Podcasts about Dawn Upshaw

Today is the second part of my Latin American orchestral song tribute. Last week we explored Villa-Lobos and Revueltas; today we devote ourselves to Argentina, and primarily two composers: Alberto Ginastera, and Osvaldo Golijov, in settings by writers as varied as Emily Dickinson, Rosalía de Castro, Manuel Mujica Lainez, David Grossman, Mercedes de Toro, Alejandro Casona, and Franz Kafka; performed by Hina Spani, Phyllis Curtin, Dawn Upshaw, Nadine Sierra, Virginia Tola, Mónica Ferracani, and Miriam Khalil, among others, alongside three artists (Rayanne Dupuis, Christopher Dylan Herbert, and Ilana Davidson) who happen to be friends and colleagues of mine. The episode begins with memorial tributes to iconic writer Edmund White and beloved French singer Nicole Croisille, both of whom died this week. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

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When an art song and opera composer writes a memoir, what does that process look like? Does mastery in one creative realm translate to another? How is an aria like a story?  I just loved this deep and passionate conversation with Ricky Ian Gordon, author of the new memoir SEEING THROUGH: A Chronicle of Sex, Drugs, and Opera.   Ricky Ian Gordon was born in Oceanside, NY and raised on Long Island. After studying piano, composition, and acting, at Carnegie Mellon University, he settled in New York City, where he quickly emerged as a leading writer of vocal music that spans art song, opera, and musical theater. Gordon's songs have been performed and recorded by Renée Fleming, Dawn Upshaw, Nathan Gunn, Judy Collins, Kelli O'Hara, Audra MacDonald, Kristin Chenoweth, and many others. His works include Dream True, Orpheus and Euridice, Green Sneakers for Baritone, String Quartet, Empty Chair, and Piano, The Grapes of Wrath, and Intimate Apparel. His memoir SEEING THROUGH: A Chronicle of Sex, Drugs, and Opera was published in July 2024. Check out the book here or follow Ricky at his website, or @rickyiangordon on X and Instagram.   Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!      

Tanglewood Music Center (TMC) Fellows experience music making at the highest level, enjoying close mentorship from members of a world-class orchestra, intensive and inspiring coaching from resident faculty, thought-provoking classes with distinguished visiting musicians, and myriad performances from the BSO and a diverse array of guest artists. It is often said: A summer at Tanglewood is a rite of passage for any young musician. This morning we welcome Dawn Upshaw, TMC's Head of Vocal Arts.

As we continue to consider the cultural works of the West, this is another of our Director's live conference lectures, given in 2011, just months after the death of the composer Henryk Gorecki, a Polish Catholic, who's Symphony #3 became an international hit on the popular song charts of 1993. In this work, Gorecki departs from his more avant-garde styles, and takes up a kind of minimalism, into which he injects his Faith. The recording excerpted here is with Dawn Upshaw singing.

Muzyka pełna zadumy, refleksji... wspomnień. 1. J.S.Bach - Aria z Wariacji Golbergowskich - Britten Sinfonie, Thomas Gould. 2. F. Chopin - Nocturne nr 1 op 9, Brigitte Engerer. 3. W.A. Mozart - Requiem, Lacrimosa, Pierre Genisson. 4. Jan Garbarek, Eleni Karaindrou - Requiem for Willy Loman. 5. Maurice Durufle - Requiem, Agnus Dei, Okka von der Damerau, 6. Gabriel Faure Requiem, Agnus Dei. 7. Zbigniew Preisner Requiem dla przyjaciela, Okrywamy świat, Miłość 8. Edward Grieg Suita Peer Gynt nr 1 Śmierć Azy, Academy of Saint Martin in The Field. 9. Henryk Mikołaj Górecki - 3 Symfonia cz. III , Lento , London Sinfonietta, Dawn Upshaw, David Zinman. 10. Sinead O'Connor - This is to Mather You. 11. Luis Bonfá - Manha de Carnaval, Astrud Gilberto.

SynopsisOn today's date in 2008, at the University of Minnesota in Minneapolis, soprano Dawn Upshaw and the St. Paul Chamber Orchestra gave the first performance of a new song cycle, Carlos Drummond de Andrade Stories. Its composer, Maria Schneider, conducted the premiere.Drummond was one of Brazil's greatest poets, and Schneider came to know his work through English translations by Mark Strand. “Drummond's poetry struck me as deeply Brazilian, and Brazil is a country for which I've long felt an affinity,” she said.The Minneapolis premiere was something of a homecoming for Schneider, who was born in Minnesota and studied composition at its university before heading off to the Eastman School and after graduation being hired by the great jazz orchestrator Gil Evans as his assistant. In 1992, she formed her own jazz orchestra and won a Grammy with it in 2004.Upshaw is a big fan of Schneider's work, and in 2011 they collaborated on the premiere of a second song cycle, Winter Morning Walks, based on poems of Ted Kooser."I knew that no matter what she was going to write,” Upshaw said, “it was going to be a joyful experience."Music Played in Today's ProgramMaria Schneider (b. 1960) Carlos Drummond de Andrade Stories - Dawn Upshaw, soprano; St. Paul Chamber Orchestra; Maria Schneider, conductor ArtistShare AS-0121

Another episode featuring orchestral songs, these arrangements by the French composer Joseph Canteloube AKA Marie-Joseph Canteloube de Malaret (1879 – 1957), of elaborately orchestrated folk songs from the Auvergne region of France. From the 1960s an beyond these songs have become favorites of sopranos seeking engaging works for voice and orchestra. Canteloube made orchestral arrangements of five different series (or books) of songs published between 1924 and 1955. The songs themselves are, in turn, playful, plangent, tragic, saucy, rustic, and even surprisingly emancipated. In 1930 French soprano Madeleine Grey was the first artist to record the songs. Subsequently the Ukrainian-born Israeli soprano Netania Davrath became the first to take on the entire cycle. Cognoscenti still find her versions to be the most “authentic,” although that is a loaded term when one considers how elaborate these arrangements are. Other singers that helped put these songs on the map, as it were, include Anna Moffo, Victoria de los Angeles, Kiri Te Kanawa, and Frederica von Stade. All these singers are heard in this episode, which also includes memorable contributions from singers as varied as Dawn Upshaw, Barbra Streisand, Jill Gomez, Marvis Martin, Gérard Souzay, Marni Nixon, Anna Caterina Antonacci, Elly Ameling, Régine Crespin, Arleen Augér, Susan Reed, and others. You may also be quite surprised (I know I was!) to hear the singer that Canteloube most preferred in this repertoire, in a recording accompanied by the composer himself. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Today there will be more. Yes! CHEST will carry Carry to wherever you are, how near or how far. It will be more teethy, it will be big, and there will be a fountain. There will be a radiowalk w. Shortwave Collective, there will be a symphony, there will be questions and there will be no answers. There will be happiness and it will be easy. Yes! so excited to be live from Struer Tracks again today. Tracklist Radiowalk w. Shortwave Collective Symphony No. 3, Op. 36: I. Lento - Sustenuto Tranquillo Ma Cantabile - David Zinman, Dawn Upshaw, London Sinfonietta, Henryk Górecki Sorrow: III - Lento -- Cantabilie-Semplice - Colin Stetson, Henryk Górecki Happiness Is Easy - Talk Talk

Linton Stephens tries out a classical playlist on comedian Josie Long. Josie's Playlist: Schubert arr. List - Standchen [S.560] (Schwanengesang D.957) (Khatia Buniatishvili) Caroline Shaw - The Isle: II. Ariel (Roomful of Teeth) Richard Ayres - No.37b For Orchestra: 4th mvt: 'Exit' (Frankfurt Radio Symphony Orchestra, Roland Kluttig) Thea Musgrave - Loneliness from Night Windows (Nicholas Daniel, Huw Watkins) Henryk Gorecki - Symphony no. 3 Op.36 (Symphony of sorrowful songs).....: 2nd movement (Dawn Upshaw, London Sinfonietta, David Zinman) Jose Mauricio Nunes Garcia - Requiem Mass I. Introit: Requiem aeternam (Helsinki Philharmonic Orchestra, Morgan State College Choir, Paul Freeman) Classical Fix is a podcast aimed at opening up the world of classical music to anyone who fancies giving it a go. Each week, Linton mixes a bespoke playlist for his guest, who then joins him to share their impressions of their new classical discoveries. Linton Stephens is a bassoonist with the Chineke! Orchestra and has also performed with the BBC Philharmonic, Halle Orchestra and Opera North, amongst many others.

