken from The importance of being Earnest (Gerald Barry) - Nouvel Opéra Fribourg Tranquille nuit, le monde sommeille (Tacea la notte placida) from Le Trouvère (Giuseppe Verdi): Lydia Grindatto, Wexford Festival Opera 2025 Ah! dal ciel discenda un raggio, from Maria Stuarda (Gaetano Donizetti): Tara Erraught, Fergus Sheil (cond.) Irish National Opera 2022 He promised me at parting, from 12 Irish songs, WoO 154 (Ludwig van Beethoven): Ann Murray, Graham Johnson Bonus: Irish National Anthem, Wexford Festival Opera 2025   OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme.   Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.

In the 80th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Cassandre Warnauts (Frakas Production, Belgium) and Alice Girard (Rectangle Production, France) discuss the co-production of Le Faux Soir, directed by Michael Roskam. ***This episode was exceptionally recorded in French***The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In the 81st episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Heather Millard  (Compass Films, Halibut, Iceland), Raymond van der Kaaij (Revolver, The Netherlands), and Igor A. Nola  (MP Film Production, Croatia) discuss the co-production of When The Light Breaks, directed by Rúnar Rúnarsson.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

Opera Road Trip's second episode is dedicated to opera in Ukraine. We hear from Anna Gadetzka, program direction of Open Opera Ukraine about creating alternatives to the state-run opera factories; from Vasyl Vovkun, director of the Lviv National Opera, Bogdan Strutynsky, director of the National Operetta of Ukraine and Galyna Grygorenko, first deputy minister of culture of Ukraine, about the country's operatic heritage and repertoire and about the current challenges of running opera companies. To learn more about opera in Ukraine, visit OperaVision.eu features work from its five Ukrainian partner opera companies, notably streams of the following operas: Tiger Hunter - A musical from Ukraine and an ode to freedom in the face of oppression. Golden Crown - A story of heartbreak and dispossessed lands from 13th century Ukraine Opera Road Trip is Operavision's new two-year podcast series, a journey through the 17 countries that currently partner with OperaVision, discovering their operatic history and current relationship with the artform, and meeting along the way young talents finding their voice and seasoned professionals who have devoted their lives to the stage, discovering the diverse paths that have led them to opera and the enduring belief in its relevance, past, present, and future. Opera Road Trip is hosted by Sebastian F. Schwarz whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera. Music extracts for Episode 2: Introduction: Fidelio (Beethoven): Overture, op. 72 Alcide (Dmytro Bortniansky): Oksana Lyniv, orchestra of the Lviv National Opera Rozhenka (Ukrainian folk song, arranged by Susanna Karpenko): Ivan Franko Theatre, Kyiv Zoloty Obruch (Borys Lyatoshynsky): Justyna Khil, Adrian Domarecki, Adrian Janus, Klara Janus from the Polish National Opera Zaporozhets za Dunayem (Semen Hulak-Artemovsky): Valentyn Dytiuk, National Opera of Ukraine Zozulka (Ukrainian folk song, arranged by Susanna Karpenko): Ivan Franko Theatre, Kyiv We thank Laura Claycomb, Evan Porter and Sean Miller for lending their English and Matthieu Fons for his artwork for this series. OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme. Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.

Opera Road Trip is Operavision's new two-year podcast series, a journey through the 17 countries that currently partner with OperaVision, discovering their operatic history and current relationship with the artform, and meeting along the way young talents finding their voice and seasoned professionals who have devoted their lives to the stage, discovering the diverse paths that have led them to opera and the enduring belief in its relevance, past, present, and future.   Opera Road Trip's first episode is, dutifully, dedicated to opera in Italy. We hear from Danila Grassi, a young conductor making her way in what in Italy is still a male-dominated world; from author, critic and librettist Alberto Mattioli and from the CEO of the Rome Opera house (Teatro dell'Opera di Roma) Francesco Giambrone about the current state of opera in the country of its birth, political influence and what seems to be working in the search for new audiences.   Opera Road Trip is hosted by Sebastian F. Schwarz whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera. On OperaVision you can hear him speak about Korngold's Violanta: https://operavision.eu/de/partner/teatro-regio-torino or read his article about Metastasio: https://operavision.eu/feature/metastasio-28-opera-librettos-and-still-counting   All episodes: https://operavision.eu/podcast   Music extracts:  Introduction: Fidelio (Beethoven): Overture, op. 72 L'Orfeo (Monteverdi): La Musica, Claire Lees; Orfeo, Ed Lyon, Garsington Opera Le Convenienze ed inconvenienze teatrali (Donizetti):  Paolo Bordogna, Wexford Festival Opera Tosca (Puccini): Te Deum, Roberto Frontali, Teatro dell'Opera di Roma   OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme.   Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.

In the 79th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Matěj Chlupáček(Barletta Productions, Czech Republic), Agata Jelenekova (Novinski, Slovakia), and Marc Faye (Novamina, France) discuss the co-production of Living Large, directed by Kristina Dufková.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In the 78th episode of the Co-production Podcast, Cineuropa's Director Valerio Caruso, and co-producers Lionel Massol (Films Grand Huit, France), Julie Esparbes (Hélicotronc, Belgium), and Nicole Gerhards (NiKo Films, Germany) discuss the co-production of Les Fantômes, directed by Jonathan Millet.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In the 77th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Jean-Laurent Csinidis (Films de Force Majeure, France) , Geneviève De Bauw (Thank You and Good Night Productions, Belgium), and Jeremiah Cullinane (Planet Korda Picture, Ireland) discuss the co-production of The Flats, directed by Alessandra Celesia.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In episode 2 of The Right Kind of Family, our reporters travel to Hungary, a country ruled by Viktor Orban's Fidezs party since 2010. This relatively small central European country has surged to the role of ideological cornerstone for the Political Network for Values and its members. In particular, our reporters focus on one specific dimension of the policies enacted by the Orban over the past decade: family policies as a tool to stop population decline.The Hungarian government proudly defines its country as a family-friendly land. But what exactly are the famed policies of the Hungarian government, and how do they affect Hungarian households and women? What do Hungarians think about them, and ultimately, are they effective in halting population decline? The Right Kind of Family is a podcast co-produced by El País Audio, Chora Media, Europod, and 444.It was created within the framework of the WePod project, co-funded by the Creative Europe programme of the European Commission.The English version is written and narrated by Lili RutaiResearch and fieldwork: Francesca Berardi, Claudia Torrisi, Lili Rutai, Elsa Cabria and Manuel TomilloScript in original language: Francesca Berardi, Claudia Torrisi, Lili Rutai, Elsa Cabria.Editing of scripts: Alexander Damiano Ricci, Ana Ribera and Sabrina TinelliOriginal sound identity: Daniel Gutierrez Ortega and Mattia Liciotti, based on ‘The Devil You Know' soundtrack, licensed by Machiavelli Music.Additional musical curation, editing and sound design: Jeremy Bocquet.Original graphic design: Ruth Benito and Rebecca GrassiGraphic design adaptation for the English version: Watermelon collectiveExecutive production: Ana RiberaEditorial coordination and production: Alexander Damiano RicciCo-funded by the European Union. However, the views and opinions expressed are solely those of the author(s) and do not necessarily reflect those of the European Union. Neither the European Union nor the granting authority can be held responsible for them.This podcast is co-produced by Europod.Subscribe to Europod • English for even more podcasts, and follow us on Linkedin and Instagram. Hosted on Acast. See acast.com/privacy for more information.

"The Right Kind of Family" is a podcast co-produced by El País Audio, Chora Media, Europod, and 444.It was created within the framework of the WePod project, co-funded by the Creative Europe programme of the European Commission.The English version is written and narrated by Lili RutaiResearch and fieldwork: Francesca Berardi, Claudia Torrisi, Lili Rutai, Elsa Cabria and Manuel TomilloScript in original language: Francesca Berardi, Claudia Torrisi, Lili Rutai, Elsa Cabria.Editing of scripts: Alexander Damiano Ricci, Ana Ribera and Sabrina TinelliOriginal sound identity: Daniel Gutierrez Ortega and Mattia Liciotti, based on ‘The Devil You Know' soundtrack, licensed by Machiavelli Music.Additional musical curation, editing and sound design: Jeremy Bocquet.Original graphic design: Ruth Benito and Rebecca GrassiGraphic design adaptation for the English version: Watermelon collectiveExecutive production: Ana RiberaEditorial coordination and production: Alexander Damiano RicciCo-funded by the European Union. However, the views and opinions expressed are solely those of the author(s) and do not necessarily reflect those of the European Union. Neither the European Union nor the granting authority can be held responsible for them.This podcast is co-produced by Europod.Subscribe to Europod • English for even more podcasts, and follow us on Linkedin and Instagram. Hosted on Acast. See acast.com/privacy for more information.

In episode 1 of The Right Kind of Family, reporters Claudia Torrisi, Elsa Cabria, Francesca Berardi and Lili Rutai are in Madrid, in the Spanish Senate. They follow the works of the "VI Transatlantic Summit for Freedom and the Culture of Life", a closed session “in defence of life and the natural family.” The meeting serves also as the sixth international gathering of the Political Network for Values, a network established in 2014 in a room at the UN headquarters, in New York. The reporters follow the debates and key note speeches of the participants, uncovering the international reach of this network as well as its rhetoric and political ambitions. Far from being a EU-focused network, the Political Network for Values has strong US- and Latin Amrican-connections. However, one specific European country appears to play a leading role. The Right Kind of Family is a podcast co-produced by El País Audio, Chora Media, Europod, and 444.It was created within the framework of the WePod project, co-funded by the Creative Europe programme of the European Commission.The English version is written and narrated by Lili RutaiResearch and fieldwork: Francesca Berardi, Claudia Torrisi, Lili Rutai, Elsa Cabria and Manuel TomilloScript in original language: Francesca Berardi, Claudia Torrisi, Lili Rutai, Elsa Cabria.Editing of scripts: Alexander Damiano Ricci, Ana Ribera and Sabrina TinelliOriginal sound identity: Daniel Gutierrez Ortega and Mattia Liciotti, based on ‘The Devil You Know' soundtrack, licensed by Machiavelli Music.Additional musical curation, editing and sound design: Jeremy Bocquet.Original graphic design: Ruth Benito and Rebecca GrassiGraphic design adaptation for the English version: Watermelon collectiveExecutive production: Ana RiberaEditorial coordination and production: Alexander Damiano RicciCo-funded by the European Union. However, the views and opinions expressed are solely those of the author(s) and do not necessarily reflect those of the European Union. Neither the European Union nor the granting authority can be held responsible for them.This podcast is co-produced by Europod.Subscribe to Europod • English for even more podcasts, and follow us on Linkedin and Instagram. Hosted on Acast. See acast.com/privacy for more information.