durée : 00:26:42 - Kaija Saariaho, compositrice (5/5) : Les compagnons de route - par : Corinne Schneider - La compositrice parle des grands artistes avec lesquels elle a travaillés, ceux qui ont marqué sa vie musicale, depuis le compositeur et chef d'orchestre Esa-Pekka Salonen, jusqu'à l'écrivain Amin Maalouf en passant par le metteur en scène Peter Sellars et la chanteuse Dawn Upshaw. - réalisé par : Gilles Blanchard

Synopsis In the early years of the 20th century, a hauntingly beautiful piece of Grecian sculpture – a bust of the head of the goddess Aphrodite – was donated to the Boston Museum of Fine Art. There it inspired this orchestral work by Boston composer George Whitefield Chadwick. Chadwick's symphonic tone poem Aphrodite was, in the words of the composer, “an attempt to suggest in music the poetic and tragic scenes which may have passed before the sightless eyes of such a goddess.” Chadwick composed this music during East Coast holidays on Martha's Vineyard, inspired, he said, by the play of light and wind on the sea before him. It received its premiere at the Norfolk Festival in Connecticut on this date in 1912. On today's date in 1999, at a summer musical festival on the opposite coast of America, another musical work inspired by ancient Greece received its first performance. This music was entitled Five Images after Sappho, inspired by texts of the ancient Greek poetess Sappho and written for the remarkable voice of a modern American soprano, Dawn Upshaw. It was premiered at the Ojai Festival in California, and was written by the Finnish composer and conductor Esa-Pekka Salonen. Music Played in Today's Program George Whitefield Chadwick (1854 - 1931) Aphrodite Brno State Philharmonic; Jose Serebrier, conductor. Reference 74 Esa-Pekka Salonen (b. 1958) Five Images after Sappho Dawn Upshaw, soprano; London Sinfonietta; Esa-Pekka Salonen, conductor. Sony 89158 On This Day Births 1770 - possible birthdate of the British-born early American composer, conductor, and music publisher James Hewitt, in Dartmoor; 1932 - American composer and jazz arranger Oliver Nelson, in St. Louis; Deaths 1872 - Polish opera composer Stanislaw Moniuszko, age 53, in Warsaw; 1907 - Norwegian composer Agathe Backer-Groendahl, age 59, in Kristiania (now Oslo); 1951 - Russian-born American double-bass player, conductor and new music patron, Serge Koussevitzky, age 76, in Boston; Premieres 1811 - Weber: opera, "Abu Hassan." In Munich; 1883 - Tchaikovsky: "Festival Coronation March," in Moscow (Julian date: May 23); Tchaikovsky conducted this march at the gala opening concert of Carnegie Hall (then called just "The Music Hall")in New York on May 5, 1891; 1912 - Chadwick: tone poem "Aphrodite" in Norfolk, Conn., at the Litchfield Festival; 1914 - Sibelius: "Oceanides," in Norfolk, Conn., at the Litchfield Festival, with the composer conducting; 1935 - Shostakovich: ballet "The Limpid Stream," in Leningrad at the Maliiy Opera Theater; 1935 - R. Strauss: opera "Die schweigsame Frau" (The Silent Woman), in Dresden at the Staatsoper; 1994 - Philip Glass: opera "La Belle et la Bête" (Beauty and the Beast) based on the film by Jean Cocteau), by the Philip Glass Ensemble at the Teatro de la Maestranza in Seville (Spain), with Michael Riesman conducting; 1997 - Richard Danielpour: ballet "Urban Dances," at New York State Theater by the New York Ballet, choreographed by Miriam Mahdaviani; 1999 - Esa-Pekka Salonen: "Five Images after Sappho" for voice and orchestra, at the Ojai Festival in California, with soprano Dawn Upshaw and the Los Angeles Philharmonic New Music Group, conducted by the composer. Links and Resources On Chadwick On Salonen

A brief featurette about composer & bandleader Maria Schneider's work with soprano Dawn Upshaw and the Australian Chamber Orchestra based on the poems of Ted Kooser.

Songwriter, lyricist and musician Richard Stilgoe and harpist Alina Bzhezhinska join Cerys Matthews and Jeffrey Boakye to open a new series. With each track being chosen for its musical connections to the previous one, this week re-working earlier material emerges as a theme as we head from the Wild West to a Gestapo prison cell. Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald The five tracks in this week's playlist: The Good, The Bad and The Ugly by Ennio Morricone Love Me Tender by Elvis Presley Don't Tell Me by Madonna First movement of Symphony No. 3 by Henryk Górecki, sung by Dawn Upshaw with the London Sinfonietta Afro Blue by Melanie De Biasio Other music in this episode: Born to be Wild by Steppenwolf Pastures of Plenty by Woody Guthrie Pastures of Plenty by Peter Tevis Aura Lee by Slim Whitman Stop by Joe Henry Second movement of Symphony No. 3 by Henryk Górecki Afro Blue by Mongo Santamaria Afro Blue by John Coltrane

My Cousin, Claire Bryant!  A sought-after and distinctive performer, Claire has collaborated with such master artists as Emanuel Ax, Sir Simon Rattle and Dawn Upshaw, and worked closely with luminary composers from Meredith Monk to Steve Reich to Herbie Hancock. Over the past 25 years, she has enjoyed a prominent solo career, appearing with major orchestras around the world including the Spartanburg Symphony Orchestra, Finland's Kuopio Symphony Orchestra and The National Symphony of Honduras.  --- Send in a voice message: https://anchor.fm/john-brunty/message

This Sunday, 24 July 2022, the great African American lyric soprano Adele Addison observes her 97th birthday. This Countermelody tribute presents this great artist in live and studio recordings during the glory years of her career, including performances conducted by three of her most important conductor collaborators, Robert Shaw, Charles Munch, and Leonard Bernstein. Addison might be best remembered today as providing the ghost voice for Dorothy Dandridge in Otto Preminger's controversial 1959 film of Porgy and Bess, but her greatest artistic achievement undoubtedly centers on her concert and recital work. Among countless world premieres in which she participated, the most significant was probably the Gloria of Francis Poulenc, first heard in Boston in January 1961. Other contemporary composers represented in this episode are Aaron Copland, Lester Trimble, Lukas Foss, and Benjamin Lees; Addison's exceptional performances of Handel, Bach, Mozart, and Debussy are also featured. Vocal guest stars include Robert McFerrin, with whom she duets in an excerpt from Porgy; the eminent recitalist Povla Frijsh, who was her voice teacher and coach; and Dawn Upshaw, probably her most renowned student. Please join me in celebrating the long life and legacy of this exceptional artist and teacher. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

Three episodes left! Whoa! In our third-to-last episode, Rachel gets in a little Twitter fight, but shows some personal growth. Walls has some exciting career news that has her both relieved and nervous at the same time. Walls shares the ways she's realized she likes to be comforted. Rachel fantasizes about what she'd do with an obscene amount of money. Walls recommends some towels that will have you feeling like heaven at an accessible price. Rachel recommends two pieces of art (one poem, and one poem set to an orchestral piece) that just might have you feeling something grand. What would you do with an obscene amount of wealth? Have you figured out yet how you like to be comforted? Let us know on Instagram and Twitter. Emails and voice memos are welcome at withrachelandwalls@gmail.com! Supporters! THANK YOU! To join them, tap the "Support" button here. Music by Royer Bockus LINKS Get your very own comfy and quick drying Casaluna waffle towels from Target Read "The Windhover," a beautiful poem by Gerard Manley Hopkins Listen to Dawn Upshaw perform Samuel Barber's orchestral adaptation of the James Agee poem, "Knoxville: Summer of 1915" Follow along to the words in the libretto for "Knoxville: Summer of 1915," excerpted from James Agee's prose poem of the same name --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/withrachelandwalls/support

Sometimes Jay indulges in hyperbole—but the hyperbole is not far off. In this episode, he calls Dawn Upshaw's 1989 recording of “No word from Tom” (Stravinsky) “just about the best thing ever.” You may well agree. He begins the episode with another “just about the best thing ever”: Leontyne Price in “Summertime” (Gershwin), live in […]

Sometimes Jay indulges in hyperbole—but the hyperbole is not far off. In this episode, he calls Dawn Upshaw’s 1989 recording of “No word from Tom” (Stravinsky) “just about the best thing ever.” You may well agree. He begins the episode with another “just about the best thing ever”: Leontyne Price in “Summertime” (Gershwin), live in Munich, 1968. Also on the menu are Mozart, Bridge, Medtner... Source

Sometimes Jay indulges in hyperbole—but the hyperbole is not far off. In this episode, he calls Dawn Upshaw's 1989 recording of “No word from Tom” (Stravinsky) “just about the best thing ever.” You may well agree. He begins the episode with another “just about the best thing ever”: Leontyne Price in “Summertime” (Gershwin), live in Munich, 1968. Also on the menu are Mozart, Bridge, Medtner, and Szymanowski. A winning line-up. Gershwin, “Summertime” from “Porgy and Bess” Mozart, String Quartet No. 2 in D major, K. 155 Medtner, Fairy Tale No. 3 Bridge, “Allegro appassionato” Szymanowski, Violin Concerto No. 2 Stravinsky, “No word from Tom” from “The Rake's Progress”

Pianist Lisa Kaplan of eighth blackbird joins us to chat about the many evolutions of their organization, from the original ensemble to their many teaching endeavors. We chat about the Chicago Artists Workshop and Blackbird Creative Lab, two of the ways in which they continue to “move music forward” beyond their primarily performance-based projects. Kaplan shares about how the ensemble conceptualizes and puts projects—such as This is my Home—into action. We speak about how the organization integrates interns into their administrative process. And, we ask, "why 'eighth blackbird'?" Born in Motown, Lisa Kaplan is a pianist specializing in the performance of new work by living composers. Kaplan is the founding pianist and Executive Director of the four-time Grammy Award-winning sextet Eighth Blackbird. Kaplan has won numerous awards, performed all over the country and has premiered new pieces by hundreds of composers, including Andy Akiho, Jennifer Higdon, Amy Beth Kirsten, David Lang, Missy Mazzoli, Nico Muhly, George Perle, and Pamela Z. She has had the great pleasure to collaborate and make music with an eclectic array of incredibly talented people - Laurie Anderson, Jeremy Denk, Bryce Dessner, Philip Glass, Bon Iver, J. Ivy, Glenn Kotche, Shara Nova, Will Oldham, Natalie Portman, Gustavo Santaolalla, Robert Spano, Tarrey Torae, Dawn Upshaw and Michael Ward-Bergeman to name a few. As a proud, single-mama-by-choice, Kaplan has been having an incredible time raising and learning from her happy-go-lucky 4 year old, Frida. Musically as of late, she has also greatly enjoyed and appreciated the opportunity to do both composing and arranging for Eighth Blackbird as well as some producing. In 2019, Kaplan co-produced her first record, When We Are Inhuman with Bryce Dessner. Kaplan is a true foodie, gourmet cook, avid reader, crossword and Scrabble addict, enjoys baking ridiculously complicated pastry and loves outdoor adventures. She has summited Mt. Kilimanjaro, braved the Australian outback, stared an enormous elephant in the face in Tanzania's Ngorongoro Crater and survived close encounters with grizzly bears in the Brooks Range of Alaska. The transcript for this episode can be found here. For more information about eighth blackbird, please visit their website, Facebook, Twitter, Instagram, YouTube, and Spotify.

In this episode of Opera Uprising we talk about: * Libretto Creation * The Priestess of Morphine  * Voice type inclusivity * Writing for Trans Voices * Including LGBTQIA+ Stories Find out more about Aiden Feltkamp Anthology of New Music: Trans & Nonbinary Voices, Vol. 1  Website: aidenkimfeltkamp.com Twitter: @TransCherubino  Bio: Aiden K. Feltkamp (they/he) began their artistic life at the age of 5 playing a quarter-size cello and now they're "upending preconceptions about voice and gender" (New York Times) as a trans nonbinary writer.   Aiden's written work spans the serious and the ridiculous, the real and the surreal. Some of their favorite projects include: an opera with Dana Kaufman about Emily Dickinson's queerness, an interactive fiction experience about alien communication coded in Javascript (“Hello, Aria”), new English translations of Jewish lesbian erotic poet Marie-Madeleine's work (The Priestess of Morphine with Rosśa Crean), and a four-part series decoupling gender and voice types. Most recently, their work has been commissioned by Cantus, Amherst College, and the International Museum of Surgical Sciences, and has been published in Crêpe & Penn, Bait/Switch, and NewMusicBox.   Before pursuing their medical transition, Aiden performed opera professionally, specializing in Baroque opera and new music. Their most fulfilling roles include Hansel, Prince Orlofsky, Cherubino, Ottavia in L'incoronazione di Poppea (especially in a Baroque gesture production with director Drew Minter), and Elizabeth in the World and NY premieres of Griffin Candey's Sweets by Kate. They continue to train their new voice and have recently performed as Figaro in ChamberQUEER's abridged Le Nozze di Figaro.   As an equity and inclusion specialist, they consult for performing arts organizations, funders, universities, and businesses. Aiden has worked with Johnson & Johnson, Yelp, the Detroit Symphony Orchestra, OPERA America, the League of American Orchestras, and the LA Phil. Currently, they wrangle composers and arts administrators as the first-ever Director of Emerging Composers and Diversity for the American Composers Orchestra. Aiden is a Turn the Spotlight fellow (20/21 cohort), mentoring with Kathleen Kelly. As part of the fellowship, they curated New Music Shelf's Anthology of New Music: Trans & Nonbinary Voices, Vol. 1. They graduated from Bard College Conservatory's Graduate Vocal Arts Program (under the direction of Dawn Upshaw) with a Masters of Music, and received their B.S. in Vocal Performance from Hofstra University. They hold certifications in Diversity, Equity, and Inclusion (Cornell University) and Data Science (BrainStation). They currently live in Jersey City with their partner, cat, parrots, and robot dog. 

Sunday 16 January: Jazz singer and cabaret artiste Mama Alto talks about community, connection and voice. And NYC composer Caroline Shaw on working with soprano Dawn Upshaw, pianist Gilbert Kalish and Sō Percussion.