In the 76th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Malene Blenkov (Nordisk Film Denmark), Mariusz Włodarski  (Lava Films, Poland), and Madeleine Ekman (Nordisk Film Sweden) discuss the co-production of The Girl With The Needle, directed by Magnus Von Horn.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In the last episode of Sea of Rage, we travel back to Barbate and investigate what happened on the night of the 9th of February 2024, when two local police officers were killed by narco-gangs. We also meet Spanish prosecutors and researchers, trying to understand what the future might hold for Barbate.Sea of Rage is a reportage podcast dealing with the borderless narco-trafficking business as seen from the perspective of ordinary people who live in two towns in Southern Europe: Barbate (Andalusìa, Spain) and Gioia Tauro (Calabria, Italy). Over the past few decades, Barbate and Gioia Tauro have become entry points for hashish and cocaine into Europe. But why have these towns become such pivotal places for drug trafficking? And what does it mean to live, day in day out, next door to such dark and murky businesses?Sea of Rage is an adaptation of the homonymous co-production between Podium Podcast and Chora Media, released in September 2024 under the Spanish and Italian language titles Mar de rabia (Spanish, Podium Podcast) and Mare di rabbia (Italian, Chora Media). Sea of Rage is part of WePod, a collaborative project financed by the Creative Europe program of the European Commission.Art direction: Alexander Damiano RicciReporting on the ground and interview collection: Manu Tomillo (Podium Podcast), Javi Caminero (Podium Podcast) and Francesca Berardi (Chora Media)Original sound design: Elizabeth BuaAdaptation of scripts in English: Alexander Damiano RicciSound editing: Daniel Gutierrez OrtegaEditorial support (original Italian version): Ilaria Ferraresi e Valeria LuziProducer (Italian version): Martina ConteOriginal sound theme: Luca Micheli (Chora Media)Cover artwork: Watermelon collective, based on original artwork by Agencia Player and Giulia Mangano (Chora Media)Executive producer: Ana Ribera (Podium Podcast)Project Manager: Henar Leòn (Podium Podcast) and Gloria Beltrami.Coordination of editorial work and production: Alexander Damiano Ricci.This co-production was financed by the European Union. However, the points of view and opinions shared are the sole responsibility of the authors and do not reflect necessarily the opinions of the European Union. Nor the European Union, nor the authorities and agencies which might have financed this product can be considered responsible for points of view shared through this journalistic and creative work. This podcast was co-produced by Europod.Subscribe to Europod • English for more podcasts and subscribe to our Linkedin and Instagram channels. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we continue our reporting from the area of Gioia Tauro. We meet journalist Michele Albanese who lives under police protection these days. And discover the reach and connections of the Italian Ndrangheta mafia across Europe. From the reporting the differences and red threads connecting Barbate and Gioia Tauro become manifest.Sea of Rage is a reportage podcast dealing with the borderless narco-trafficking business as seen from the perspective of ordinary people who live in two towns in Southern Europe: Barbate (Andalusìa, Spain) and Gioia Tauro (Calabria, Italy). Over the past few decades, Barbate and Gioia Tauro have become entry points for hashish and cocaine into Europe. But why have these towns become such pivotal places for drug trafficking? And what does it mean to live, day in day out, next door to such dark and murky businesses?Sea of Rage is an adaptation of the homonymous co-production between Podium Podcast and Chora Media, released in September 2024 under the Spanish and Italian language titles Mar de rabia (Spanish, Podium Podcast) and Mare di rabbia (Italian, Chora Media). Sea of Rage is part of WePod, a collaborative project financed by the Creative Europe program of the European Commission.Art direction: Alexander Damiano RicciReporting on the ground and interview collection: Manu Tomillo (Podium Podcast), Javi Caminero (Podium Podcast) and Francesca Berardi (Chora Media)Original sound design: Elizabeth BuaAdaptation of scripts in English: Alexander Damiano RicciSound editing: Daniel Gutierrez OrtegaEditorial support (original Italian version): Ilaria Ferraresi e Valeria LuziProducer (Italian version): Martina ConteOriginal sound theme: Luca Micheli (Chora Media)Cover artwork: Watermelon collective, based on original artwork by Agencia Player and Giulia Mangano (Chora Media)Executive producer: Ana Ribera (Podium Podcast)Project Manager: Henar Leòn (Podium Podcast) and Gloria Beltrami.Coordination of editorial work and production: Alexander Damiano Ricci.This co-production was financed by the European Union. However, the points of view and opinions shared are the sole responsibility of the authors and do not reflect necessarily the opinions of the European Union. Nor the European Union, nor the authorities and agencies which might have financed this product can be considered responsible for points of view shared through this journalistic and creative work. This podcast was co-produced by Europod.Subscribe to Europod • English for more podcasts and subscribe to our Linkedin and Instagram channels. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we travel to the Italian coast and port-town of Gioia Tauro, in the Southern region of Calabria. We discover the history of the construction of the port of Gioia Tauro and the role of the Italian mafia, Ndrangheta, in the narco-trafficking of cocaine into Europe. Sea of Rage is a reportage podcast dealing with the borderless narco-trafficking business as seen from the perspective of ordinary people who live in two towns in Southern Europe: Barbate (Andalusìa, Spain) and Gioia Tauro (Calabria, Italy). Over the past few decades, Barbate and Gioia Tauro have become entry points for hashish and cocaine into Europe. But why have these towns become such pivotal places for drug trafficking? And what does it mean to live, day in day out, next door to such dark and murky businesses?Sea of Rage is an adaptation of the homonymous co-production between Podium Podcast and Chora Media, released in September 2024 under the Spanish and Italian language titles Mar de rabia (Spanish, Podium Podcast) and Mare di rabbia (Italian, Chora Media). Sea of Rage is part of WePod, a collaborative project financed by the Creative Europe program of the European Commission.Art direction: Alexander Damiano RicciReporting on the ground and interview collection: Manu Tomillo (Podium Podcast), Javi Caminero (Podium Podcast) and Francesca Berardi (Chora Media)Original sound design: Elizabeth BuaAdaptation of scripts in English: Alexander Damiano RicciSound editing: Daniel Gutierrez OrtegaEditorial support (original Italian version): Ilaria Ferraresi e Valeria LuziProducer (Italian version): Martina ConteOriginal sound theme: Luca Micheli (Chora Media)Cover artwork: Watermelon collective, based on original artwork by Agencia Player and Giulia Mangano (Chora Media)Executive producer: Ana Ribera (Podium Podcast)Project Manager: Henar Leòn (Podium Podcast)Coordination of editorial work and production: Alexander Damiano Ricci.This co-production was financed by the European Union. However, the points of view and opinions shared are the sole responsibility of the authors and do not reflect necessarily the opinions of the European Union. Nor the European Union, nor the authorities and agencies which might have financed this product can be considered responsible for points of view shared through this journalistic and creative work. This podcast was co-produced by Europod.Subscribe to Europod • English for more podcasts and subscribe to our Linkedin and Instagram channels. Hosted on Acast. See acast.com/privacy for more information.

After visiting the neighbourhood of El Pinar and the port of Barbate, in this episode we try to understand deeper reasons for why this south-western Spanish port town struggles in changing its status of entry door for hashish into Europe. We discuss the impact of geography, education and, eventually, local politics on Barbate. Sea of Rage is a reportage podcast dealing with the borderless narco-trafficking business as seen from the perspective of ordinary people who live in two towns in Southern Europe: Barbate (Andalusìa, Spain) and Gioia Tauro (Calabria, Italy). Over the past few decades, Barbate and Gioia Tauro have become entry points for hashish and cocaine into Europe. But why have these towns become such pivotal places for drug trafficking? And what does it mean to live, day in day out, next door to such dark and murky businesses?Sea of Rage is an adaptation of the homonymous co-production between Podium Podcast and Chora Media, released in September 2024 under the Spanish and Italian language titles Mar de rabia (Spanish, Podium Podcast) and Mare di rabbia (Italian, Chora Media). Sea of Rage is part of WePod, a collaborative project financed by the Creative Europe program of the European Commission.Art direction: Alexander Damiano RicciReporting on the ground and interview collection: Manu Tomillo (Podium Podcast), Javi Caminero (Podium Podcast) and Francesca Berardi (Chora Media)Original sound design: Elizabeth BuaAdaptation of scripts in English: Alexander Damiano RicciSound editing: Daniel Gutierrez OrtegaOriginal sound theme: Luca Micheli (Chora Media)Cover artwork: Watermelon collective, based on original artwork by Agencia Player and Giulia Mangano (Chora Media)Executive producer: Ana Ribera (Podium Podcast)Project Manager: Henar Leòn (Podium Podcast)Coordination of editorial work and production: Alexander Damiano Ricci.This co-production was financed by the European Union. However, the points of view and opinions shared are the sole responsibility of the authors and do not reflect necessarily the opinions of the European Union. Nor the European Union, nor the authorities and agencies which might have financed this product can be considered responsible for points of view shared through this journalistic and creative work. This podcast was co-produced by Europod.Subscribe to Europod • English for more podcasts and subscribe to our Linkedin and Instagram channels. Hosted on Acast. See acast.com/privacy for more information.

Sea of Rage is a reportage podcast dealing with the borderless narco-trafficking business as seen from the perspective of ordinary people who live in two towns in Southern Europe: Barbate (Andalusìa, Spain) and Gioia Tauro (Calabria, Italy). Over the past few decades, Barbate and Gioia Tauro have become entry points for hashish and cocaine into Europe. But why have these towns become such pivotal places for drug trafficking? And what does it mean to live, day in day out, next door to such dark and murky businesses?Sea of Rage is an adaptation of the homonymous co-production between Podium Podcast and Chora Media, released in September 2024 under the Spanish and Italian language titles Mar de rabia (Spanish, Podium Podcast) and Mare di rabbia (Italian, Chora Media). Sea of Rage is part of WePod, a collaborative project financed by the Creative Europe program of the European Commission.Art direction: Alexander Damiano RicciReporting on the ground and interview collection: Manu Tomillo (Podium Podcast), Javi Caminero (Podium Podcast) and Francesca Berardi (Chora Media)Adaptation of scripts in English: Alexander Damiano RicciSound editing: Jeremy Boquet, Daniel Gutierrez Ortega and Alexander Damiano RicciOriginal sound theme: Luca Micheli (Chora Media)Cover artwork: Watermelon collective, based on original artwork by Agencia Player and Giulia Mangano (Chora Media)Executive producer: Ana Ribera (Podium Podcast)Coordination of editorial work and production: Alexander Damiano Ricci.This co-production was financed by the European Union. However, the points of view and opinions shared are the sole responsibility of the authors and do not reflect necessarily the opinions of the European Union. Nor the European Union, nor the authorities and agencies which might have financed this product can be considered responsible for points of view shared through this journalistic and creative work. This podcast was co-produced by Europod.Subscribe to Europod • English for more podcasts and subscribe to our Linkedin and Instagram channels. Hosted on Acast. See acast.com/privacy for more information.

In this episode, the team of reporters behind Sea of Rage set foot for the first time in Barbate, Andalusia, South-Western Spain. They meet people from El Pinar, a notorious neighbourhood in town which is known to be a pivotal place for drug trafficking. Sea of Rage is a reportage podcast dealing with the borderless narco-trafficking business as seen from the perspective of ordinary people who live in two towns in Southern Europe: Barbate (Andalusìa, Spain) and Gioia Tauro (Calabria, Italy). Over the past few decades, Barbate and Gioia Tauro have become entry points for hashish and cocaine into Europe. But why have these towns become such pivotal places for drug trafficking? And what does it mean to live, day in day out, next door to such dark and murky businesses?Sea of Rage is an adaptation of the homonymous co-production between Podium Podcast and Chora Media, released in September 2024 under the Spanish and Italian language titles Mar de rabia (Spanish, Podium Podcast) and Mare di rabbia (Italian, Chora Media). Sea of Rage is part of WePod, a collaborative project financed by the Creative Europe program of the European Commission.Art direction: Alexander Damiano RicciReporting on the ground and interview collection: Manu Tomillo (Podium Podcast), Javi Caminero (Podium Podcast) and Francesca Berardi (Chora Media)Original sound design: Elizabeth BuaAdaptation of scripts in English: Alexander Damiano RicciSound editing: Jeremy Boquet, Daniel Gutierrez Ortega and Alexander Damiano RicciOriginal sound theme: Luca Micheli (Chora Media)Cover artwork: Watermelon collective, based on original artwork by Agencia Player and Giulia Mangano (Chora Media)Executive producer: Ana Ribera (Podium Podcast)Project Manager: Henar Leòn (Podium Podcast)Coordination of editorial work and production: Alexander Damiano Ricci.This co-production was financed by the European Union. However, the points of view and opinions shared are the sole responsibility of the authors and do not reflect necessarily the opinions of the European Union. Nor the European Union, nor the authorities and agencies which might have financed this product can be considered responsible for points of view shared through this journalistic and creative work. This podcast was co-produced by Europod.Subscribe to Europod • English for more podcasts and subscribe to our Linkedin and Instagram channels. Hosted on Acast. See acast.com/privacy for more information.