La música clásica polaca experimentó una suerte de resurrección después de la Segunda Guerra Mundial. A la cabeza de ésta estaba Henryk Górecki. Éste compositor, siguió en principio las corrientes vanguardistas de Europa Occidental, pero su estilo decantó en lo que se ha descrito como un “minimalismo sacro”. Dicho minimalismo se percibe claramente en su tercera sinfonía, estrenada en abril de 1977 que ha vendido más de un millón de discos, rara hazaña para una obra clásica. La sinfonía es una obra de lo más inusual, parece que el compositor nos pidiera mirar la tragedia de la guerra fijamente a los ojos. En cada movimiento una soprano canta un texto en polaco: el primero es un lamento de María, del siglo XV; el segundo contiene una plegaria que una chica de 18 años dejó escrita en la pared de una cárcel de la Gestapo en 1944; y el tercero es una canción popular de Silesia en la que una madre busca a su hijo muerto, a manos de los alemanes. Recordando que un día como hoy en 2010 falleció Henryk Górecki, escucharemos un fragmento del tercer movimiento de su tercera sinfonía en la voz de la soprano Dawn Upshaw, de manos de la London Sinfonietta dirigida por David Zinman

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Maria Schneider is a multiple Grammy Award winner and a recent Pulitzer Prize finalist in Music for her 2020 double album “Data Lords.” She was last a guest on The Jazz Session a decade ago and to think that she hadn't yet released her 2013 collaborative album with soprano Dawn Upshaw and the Australian Chamber Orchestra, “Winter Morning Walks”, OR her shimmering, somewhat biographical record  2015's “The Thompson Fields”. Anyone who is lucky to work with or know Maria, knows that her attention to detail is meticulous, her musicianship second to none, and her warmth and generosity immense. We talked about her towering new double album, her collaboration with David Bowie, and what award recognition means to her. Here is our conversation-a privilege and delight for a fangirl like me. Show Notes: Tracks played: - Braided Together - Walking By Flashlight - Sue - A World Lost - Sanzenin - Look Up Maria talks about streaming services with JazzTimes at the Newport Jazz Festival, 2017 Data Lords is available now on ArtistShare Theme music by The Respect Sextet Follow The Jazz Session on Twitter, Instagram and Facebook Subscribe to The Jazz Session's YouTube Channel Support The Jazz Session by becoming a member at Patreon. For $5 a month you'll get a weekly bonus episode called Track of the Week, plus early access to every show. For $10 a month you get all that plus an extra monthly bonus episode of “The Insider”, a spin-off interview series where Nicky chats to jazz industry insiders (broadcasters, artist agents, label heads, journalists) about the nuts and bolts of the business.

Maria Schneider is a multiple Grammy Award winner and a recent Pulitzer Prize finalist in Music for her 2020 double album “Data Lords.” She was last a guest on The Jazz Session a decade ago and to think that she hadn't yet released her 2013 collaborative album with soprano Dawn Upshaw and the Australian Chamber Orchestra, “Winter Morning Walks”, OR her shimmering, somewhat biographical record  2015's “The Thompson Fields”. Anyone who is lucky to work with or know Maria, knows that her attention to detail is meticulous, her musicianship second to none, and her warmth and generosity immense. We talked about her towering new double album, her collaboration with David Bowie, and what award recognition means to her. Here is our conversation-a privilege and delight for a fangirl like me. Show Notes: Tracks played: - Braided Together - Walking By Flashlight - Sue - A World Lost - Sanzenin - Look Up Maria talks about streaming services with JazzTimes at the Newport Jazz Festival, 2017 Data Lords is available now on ArtistShare Theme music by The Respect Sextet Follow The Jazz Session on Twitter, Instagram and Facebook Subscribe to The Jazz Session's YouTube Channel Support The Jazz Session by becoming a member at Patreon. For $5 a month you'll get a weekly bonus episode called Track of the Week, plus early access to every show. For $10 a month you get all that plus an extra monthly bonus episode of “The Insider”, a spin-off interview series where Nicky chats to jazz industry insiders (broadcasters, artist agents, label heads, journalists) about the nuts and bolts of the business.

In this episode, we discuss recordings of “Haydn 2032, Vol. 10: Les heures du jour” by Il Giardino Armonico / Giovanni Antonini, “Schumann: Kreisleriana Op. 16 & Brahms: Seven Fantasies Op. 116, Two Rhapsodies Op. 79” by Elena Fischer-Dieskau, “Caroline Shaw: Narrow Sea” by Sō Percussion, Gilbert Kalish, Dawn Upshaw, and Caroline Shaw “Shaw: Let the Soil Play Its Simple Part” by Caroline Shaw & Sō Percussion, “The Bright Side” by Joel Frahm, “Altoizm” by Greg Ward, Sharel Cassity, Rajiv Halim, and “Wes Reimagined” by the Nigel Price Organ Trio.   The Adult Music Podcast is featured in: Feedspot's Top 25 Jazz Podcasts   Episode 24 Deezer Playlist   “Haydn 2032, Vol. 10: Les heures du jour” (Alpha) Il Giardino Armonico, Giovanni Antonini https://open.spotify.com/album/2BIyQeXjICfDrORWRtDItu https://music.apple.com/us/album/haydn-2032-vol-10-les-heures-du-jour/1567553784   “Schumann: Kreisleriana Op. 16 & Brahms: Seven Fantasies Op. 116, Two Rhapsodies Op. 79” (Delphian) Elena Fischer-Dieskau (piano) https://open.spotify.com/album/5umBbkCMzpYmBNAYorgi49 https://music.apple.com/us/album/schumann-kreisleriana-brahms-two-rhapsodies-seven-fantasies/1564304440   “Caroline Shaw: Narrow Sea” (Nonesuch) Sō Percussion (drums, marimba, vibraphone, percussion, synthesizer, organ, piano), Gilbert Kalish (piano), Dawn Upshaw (vocals, percussion), Caroline Shaw (organ) https://open.spotify.com/album/5beMIpEOdKasL9LCwVTjSJ https://music.apple.com/us/album/caroline-shaw-narrow-sea-ep/1541180863   “Shaw: Let the Soil Play Its Simple Part” (Nonesuch) Caroline Shaw & Sō Percussion https://open.spotify.com/album/4QzCSAQJja5kjsGkq7zIlm https://music.apple.com/us/album/shaw-let-the-soil-play-its-simple-part/1556856822   “The Bright Side” (Anzic Records) Joel Frahm https://open.spotify.com/album/6U8YUBMf4r95dV9OzWrSda https://music.apple.com/us/album/the-bright-side/1567124465   “Altoizm” (AFAR Music) Greg Ward, Sharel Cassity, Rajiv Halim https://open.spotify.com/album/511D5l7s8RqckAMVuXvBpD https://music.apple.com/us/album/altoizm/1572684649   “Wes Reimagined” (Ubuntu) Nigel Price Organ Trio https://open.spotify.com/album/7FPDnDQOgSGfTqzjxVJWrK https://music.apple.com/us/album/wes-reimagined/1557972754

Joe Jackson talks about Will Power, Night Music Heaven and Hell, Symphony n.1, the Duke and more.

Almost three hundred years ago, the English artist William Hogarth created a series of paintings called A Rake’s Progress, which tell the tragic story of a man whose life spirals out of control after inheriting an unexpected fortune. He leaves behind a fiancée, and it is her story of devotion that reverberates through Igor Stravinsky’s opera The Rake’s Progress and the aria “No Word from Tom.”  In this episode, you’ll visit with Hogarth’s paintings, hear how Stravinsky captured the undying loyalty of the forgotten lover and get an inside look at how unexpected fortune and fame upended the family of Vivian Liberto and Johnny Cash. Yes, that Johnny Cash. And, yes, in this podcast about Igor Stravinsky.  And here’s the best part: the incomparable Dawn Upshaw will sing it for you from the stage of the Metropolitan Opera. The Guests: Soprano Dawn Upshaw has performed The Rake’s Progress many times and says that some of her happiest moments on an opera stage were when she was singing the role of the devoted fiancée, Anne Trulove. Tara Cash is the youngest daughter of Johnny Cash and his first wife, Vivian Liberto. When she was growing up, everyone always wanted to hear about her father’s life. Now, she welcomes the opportunity to share her mother’s side of the story.   Joanna Tinworth is the Curator at Sir John Soane’s Museum in London, where the original paintings, A Rake’s Progress by William Hogarth, have resided for nearly 200 years. Hogarth’s paintings are among the museum’s most popular exhibits. Michael Bragg is the Music Planning Associate and Librarian at San Francisco Opera. He gives lectures and talks about opera around the Bay area, and he loves Stravinsky because of the composer’s unique approach to blending old and new styles of music.  Below is the first painting in Hogarth's series A Rake's Progress, entitled "The Heir." You can see the complete set of paintings here, courtesy of Sir John Soane's Museum. William Hogarth, "The Heir," from "A Rake's Progress" series, the inspiration for Stravinsky's opera. (Photo: Sir John Soane's Museum, London)  

On today’s date in 1977, the Third Symphony of the Polish composer Henryk Gorecki was performed for the first time in Royan, France, by the Southwest German Radio Orchestra. Gorecki’s Symphony has a subtitle—“Symphony of Sorrowful Songs”—and sets three texts set for solo soprano voice: a 15th century Lamentation from a Polish monastery; a prayer inscribed on the wall of a WW II prison cell at the headquarters of the Polish Gestapo; and a sad Polish folk song. Fifteen years after its 1977 premiere, a recording of Gorecki’s symphony featuring the American soprano Dawn Upshaw and conductor David Zinman received some airplay on a British radio station and quickly soared to the top of the pop charts in the U.K. Radio stations in the U.S. started playing it as well, with the same effect. Was it a sign of an international religious revival? A delayed reaction to the collapse of Communism in Europe? Even Gorecki himself was perplexed: “Perhaps people find something they need in this piece of music,” he wrote. “Somehow I hit the right note—something, somewhere that had been lost to them. I feel they instinctively knew what they needed.”

Saturday 30 January: NYC composer Caroline Shaw's Narrow Sea features soprano Dawn Upshaw, pianist Gilbert Kalish and Sō Percussion. And an exploration of Nadia Boulanger's musical legacy as a teacher, performer, conductor and composer.

durée : 00:07:44 - Le disque contemporain de la semaine du dimanche 24 janvier 2021 - C'est la compositrice en vue du milieu américain : à 39 ans, Caroline Shaw a déjà remporté le Prix Pulitzer, en 2013. Violoniste de formation, elle navigue entre les styles, à mi-chemin entre la pop, la musique répétitive et la musique d'avant-garde. Elle sort ici son deuxième disque.

John is joined by composer, vocalist, violinist and producer Caroline Shaw – the youngest ever winner of the Pulitzer Prize for Music, winner of a Grammy in 2018 for her album Orange with Attaca Quartet. Caroline Shaw talks about her new album Narrow Sea featuring soprano Dawn Upshaw, Sō Percussion ensemble and the pianist Gilbert Kalish, as well as writing for unusual instruments, unconventional approaches to composing, and the difference between writing for an orchestra and collaborating with Kanye. Today (19 Jan) is the 100th anniversary of the birth of Patricia Highsmith, author of the classic thrillers The Talented Mr Ripley and Strangers on a Train and of The Price of Salt, later published as Carol. Several of her books have been made into successful films and continue to be adapted: Deep Water starring Ben Affleck is expected later this year and the making of a new TV series based on Ripley starring Andrew Scott has been announced. To mark the anniversary, a new collection of her short stories has been published, Under a Dark Angel’s Eye, and a new biography, Devils, Lusts and Strange Desires: The Life of Patricia Highsmith by Richard Bradford. Bradford and the writer Joanna Briscoe discuss Highsmith’s compelling, dark writing and the troubled – and troubling - life behind it. Comedian Rose Matafeo stars in New Zealand comedy film Baby Done as a woman who finding herself unexpectedly pregnant attempts to fulfil a bucket list of adventures before the baby arrives. The film is exec produced by Taika Waititi and co-stars Matthew Lewis, best known for playing Neville Longbottom in the Harry Potter franchise. Critic Hannah McGill reviews. Presenter: John Wilson Producer: Jerome Weatherald

Director Jennifer Williams interviews composer Ricky Ian Gordon. A leading writer of vocal music that spans art song, opera and musical theater, the GRAMMY-nominated and OBIE Award-winning composer’s work has been performed and recorded by such internationally renowned singers as Renée Fleming, Dawn Upshaw, Nathan Gunn, Stephanie Blythe, Denyce Graves, Judy Collins, Kelli O’Hara, Audra MacDonald, Kristin Chenoweth, and the late Lorraine Hunt Lieberson, among many others. We discuss the role art plays in healing a community, composing authentic voices, and the relationship between musical theater and opera. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Kristen Linfante, Executive Director of Chamber Music Pittsburgh, talks about the season with all new concerts produced for Pittsburgh available on DVD or with on demand video and audio. The season includes, the Dover and Escher Quartets, Tai Murray, Karim Sulayman and Dawn Upshaw.    

durée : 00:17:21 - Disques de légende du jeudi 05 novembre 2020 - Grande mélodie avec orchestre de Samuel Barber sur un texte de l'écrivain américain Samuel Agee, "Knoxville : Summer of 1915" a été créée en 1948 par la soprano Eleanor Steber. Mais cette version chantée en 1989 par Dawn Upshaw est peut-être la plus réussie, à la fois enfantine et émouvante...

durée : 01:58:58 - Relax ! du jeudi 05 novembre 2020 - par : Lionel Esparza - Au menu ce jeudi, l'Ouverture de l'Orlando furioso de Vivaldi (qui n'existe pas), le nouveau disque du trio Wanderer consacré à Chostakovitch, "Knoxville" de Samuel Barber par la soprano Dawn Upshaw en disque de légende... et en deuxième partie nous écoutons les choix musicaux de Dominique ! - réalisé par : Emmanuel Benito

On today’s date in 2008 at the University of Minnesota in Minneapolis soprano Dawn Upshaw and the Saint Paul Chamber Orchestra gave the first performance of a new song-cycle titled “Carlos Drummond de Andrade Stories.” Its composer, Maria Schneider, conducted the premiere. Drummond was one of Brazil’s greatest poets, and Schneider came to know his work though English translations by Mark Strand. “Drummond’s poetry struck me as deeply Brazilian, and Brazil is a country for which I’ve long felt an affinity.” The Minneapolis premiere was something of a homecoming for Schneider, who was born in Minnesota and studied composition at its University before heading off to the Eastman School and after graduation being hired by the great jazz orchestrator Gil Evans as his assistant. In 1992 she formed her own jazz orchestra and won a Grammy Award with them in 2004. Soprano Dawn Upshaw is a big fan of Schneider’s work, and in 2011 they collaborated on a second song-cycle premiere, titled “Winter Morning Walks,” based on poems of Ted Kooser. "I knew that no matter what she was going to write,” said Upshaw, “it was going to be a joyful experience."

On today’s date in 2008 at the University of Minnesota in Minneapolis soprano Dawn Upshaw and the Saint Paul Chamber Orchestra gave the first performance of a new song-cycle titled “Carlos Drummond de Andrade Stories.” Its composer, Maria Schneider, conducted the premiere. Drummond was one of Brazil’s greatest poets, and Schneider came to know his work though English translations by Mark Strand. “Drummond’s poetry struck me as deeply Brazilian, and Brazil is a country for which I’ve long felt an affinity.” The Minneapolis premiere was something of a homecoming for Schneider, who was born in Minnesota and studied composition at its University before heading off to the Eastman School and after graduation being hired by the great jazz orchestrator Gil Evans as his assistant. In 1992 she formed her own jazz orchestra and won a Grammy Award with them in 2004. Soprano Dawn Upshaw is a big fan of Schneider’s work, and in 2011 they collaborated on a second song-cycle premiere, titled “Winter Morning Walks,” based on poems of Ted Kooser. "I knew that no matter what she was going to write,” said Upshaw, “it was going to be a joyful experience."

durée : 00:12:19 - Disques de légende du jeudi 08 octobre 2020 - La soprano Dawn Upshaw, le chef d'orchestre David Zinman et l'ensemble London Sinfonietta enregistrent la Symphonie n° 3 du compositeur polonais Henryk Gorecki en 1991 pour le label Nonesuch Records. Le disque rencontre rapidement un grand succès commercial.