Walking the streets of Barbate is not enough to grasp why drug trafficking affects this small town in South-Western Spain. In this episode, the team of reporters behind Sea of Rage visit the port of Barbate, where everything - the smuggling - happens. Sea of Rage is a reportage podcast dealing with the borderless narco-trafficking business as seen from the perspective of ordinary people who live in two towns in Southern Europe: Barbate (Andalusìa, Spain) and Gioia Tauro (Calabria, Italy). Over the past few decades, Barbate and Gioia Tauro have become entry points for hashish and cocaine into Europe. But why have these towns become such pivotal places for drug trafficking? And what does it mean to live, day in day out, next door to such dark and murky businesses?Sea of Rage is an adaptation of the homonymous co-production between Podium Podcast and Chora Media, released in September 2024 under the Spanish and Italian language titles Mar de rabia (Spanish, Podium Podcast) and Mare di rabbia (Italian, Chora Media). Sea of Rage is part of WePod, a collaborative project financed by the Creative Europe program of the European Commission.Art direction: Alexander Damiano RicciReporting on the ground and interview collection: Manu Tomillo (Podium Podcast), Javi Caminero (Podium Podcast) and Francesca Berardi (Chora Media)Original sound design: Elizabeth BuaAdaptation of scripts in English: Alexander Damiano RicciSound editing: Jeremy Boquet, Daniel Gutierrez Ortega and Alexander Damiano RicciOriginal sound theme: Luca Micheli (Chora Media)Cover artwork: Watermelon collective, based on original artwork by Agencia Player and Giulia Mangano (Chora Media)Executive producer: Ana Ribera (Podium Podcast)Project Manager: Henar Leòn (Podium Podcast)Coordination of editorial work and production: Alexander Damiano Ricci.This co-production was financed by the European Union. However, the points of view and opinions shared are the sole responsibility of the authors and do not reflect necessarily the opinions of the European Union. Nor the European Union, nor the authorities and agencies which might have financed this product can be considered responsible for points of view shared through this journalistic and creative work. This podcast was co-produced by Europod.Subscribe to Europod • English for more podcasts and subscribe to our Linkedin and Instagram channels. Hosted on Acast. See acast.com/privacy for more information.

In the 75th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Leonardo Guerra Seràgnoli (Cinedora, Italy), Pauline Boucheny (Charades, France), and Tatjana Kozar (Versus Production, Belgium) discuss the co-production of Vermiglio, directed by Maura Delpero.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In the 74th episode of the Co-production Podcast, Cineuropa's Editor Domenico La Porta, and co-producers Mathilde Deyde (French Quarter, Sweden), Anna Khazaradze (1991 Productions, Georgia), and Katja Adomeit (Adomeit Film, Denmark) discuss the co-production of Crossing, directed by Levan Akin.The Co-production Podcast is a collaboration between Cineuropa and Eurimages.  Each episode welcomes producers to share best practices and to inspire new industry-wide collaborations in Europe and beyond.--- Cineuropa is co-funded by Creative Europe.

In the last episode, we look at the future of the transport sector. How will goods be moved in the coming years? Which role will artificial intelligence play? And most importantly, will truck drivers still be needed or will they be replaced by machines? To answer these questions, we went to Intermodal Europe, the congress that brings together industry professionals in Rotterdam each year to discuss the future of the transport sectorTruck Drivers is a podcast co-produced by Europod and Ser Podcast. This podcast is part of WePod, a collaborative project funded by the Creative Europe program of the European Commission.Hosting and Narration: Alexander Damiano RicciField reporting and research: Manu Tomillo and Futura D'AprileEditor-in-chief of the French and English version: Alexander Damiano RicciSound design and editing: Jeremy BoquetOriginal visual design by: Agencia PlayerVisual adaptation for the French version by: Watermelon CollectiveProducer: Futura D'AprileExecutive producer: Ana RiberaProduction coordinator: Alexander Damiano RicciThis co-production is funded by the European Union. However, the views and opinions expressed are solely those of the authors and do not necessarily reflect those of the European Union. Neither the European Union nor the authority that funded this work can be held responsible for these views and opinions.Subscribe to Europod • English for more podcasts, and find us on LinkedIn and Instagram. Hosted on Acast. See acast.com/privacy for more information.

Truck drivers transport 77% of products in Europe, but road transport is not the only option. Trains and intermodal systems are one of the alternative solutions the EU is focusing on, and one which could also improve the working conditions of truck drivers. Investment, however, is still too low. In the meantime, Europe is also trying to reduce the fossil fuel consumption of trucks by focusing on electric engines. Truck drivers, though, are still skepticalTruck Drivers is a podcast co-produced by Europod and Ser Podcast. This podcast is part of WePod, a collaborative project funded by the Creative Europe program of the European Commission.Hosting and Narration: Alexander Damiano RicciField reporting and research: Manu Tomillo and Futura D'AprileEditor-in-chief of the French and English version: Alexander Damiano RicciSound design and editing: Jeremy BoquetOriginal visual design by: Agencia PlayerVisual adaptation for the French version by: Watermelon CollectiveProducer: Futura D'AprileExecutive producer: Ana RiberaProduction coordinator: Alexander Damiano RicciThis co-production is funded by the European Union. However, the views and opinions expressed are solely those of the authors and do not necessarily reflect those of the European Union. Neither the European Union nor the authority that funded this work can be held responsible for these views and opinions.Subscribe to Europod • English for more podcasts, and find us on LinkedIn and Instagram. Hosted on Acast. See acast.com/privacy for more information.

On our journey through the roads of central Europe, we often encountered trucks with Polish or Lithuanian licence plates. An accident? Certainly not. In this episode we travel to Sandomierz, Poland, to see how the competition between East and West works and to learn more about the problems of truck drivers in this part of Europe.Truck Drivers is a podcast co-produced by Europod and Ser Podcast. This podcast is part of WePod, a collaborative project funded by the Creative Europe program of the European Commission.Hosting and Narration: Alexander Damiano RicciField reporting and research: Manu Tomillo and Futura D'AprileEditor-in-chief of the French and English version: Alexander Damiano RicciSound design and editing: Jeremy BoquetOriginal visual design by: Agencia PlayerVisual adaptation for the French version by: Watermelon CollectiveProducer: Futura D'AprileExecutive producer: Ana RiberaProduction coordinator: Alexander Damiano RicciThis co-production is funded by the European Union. However, the views and opinions expressed are solely those of the authors and do not necessarily reflect those of the European Union. Neither the European Union nor the authority that funded this work can be held responsible for these views and opinions.Subscribe to Europod • English for more podcasts, and find us on LinkedIn and Instagram. Hosted on Acast. See acast.com/privacy for more information.