Birgit Nillson was a 20th-century Swedish dramatic soprano famous for her renditions of the works of Richard Wagner and Richard Strauss.Rudolph Bing was an Austrian opera impresario (producer) who worked around the world. He notably served as the General Manager of the Metropolitan Opera in New York City.The first (old) Metropolitan Opera House in New York was located on Broadway but was demolished in 1967. The current (new) Metropolitan Opera House is located in Lincoln Center in the Upper West Side.La fanciulla del West (1910) is an opera by Italian composer Giacomo Puccini.Hochschule für Musik und Theater Hamburg (Hamburg College for Music and Theatre) is a large public university of music in Hamburg, Germany.Rolf Liebermann was a Swiss composer and music administrator who served as the Artistic Director of the Hamburg State Opera and Paris Opera.Judith Blegen is an American operatic soprano.La voix humaine (1959) is a one-act opera by 20th-century French composer Francis Poulenc.In July 1980, a 30-year-old violinist named Helen Mintiks was murdered during the intermission of a performance at the Metropolitan Opera. Read more here.Guarino refers to “Jimmy,” or James Levine, a Cincinnati-born opera conductor who became the Music Director of the Metropolitan Opera. He was notably terminated from this position in 2018 over sexual assault allegations that he denies.John Dexter was an English theatre, opera, and film director. Guarino mentions his production of French composer Francis Poulenc’s opera Dialogues des Carmélites (1956).Franco Zeffirelli was an Italian director and producer of opera, films, and television. Many of his opera productions are still in use today around the world.Margarete Wallmann was a German ballerina, choreographer, set designer, and opera director.Rhoda Levine is an American opera director, choreographer, and professor.Francesca Zambello is an American opera and theatre director who currently serves as director of the Glimmerglass Festival and Washington National Opera.Ricky Ian Gordon is a contemporary American composer.Fiora Contino was an American opera conductor and teacher.Jean-Pierre Ponnelle was a 20th-century French opera director and scenic designer.Dawn Upshaw is an American operatic soprano.Robert Wilson is an American experimental theatre director and playwright.The 19th-century Viennese composer W.A. Mozart frequently collaborated with librettist Lorenzo Da Ponte, such as for their opera The Marriage of Figaro (1786).Blind Injustice was an opera by composer *** and librettist *** which premiered at Cincinnati Opera in 2019.Patricia (“Patty”) K. Beggs was the General Director of Cincinnati Opera from 1997 to 2019.Opera Fusion: New Works (OF:NW) is a partnership between Cincinnati Opera and the University of Cincinnati College-Conservatory of Music focused on fostering contemporary American opera.In 2011, Doubt by composer Douglas J Cuomo and librettist John Patrick Shirley became the first project workshopped by OF:NW. The opera premiered at Minnesota Opera in 2013.Fellow Travelers by composer Gregory Spears and librettist Gregory Pierce is another opera that participated in OF:NW in 2013. Cincinnati Opera premiered the work in 2015. Hear Fellow Travelers composer Gregory Spears talk about the work on a previous episode of Inside Opera.Castor and Patience by composer Gregory Spears and librettist Tracy K. Smith participated in OF:NW in 2019. Cincinnati Opera will premiere the work as part of its 2021 Summer Festival. Hear Castor and Patience composer Gregory Spears talk about the work on a previous episode of Inside Opera.Rachel Maddow is an American television program host and political commentator, known for the nightly Rachel Maddow Show on MSNBC.Joni Mitchell is a critically acclaimed Canadian singer-songwriter.Bob Dylan is a Nobel Prize-winning American singer-songwriter.

Keturah speaks with librettist and playwright, Stephanie Fleischmann, about her work at ALT, and upcoming works with Jeremy Howard Beck, David Hanlon, and others.

We have a couple of exciting announcements to make today. First, I want everyone to know we just launched a brand new website for the podcast! www.speakingofthearts.com has a new updated look and feel and contains every episode we’ve done since we launched back in 2015. The newer episodes feature both audio and video versions with our guests. I want to thank my team member Marie Le Claire for all of her work behind the scenes and for making the new website look great. Next, I want to draw attention to an exciting webinar we are hosting this Thursday, July 16, 2020. The webinar is on the topic of Live Streaming and we have an incredible lineup of guest speakers who will discuss best practices including how to monetize your next stream. Artists and promoters will especially benefit from the webinar so please go to www.epsteinco.com/news for more information on how to register for the event. Space is limited so be sure to sign up soon. Now, onto today’s podcast episode. I have wanted to have this guest on the podcast since I started the series and we finally connected. Maria Schneider is a 5x Grammy winning conductor and composer and she has worked with everyone from David Bowie to Dawn Upshaw. In 2019 the National Endowment for the Arts bestowed on Schneider the nation's highest honor in jazz, naming her an NEA Jazz Master. Recently, the National Recording Registry inducted her Grammy winning album Concert in the Garden into the registry and she was also given the distinction of being elected into the 2020 American Academy of Arts and Sciences. Schneider has become a strong voice for musical advocacy and in 2014, she testified before the US Congressional Subcommittee on Intellectual Property about digital rights. She has also appeared on CNN, participated in round-tables for the United States Copyright Office, and has been quoted in numerous publications for her views on Spotify, Pandora, YouTube, Google, digital rights, and music piracy. Our conversation centers around Maria’s new album Data Lords which is now available for order. This is by far her most ambitious project to date and it is a double album release. Head over to www.mariaschneider.com now and order yourself a copy. You will not be disappointed. We also talk about about Maria’s earliest influences during her musical upbringing, what makes a good bandleader, and so much more. I had a blast speaking with Maria and I hope you enjoy today's episode. Thanks for listening everyone.

durée : 00:26:42 - Kaija Saariaho, compositrice (5/5) : Les compagnons de route - par : Corinne Schneider - La compositrice parle des grands artistes avec lesquels elle a travaillés, ceux qui ont marqué sa vie musicale, depuis le compositeur et chef d’orchestre Esa-Pekka Salonen, jusqu’à l’écrivain Amin Maalouf en passant par le metteur en scène Peter Sellars et la chanteuse Dawn Upshaw. - réalisé par : Gilles Blanchard

Composer Kenneth Frazelle has had work commissioned and performed by such prominent artists as Yo-Yo Ma, Jeffrey Kahane, Dawn Upshaw, jazz vocalist Cassandra Wilson, and now the Triangle's own Andrea Edith Moore. On CS this week, we are treated to a sneak preview of Ken Frazelle's new song cycle, Through the Window, drawing inspiration from his mother's life and the music of his native North Carolina. The work, performed by Andrea Edith Moore with the Mallarme Players will premiere online June 20th. This is a rare treat!

This week I continue our exploration of the movement for social justice as expressed in song. This constitutes not just the fight in the United States for racial and class equity but also the worldwide struggle against imperialism, focusing in particular on African and South American singing freedom fighters, including Miriam Makeba, Salif Keita, Youssou N’Dour, Letta Mbulu, Mercedes Sosa, Milton Nascimento, and Víctor Jara. Other artists heard include Marvin Gaye, Leontyne Price, Nanci Griffith, Frederica von Stade, Nina Simone, David Crosby, Pete Seeger, Marin Mazzie, Buffy Sainte-Marie, Jefferson Airplane, Sam Cooke, Joséphine Baker, Joan Baez, Tracy Chapman, Thunderclap Newman (whose song lends the episode its title), Harry Belafonte, Dawn Upshaw, Phil Ochs, Rosemary Clooney, Curtis Mayfield, and Mahalia Jackson, as well as number of present-day troubadors. Composers represented include Kurt Weill, Duke Ellington, John Adams, Silvio Rodríguez, Leonard Bernstein, Marc Blitzstein, Stephen Foster, Violeta Parra, Flaherty and Ahrens, Ary Barroso, and Caiphus Semenya. I address the spectrum of emotions that persons of conscience are experiencing right now, including despair, rage, anger, struggle, ending with faith, hope, and resolve. Don’t miss this episode! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.