On our journey through the roads of central Europe, we often encountered trucks with Polish or Lithuanian licence plates. An accident? Certainly not. In this episode we travel to Sandomierz, Poland, to see how the competition between East and West works and to learn more about the problems of truck drivers in this part of Europe.Truck Drivers is a podcast co-produced by Europod and Ser Podcast. This podcast is part of WePod, a collaborative project funded by the Creative Europe program of the European Commission.Hosting and Narration: Alexander Damiano RicciField reporting and research: Manu Tomillo and Futura D'AprileEditor-in-chief of the French and English version: Alexander Damiano RicciSound design and editing: Jeremy BoquetOriginal visual design by: Agencia PlayerVisual adaptation for the French version by: Watermelon CollectiveProducer: Futura D'AprileExecutive producer: Ana RiberaProduction coordinator: Alexander Damiano RicciThis co-production is funded by the European Union. However, the views and opinions expressed are solely those of the authors and do not necessarily reflect those of the European Union. Neither the European Union nor the authority that funded this work can be held responsible for these views and opinions.Subscribe to Europod • English for more podcasts, and find us on LinkedIn and Instagram. Hosted on Acast. See acast.com/privacy for more information.

Truck drivers are expected to obey precise rules when driving, but this is not always the case. Many of them are forced to break these rules in order to make as many deliveries in as little time as possible, skipping mandatory rest breaks and exceeding speed limits. This is a problem for their safety, but also for their own. In this episode, we will talk about safety on the roads, but also about our responsibilities as consumers and the impact we can have in protecting the rights of truck drivers.ruck Drivers is a podcast co-produced by Europod and Ser Podcast. This podcast is part of WePod, a collaborative project funded by the Creative Europe program of the European Commission.Hosting and Narration: Alexander Damiano RicciField reporting and research: Manu Tomillo and Futura D'AprileEditor-in-chief of the French and English version: Alexander Damiano RicciSound design and editing: Jeremy BoquetOriginal visual design by: Agencia PlayerVisual adaptation for the French version by: Watermelon CollectiveProducer: Futura D'AprileExecutive producer: Ana RiberaProduction coordinator: Alexander Damiano RicciThis co-production is funded by the European Union. However, the views and opinions expressed are solely those of the authors and do not necessarily reflect those of the European Union. Neither the European Union nor the authority that funded this work can be held responsible for these views and opinions.Subscribe to Europod • English for more podcasts, and find us on LinkedIn and Instagram. Hosted on Acast. See acast.com/privacy for more information.

In Europe, there is a shortage of around 230,000 truck drivers, but by 2028 there will be as many as 745,000 vacancies. Excessive working hours, inadequate wages and long periods away from home are the main causes of this shortage of truck drivers, but the issue is much more complex. In order to understand why this great labour gap exists and what it could mean for our societies and personal lives, we travelled by truck between Spain, France and Germany. Our journey begins with this first instalment. This podcast is part of WePod, a collaborative project funded by the European Commission's Creative Europe program.Hosting and Narration: Alexander Damiano RicciField reporting and research: Manu Tomillo and Futura D'AprileEditor-in-chief of the French and English version: Alexander Damiano RicciSound design and editing: Jeremy BoquetOriginal visual design by: Agencia PlayerVisual adaptation for the French version by: Watermelon CollectiveProducer: Futura D'AprileExecutive producer: Ana RiberaProduction coordinator: Alexander Damiano RicciThis co-production is funded by the European Union. However, the views and opinions expressed are solely those of the authors and do not necessarily reflect those of the European Union. Neither the European Union nor the authority that funded this work can be held responsible for these views and opinions.This podcast is co-produced by Europod.Subscribe to Europod • English for more podcasts, and find us on LinkedIn and Instagram. Hosted on Acast. See acast.com/privacy for more information.

Truck Drivers is the story of an indispensable profession, but also of an economic and logistical system under strain. It's a story of exploitation, fierce competition, and an equilibrium that has spiraled out of control. Every day, thousands of trucks crisscross Europe's roads to deliver the products we consume without a second thought. This immense and often invisible supply chain is, nonetheless, essential to our daily lives. But this vital sector is in crisis: already, 230,000 drivers are missing across Europe, a number that could exceed 700,000 in the coming years. Embark on a truck journey across Europe and discover the stories of those whose work connects us every day. A profession that, on its own, has the power to paralyze all of Europe.Subscribe to "Europod • English" to follow the series! A new episode drops every Thursday 9 AM!Truck Drivers is a podcast co-produced by Europod and Ser Podcast.This podcast is part of WePod, a collaborative project funded by the European Commission's Creative Europe program.Hosting and Narration: Alexander Damiano RicciField reporting and research: Manu Tomillo and Futura D'AprileEditor-in-chief of the French and English version: Alexander Damiano RicciSound design and editing: Jeremy BoquetOriginal visual design by: Agencia PlayerVisual adaptation for the French version by: Watermelon CollectiveProducer: Futura D'AprileExecutive producer: Ana RiberaProduction coordinator: Alexander Damiano RicciThis co-production is funded by the European Union. However, the views and opinions expressed are solely those of the authors and do not necessarily reflect those of the European Union. Neither the European Union nor the authority that funded this work can be held responsible for these views and opinions. Hosted on Acast. See acast.com/privacy for more information.