Countersounds Playlist Henryk Górecki: Symphony No. 3 (1976) op. 36. London Sinfonietta; Dawn Upshaw soprano; David Zinman, conductor. Erased Tapes Track 9: Crash Erased Tapes Track 8: Paused   THANKS Many thanks to Alanna, Marcel, Paul, Jill, Dave, Maria, Udo, my mom, and the BBC Monks for tonight’s show. Tune in next week for my […]

In the early years of the 20th century, a hauntingly beautiful piece of Grecian sculpture, the head of the goddess Aphrodite, was donated to the Boston Museum of Fine Art. There it inspired this orchestral work by Boston composer George Whitefield Chadwick. Chadwick's symphonic tone poem "Aphrodite" was—in the words of the composer—"an attempt to suggest in music the poetic and tragic scenes which may have passed before the sightless eyes of such a goddess." Chadwick composed this music during East Coast holidays on Martha's Vineyard, inspired, he said, by the play of light and wind on the sea before him. It received its premiere at the Norfolk Festival in Connecticut on this date in 1912. On today's date in 1999, at a summer musical festival on the opposite coast of America, another musical work inspired by ancient Greece received its first performance. This music was entitled "Five Images after Sappho," inspired by texts of the ancient Greek poetess Sappho, and written for the remarkable voice of a modern American soprano, Dawn Upshaw. It was premiered at the Ojai Festival in California, and written by the Finnish composer and conductor Esa-Pekka Salonen.

In the early years of the 20th century, a hauntingly beautiful piece of Grecian sculpture, the head of the goddess Aphrodite, was donated to the Boston Museum of Fine Art. There it inspired this orchestral work by Boston composer George Whitefield Chadwick. Chadwick's symphonic tone poem "Aphrodite" was—in the words of the composer—"an attempt to suggest in music the poetic and tragic scenes which may have passed before the sightless eyes of such a goddess." Chadwick composed this music during East Coast holidays on Martha's Vineyard, inspired, he said, by the play of light and wind on the sea before him. It received its premiere at the Norfolk Festival in Connecticut on this date in 1912. On today's date in 1999, at a summer musical festival on the opposite coast of America, another musical work inspired by ancient Greece received its first performance. This music was entitled "Five Images after Sappho," inspired by texts of the ancient Greek poetess Sappho, and written for the remarkable voice of a modern American soprano, Dawn Upshaw. It was premiered at the Ojai Festival in California, and written by the Finnish composer and conductor Esa-Pekka Salonen.

Kelley sang the role of Federico Lorca in the original version of Osvaldo Golijov’s opera Ainadamar.Kelley earned her Bachelor of Music degree from Thornton School of Music at the University of Southern California and her master's degree in Music from the University of California, Los Angeles.John Adams is an American composer, clarinetist, and conductor of classical music and opera, with strong roots in minimalism.Suzuki is a character in the opera Madame Butterfly, an opera in three acts (originally two) by Giacomo Puccini.Roberto De Candia is an Italian operatic baritone.Maria Luigia Borsi is an Italian opera singer.Hadleigh Adams is an operatic baritone from Palmerston North, New Zealand. Hadleigh recently played Mercutio in Cincinnati Opera’s performance of Charles Gounod’s Romeo and Juliet.Die Fledermaus is an operetta composed by Johann Strauss II.A breeches role (also pants role or trouser role) is a role in which an actress appears in male clothing.Tanglewood is a music venue in the towns of Lenox and Stockbridge in the Berkshire Hills of western Massachusetts.The Cleveland Orchestra, based in Cleveland, is one of the five American orchestras informally referred to as the "Big Five".Requiem Canticles is a 15-minute composition by Igor Stravinsky, for contralto and bass soli, chorus, and orchestra.Cherubino is a character in The Marriage of Figaro, an opera buffa (comic opera composed by Wolfgang Amadeus Mozart."The Composer" is a character in Richard Strauss's opera Ariadne auf Naxos.Das Lied von der Erde ("The Song of the Earth") is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler.Cecilia Bartoli is an Italian coloratura mezzo-soprano opera singer and recitalist.“Voi Che Sapete” is an aria from The Marriage of Figaro.Renée Fleming is an American soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.Robert Spano is an American conductor and pianist.The Gospel According to the Other Mary is an opera/oratorio by John Adams.Peter Sellars is an American theatre director, noted for his unique contemporary staging of classical and contemporary operas and plays.El Niño is an opera-oratorio by John Adams.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.El Salón México is a symphonic composition in one movement by Aaron Copland, which uses Mexican folk music extensively.Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four German-language epic music dramas composed by Richard Wagner.Kelley grew up in Clovis, California.Audra McDonald is an American actress and singer. Primarily known for her work on the Broadway stage, she has won six Tony Awards, more performance wins than any other actor, and is the only person to win all four acting categories. McDonald was raised in Fresno, California.La Cenerentola is an operatic dramma giocoso by Gioachino Rossini.The Turn of the Screw is a 20th-century English chamber opera composed by Benjamin Britten.Claude Debussy was a French composer.Phyllis Curtin was an American classical soprano who had an active career in operas and concerts from the early 1950s through the 1980s.Donald Runnicles is a Scottish conductor.Louis Langrée is the music director of the Cincinnati Symphony Orchestra.Evans mentions the following Mahler works: Symphony No. 2 (known as the Resurrection Symphony), Symphony No. 3, Symphony No.8, Rückert-Lieder, and Kindertotenlieder.The songs of Des Knaben Wunderhorn (The Boy’s Magic Horn) by Gustav Mahler are voice-and-piano and orchestral settings of German folk poems chosen from a collection of the same name.The Rape of Lucretia is an opera by Benjamin Britten.Carnegie Hall is a concert venue in Midtown Manhattan in New York City.The Neruda Songs are a cycle of five songs composed for mezzo-soprano soloist and orchestra by the American composer Peter Lieberson for his wife, singer Lorraine Hunt Lieberson. Lieberson chose O'Connor as the first mezzo-soprano to sing his composition Neruda Songs live in concert after the death of his wife.Bernard Haitink is a Dutch conductor.The Atlanta Symphony Orchestra (ASO) is an American orchestra based in Atlanta, Georgia. Robert Spano has been its music director since 2001.Agustín Barrios was a Paraguayan virtuoso classical guitarist and composer, largely regarded as one of the greatest performers and most prolific composers for the guitar.Carmen is an opera by French composer Georges Bizet.The Dream of Gerontius is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman.Wesendonck Lieder is the common name of a set of five songs for female voice and piano Wagner, Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice).Hans Werner Henze was a German composer.Sea Pictures is a song cycle by Elgar consisting of five songs written by various poets.Jascha Heifetz was a Russian-American violinist.Kelley cites Dawn Upshaw, an American soprano, as her most important mentor.The Unbearable Lightness of Being is a 1984 novel by Milan Kundera, about two women, two men, a dog and their lives in the 1968 Prague Spring period of Czechoslovak history.Tidying Up with Marie Kondo is a reality television series developed for Netflix and released on January 1, 2019.Kelley mentions Here’s the Thing and Fresh Air as some of her favorite podcasts.Zero, aptly named for the amount of food you eat during a fast, is a simple tracker that helps users sync a fast with their biological clock.Spotify Technology S.A. is a Swedish media-services provider founded in 2006 with an app of the same name.Pandora is a music application.Metropol Restaurant & BarJessica Rivera is an American soprano of Peruvian-American ancestry.Kelley cites Nina Simone as one of her favorite musicians outside of classical music.

Co było największym polskim przebojem muzycznym na światowych listach bestsellerów? Behemoth? Basia Trzetrzelewska? A może Edyta Górniak? Podpowiedź pojawiła się już w tytule wpisu, więc tak - będę chciał dziś raz jeszcze opowiedzieć krótko historię, jak doszło do sukcesu III Symfonii i czy może go powtórzyć nowe wykonanie. Oto siódmy odcinek "Polifonii na fonii", podcastu muzycznego bloga "Polityki". Linki: Henryk Mikołaj Górecki, III Symfonia - nagranie z 1992 r. z Dawn Upshaw: https://open.spotify.com/album/4vArLMJQy7aoUgP0D1d2X0?si=ERJ4ZezeQGK0h8_0_fVE0Q Henryk Mikołaj Górecki, III Symfonia - nagranie z 2014 r. z Beth Gibbons: https://open.spotify.com/album/6r4bpBHOQzQ8oJoYmzmKZK?si=kWHcM7rOQImUefD5CfdfBw

Elizabeth Stanley sings the gorgeous Blitzstein aria "I Wish It So" from JUNO, which she discovered by listening to the solo album by Dawn Upshaw of the same title. We talk about its operetta-type style, her classical roots, and the diverse career she has built for herself on the stage, from On the Town to Jagged Little Pill.