In this conversation at the Review of Democracy, Enikő Gyureskó- the Festival Director of VerzióInternational Human Rights Documentary Film Festival – discusses the program of the Verzió Film Festival, which will take place between 6-13 November; the rationale of choosing specific foci in this year's program; the importance of documentaries in raising awareness about contemporary human rights issues; the collaborations between Verzió with other European festivals to promote human rights; the relevance of educational initiatives and university partnerships to foster critical engagement in Hungary. Enikő Gyureskó has been a key figure at the Verzió Film Festival since 2016. Starting as Festival Coordinator, she became Managing Director in 2021 and was appointed Festival Director in 2024. Enikő is responsible for the festival's development strategy, team management, fundraising, partnerships, and grants. Since 2022, she has also been a board member of MADOKE, the Hungarian Documentary Association. Enikő holds a BA in Liberal Arts, with a major in Art History and a minor in Philosophy, from Pázmány Péter Catholic University (2013), and an MA in Design and Art Management from Budapest Metropolitan University (2017). Verzió created a much-needed platform in Hungary for international documentary films focused on human rights. Over 20 years, the festival has attracted more than 250,000 attendees. In 2020, it launched its online streaming platform, Verziotheque, offering films nationwide between festival editions. Verzió is a crucial gathering point for the documentary film community, hosting screenings, discussions, and events in Budapest and across Hungary. The festival partners with cinemas and cultural spaces in cities like Pécs, Szeged, and Debrecen. This year, the festival will run between 6th and 13th of November.   Adrian Matus: Verzió has become a key platform for raising awareness on pressing human rights issues through documentary filmmaking. Could you introduce us to the agenda of the Verzió Film Festival? How do you view its significance within the global landscape of human rights film festivals? What does it share with other such festivals and what might make it rather special?   Enikő Gyureskó: Verzió has been one of the steadiest festivals running in Hungary. This will be the 21st edition, and it takes place every year in November, not just in Budapest but currently in six other towns and online as well. It has a large regular audience that comes back to our editions yearly. At the same time, we also try to reach out to new audiences with each edition. Currently, about 20000 people participate yearly if we consider both offline venues and online audiences. Regarding its international embedment, we are part of the Human Rights Film Network, which consists of over 40 human rights festivals globally. This network raises awareness of human rights and filmmakers in danger, or festival partners who operate in dangerous circumstances, such as Belarus or Central Asia, where democratic institutions do not exist, or people who work with human rights and social issues are under constant surveillance or harassment. Within this network, we try to provide support and raise international awareness whenever one of our members gets into trouble. It also serves as an exchange of experiences and a learning platform for all of us to improve our festivals. We are also trying to build strong relationships with several European festivals that are regionally closer to us. For example, the One World festival in Czechia has been one of our oldest partners. They were founded just a few years before Verzió and even inspired us when our festival was created. There are many similarities in how we think and do our programs. They (One World) also have many discussions, panel talks, and roundtables. Besides the screenings, just like Verzió, they try to cooperate with civil organizations and involve them in public debates. Watch Docs from Poland is an excellent example in this regard, being operated by Helsinki Foundation. We regularly apply together to European funds. One of the major sponsors of film festivals is the Creative Europe program by the European Union. In the past couple of years, this program initiated a funding scheme that provides grants to festival networks. Thus, now we are in the Doc Around Europe network for the second year, which includes partners from Spain, Germany, Italy, and North Macedonia. We are focusing together on mentoring emerging talents and better circulating their works on a European level. These are  similarities that we share. One of our programs. funded through grant schemes such as  Creative Europe Media and European Documentary Film Festival Network. is called Verzió DocLab. It focuses on developing documentaries which have a social aspect or human rights focus and takes place at the CEU's Budapest campus. As well, the Young Critics Workshop, funded through this grant scheme, will take place for the third time at CEU during Verzió. This workshop wants to improve the skills of emerging writers and critics interested in the documentary genre. These international programs are free; we provide everything from travel to accommodation.   AM: Which are the main foci and highlights of this year's festival? What documentaries stand out as particularly powerful to you from this year's program?   EG: Our curatorial team is really excited about this year's program! All the films stand out and we encourage everybody to try to watch as many films as their time allows. We try to screen every film twice during the festival's eight days. Of course, we have some highlights that have already won outstanding awards internationally. If I have to name one, I will mention I'm Not Everything I Want To Be - a Czech film about a photographer discovered recently in the international art scene. Her photographs were unknown before; she was photographing everyday life and the people around her. She lived in a socialist country and worked in a factory because she had to and not because she wanted to. In this context, she took pictures of workers. At the same time, she identified herself as queer and went to illegal queer bars where she took photographs. Of course, these bars were illegal then, and she tried to hide these pictures. She also travelled to Berlin and witnessed the wall falling in 1989. She lived through exciting times and was present at important historic events. This film consists solely of her photographs and has no single moving image. There are only photographs- about 3,000 of them - yet the team managed to edit it so that it does not become boring or monotonic. Even though the pictures are black and white, it is still such a powerful, visual, and empowering storytelling. I can only praise the editors who had to work hard to make it happen. We will have a Q& A session with the director, Klára Tasovská, who is coming to Verzió on the 9th of November so that you can catch her at Toldi Cinema. This film also inspired our visuals this year. Every year, Verzió changes its visuals- our posters, our website, and our social media communications use still images from one particular movie. This year will be I'm Not Everything I Want to Be- our visuals play with a plastic foil, a plastic wrap that comes off and underneath these pictures emerge. In a way, it also references what happened in Hungary. I think last year, a new law came into action where people under 18 were not allowed anymore to open, in bookstores, books which talked about the lives of LGBT people or that depicted anything related to homosexuality. We disagree with this situation and are referencing this issue in our visuals this year.   AM: More generally, how do you select the movies? What kind of balance do you aim at between artistic merit and the urgency of the issues addressed?   EG: I think a good film always keeps its value through time. Perhaps from the technical standpoint, the approaches are evolving. The picture quality and the cameras used are often of much better quality. At the same time, some films are made with cell phones, not only with the best equipment. Not every filmmaker has access to such equipment. However, it is not about that any more. The films have become more and more personal, focusing a lot on individual stories and embedding them in broader societal movements. This is the best way to make an emotional effect and draw the viewer closer to a story. In this way, the individuals are protagonists in these films and share intimate parts of their lives. These directors gain close access to many of the characters. Filmmakers also film about their own lives, and they are the protagonists in their films. The heaviness of these topics has always been a focal point since the festival's first year. The particularity of the program remains the same, and every year, we try to bring films that deal with urgent topics. War in Ukraine has been in our focus for several years now. This year, we have amazing, excellent films that stand out, not just because of their heavy topic but their genuinely outstanding qualities. For example, Intercepted or Songs of a Slow Burning Earth  are films that I recommend. The director of Flowers of Ukraine will also come to present the movie. This film was not initially about the war but about gentrification. As she proceeded to film, the war broke out, and it was always in the background. In other words, you cannot make a film without excluding the bigger reality. These films also show personal stories of how war affects people's everyday lives. In Intercepted, for example, we can listen to the phone calls of Russian soldiers, which were - as the title suggests - intercepted by the secret services in Ukraine. It is chilly to listen while you watch pictures of destroyed cities and the actual effects of their actions. The Armenian focus this year was not initially planned, but we decided to have it because we found these powerful films coming out of Armenia. 1489 is the title of one of the films that also won the Best Film award at the International Documentary Festival in Amsterdam last November. One particularity of this movie is that the director was filming with her phone. As mentioned, there are still films that were initially not intended to be a movie but just started to document an event. Later on, they decided to make it a movie. In this context, this director chose to film her own family. The story focuses on her brother, who disappeared in the Nagorno-Karabakh war. Together with her father, they are trying to find him. This is a profound and personal story. The director, Shoghakat Vardanyan, is also coming to the festival. The British focus might come as a surprise. The reason for this focus is Brexit, which has caused less attention to British documentaries at European festivals in the last few years. We also wanted to cooperate with the British Council in Budapest and the British Embassy because we felt that there is less money now in the soft power of Britain to promote their culture in this part of the world. British cultural products are not as present as they used to be. We wanted to show a selection of recent British documentaries and found four feature lengths. We also have a VR section called Vektor VR. The exhibition is at Adaptér, a lovely communal space run by the local municipality, where you can sit down and watch VR documentaries. This year, the representation of the body is the focus, particularly how we experience our body in virtual reality and how it helps us understand how others might feel in their body. AM: You have a broad variety of movies, and my curiosity is: how do you select the movies? What kind of balance do you aim at between artistic merit and the urgency of the issues addressed? EG: We are trying to find the films that excel in this balance. Both these points are essential aspects of the selection. We work as a team; we watch all the films together

In this episode of JM International's ‘The Power of Music', we will talk about the power of music and it's impact on rural areas. Besides being a composer, Marta Lozano Molano is president of Wazo Coop, and has played a key role in several Creative Europe projects. She talks about her journey becoming an entrepreneur within the music insdustry and we discuss her experiences at JMI's enCORE 2023, her upcoming Creative Europe projects, and - of course - the power of music.JMI is a global network of NGOs that empowers young people through music across all boundaries. For more info go to www.jmi.net or check out all the amazing opportunities for musicians at www.mubazar.com.

For our fifteenth episode, we talk to Katerina Stoykova, author of Second Skin and Senior Editor of Accents Publishing. Katerina discusses how she uses her journals to create writing prompts for herself and offers advice for doing so with your own journals.She believes that writers should "learn to write when you don't have time for writing." She says writing "when you don't have time... prepares you a whole lot better for stretches of time when you do have time for writing."About Katerina StoykovaKaterina Stoykova is the author of several award-winning poetry books in English and Bulgarian, as well as the Senior Editor of Accents Publishing. Her latest book, Second Skin (ICU, 2018, Bulgarian) received the Vanya Konstantinova biannual national poetry award, as well as a grant from the European Commission's program Creative Europe for translation and publication in English. Katerina acted in the lead roles for the independent feature films Proud Citizen and Fort Maria, both directed by Thom Southerland. Her poems have been translated into German, Spanish, Ukrainian, Bangla, Farsi, and a volume of her selected poems, translated into Arabic by acclaimed poet Khairi Hamdan, was published in Arabic from Dar Al Biruni press in 2022.SubmitWe'd love to see what you're writing! Submit a response to Katerina's prompt for a chance to have it read on a future episode of the podcast.

Culture plays a fundamental role in human life. It is also an essential source of identity, at local, regional, national and European levels, while making a significant contribution to the EU economy. EU cultural policy relates to cultural heritage, but also to the cultural and creative sector. The EU supports culture through a variety of initiatives, including the European Capitals of Culture scheme. A number of EU programmes also offer funding for cultural projects, for instance the Creative Europe programme, Horizon Europe and New European Bauhaus. As one of the sectors of the economy worst affected by the COVID-19 pandemic, the EU included culture in its coronavirus response investment initiatives and the REACT-EU programme aimed at dealing with the consequences of the pandemic. The European Parliament has called for increased support for culture as part of the post-pandemic recovery efforts. - Original publication on the EP Think Tank website - Subscription to our RSS feed in case your have your own RSS reader - Podcast available on Deezer, iTunes, TuneIn, Stitcher, YouTube Source: © European Union - EP

Israel's government cabinet yesterday announced that the country - rather some of the country, would join the "Creative Europe" cultural cooperation, even as the Europeans refuse to allow Jews in Judea and Samaria to participate in the endeavor. At the same time Israel blasted Norway for labeling goods produced in Judea and Samaria, the Golan, and parts of Jerusalem as "Settler" as opposed to "made in Israel." On today's Israel Uncensored, Josh Hasten argues that Israel can't expect Norway to support Jewish communities in certain areas of the country, if Israel itself, leaves those same communities on the outside looking in. Photo Credit: Heritage Conservation Outside The City Pikiwiki Israel

Today's podcast is dedicated to the poetry of Georgian Poet Diana Anphimiadi. Thanks to our working relationship with the translator Natalia Bukia-Peters the PTC has been translating Georgian poetry since 2013 when two of Diana's poems 'May Honey' and ‘Tranquillity' were translated at one of our collaborative workshops, then in 2018 Diana was part of our Georgian Poets tour alongside Salome Benidze. Now the PTC with Bloodaxe Books has published Diana's first full-length English Language collection entitled Why I no Longer Write Poems, with translations by Natalia Bukia-Peters and the UK poet Jean Sprackland. The book has received Creative Europe funding and a PEN translates award. Plus, Diana's work was described as 'gorgeous, fabulising verse' by Fiona Sampson in The Guardian In her introduction, translator Natalia says: Diana Anphimiadi's paternal roots lie in Pontus, a historically Greek region on the southern coast of the Black Sea that once stretched form central Anatolia to the borders oft he Colchis in modern-day Turkey. Her mother is Georgian,from the area known as Megrelia-Colchis, where the famous legends of the Golden Fleece, the Argonauts, Jason and Medea also originate. In this small area of the Caucasus, Georgian literature – and Georgian poetry, in particular, has always been of central importance and its legacy, the urgency of expression and narrative allusions, can be felt in Anphimaidi's work You will hear prayer before taking nourishment, one of several prayer-poems Diana has penned, Dance 3 / 4 time, not just a dance Diana tell us but an Erotic poem and Medusa on of serval poems where Anphidiadi gives voice to the women of Greek mythology.