RadioRotary interviews Kayo Iwama, Associate Director of the Graduate Vocal Arts Program at Bard College, about music education at the college and the performances open to the public. Bard has an unusual undergraduate degree program in music because each student must also obtain a degree in another subject, such as mathematics or political science. The Graduate Vocal Arts Program owes its existence to the renowned soprano Dawn Upshaw, who developed and directs it. Performances by students, faculty, and guest artists occur throughout the year at Bard, some of them free and many at the famed Fisher Center designed by Frank Gehry. Every two years, the Vocal Arts Program mounts an opera for the public, complete with a full orchestra accompaniment. Bard actually hosts three orchestras, including the American Symphony Orchestra conducted by Leon Botstein. --- Support this podcast: https://anchor.fm/radiorotary/support

It was a pleasure to sit down with bassist, composer, and University of California San Diego professor Mark Dresser for this wide-ranging conversation about bi-tones, fingerboard amplification, telematic music performance, and much more! About Mark Dresser: Mark Dresser is a Grammy nominated, internationally renowned bass player, improviser, composer, and interdisciplinary collaborator. At the core of his music is an artistic obsession and commitment to expanding the sonic, musical, and expressive possibilities of the contrabass. He has recorded over one hundred forty CDs including three solo CDs and a DVD. From 1985 to 1994, he was a member of Anthony Braxton’s Quartet, which recorded nine CDs and was the subject of Graham Locke’s book Forces in Motion (Da Capo). He has also performed and recorded music of Ray Anderson, Jane Ira Bloom, Tim Berne, Anthony Davis, Dave Douglas, Osvaldo Golijov, Gerry Hemingway, Bob Ostertag, Joe Lovano, Roger Reynolds, Henry Threadgill, Dawn Upshaw, John Zorn. Dresser's most recent and internationally acclaimed new music for jazz quintet, Nourishments (2013) his latest CD (Clean Feed) marks his re-immersion as a bandleader. Since 2007 he has been deeply involved in telematic music performance and education. He was awarded a 2015 Shifting Foundation Award and 2015 Doris Duke Impact Award. He is Professor of Music at University of California, San Diego. Links to Check Out: Mark's website Mark's UC San Diego faculty page Music in the Digital Age (2009 ISB panel discussion) Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Robertson & Sons Violins For more than four decades, Robertson & Sons has specialized in providing the highest quality stringed instruments and bows to collectors, professional musicians, music educators, and students of all ages. Their modern facility is equipped with three instrument showrooms as well as a beautiful Recital Hall available to our clients to in their search for the perfect instrument and/or bow. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Subscribe to the podcast to get these interviews delivered to you automatically!

On this week's episode of He Sang/She Sang, hosts Merrin Lazyan and Mike Shobe get you ready for the new Metropolitan Opera production of L'Amour de Loin. We'll discuss the plot, characters and the music from this 12th century story about a long-distance relationship. Plus, we'll hear from bass-baritone Eric Owens, soprano Susanna Phillips and composer Kaija Saariaho. Mike and Merrin's YouTube picks to get even more familiar with L'Amour de Loin: The Met's trailer for the opera featuring Susanna Phillips, Eric Owens and Tamara Mumford. The Pilgrim (mezzo-soprano Monica Groop) and Clémence, Countess of Tripoli (soprano Dawn Upshaw).   This episode features excerpts from the following album:• L'amour de Loin (Harmonia Mundi, 2009)— Daniel Belcher, tenor; Ekaterina Lekhina, soprano; Marie-Ange Todorovitch, mezzo-soprano Like what you heard? Subscribe to He Sang/She Sang on iTunes.

Yannick coming to The Met (in 20 years)... In Oliver's first Corner on The Rake's Progress we listen to Paul Appleby, Laura Claycomb, and Dawn Upshaw in her prime. This week features Micahel, The OC and Matthan Black

Collaborative pianist, teacher, and vocal coach Chris Foley is the author of CollaborativePiano.com, one of the most popular classical music blogs that turns 10 years old in November, 2015. What is "collaborative piano"? Ah, great question! It happens to be the type of piano playing that both Chris and I specialize in, but I'll let Chris answer that question himself! Chris and I have known each other virtually for many years, but we've never actually spoken directly until this interview. So it's a real delight for me to introduce Chris Foley, who is an accomplished collaborative pianist based in Toronto Canada. A hallmark of Chris Foley's career in classical music has been his ingenuity, constant state of evolution and drive to pass on the rich legacy of chamber music, art song, opera and contemporary music as a dedicated teacher to new generations.  His wide-ranging career has spanned the academy, stage and even TV as pianist and singing coach on the sleeper hit on Bravo!Canada award winning reality show "Bathroom Divas".  A seeker of the cutting edge, this month Chris celebrates the 10th anniversary of his blog, The Collaborative Piano, which is one THE most popular classical music blogs out there. Happy 10th birthday, Chris! What an incredible accomplishment and amazing resource for classical music and collaborative pianists worldwide! Musical Selections: Die Schöne Müllerin, D.795 – 1. Das Wandern - with Dietrich Fischer-Dieskau and Gerald Moore Ariettes oubliées: 1. C'est l'extase langoureuse - with Dawn Upshaw and James Levine At The Statue Of Venus: A Lucky Child - with Susan Graham and Jake Heggie Schubert: Erlkönig, D. 328 (Op.1) – Wer reitet so spät - with Dietrich Fischer-Dieskau and Gerald Moore Sarasate: Malaguena, Op.21 No. 1 - with Itzhak Perlman and Samuel Sanders Show Notes Book: The Complete Collaborator: The Pianist as Partner by Martin Katz Tapestry Opera: https://tapestryopera.com/ Visit Chris' blog at http://collaborativepiano.com 

Ground breakers, virtuosos, and commissioners of many of the world's twentieth and twenty-first century string quartet masterpieces, the influence of the Kronos Quartet cannot be underestimated. We'll feature a sampling of their luminous output over the years. Hosted by Seth Boustead Produced by Jesse McQuarters PLAYLIST Alan Dorsey: Whatever Happened to the Hoodoo Meat Bucket? Kronos Quartet John Geist: Dark Razz Kronos Quartet Aleksandra Vrebalov: …hold me, neighbor, in this storm (excerpt) Kronos Quartet Harry Partch: U.S. Highball, “Did I ever ride freight trains- huh!” & “Leaving Little America, Wyo-ma” Kronos Quartet; David Barron, narrator Pēteris Vasks: String Quartet No. 4, II, Elegy Kronos Quartet John Zorn: Forbidden Fruit (excerpt) Kronos Quartet Steve Reich: Triple Quartet, II Kronos Quartet Dmitri Yanov-Yanovsky: Lachrimosa Kronos Quartet; Dawn Upshaw, ms. Television: Marquee Moon (excerpt) Kronos Quartet

Large-scale sacred works might not be the first thing that comes to mind when you think of contemporary music, but a number of important composers are creating expansive works inspired by their concept of a higher power. Hosted by Seth Boustead Produced by Jesse McQuarters John Adams: When Herod Heard fr. El Niño Deutsches Symphonie-Orchester Berlin/Nagano; Theatre of Voices; London Voices; Willard White, bass-baritone Arvo Pärt: Adam's Lament (excerpt) Sinfonietta Riga, Latvian Radio Choir, Vox Clamantis/Tõnu Kaljuste Kaija Saariaho: La Passion de Simone (excerpts) Finnish Radio Symphony Orchestra & Tapiola Chamber Choir/Esa-Pekka Salonen; Dawn Upshaw, soprano Richard Einhorn: The Origin Voyage of the Beagle Annie's Memorial A Taste for Collecting Beetles Phil Kline: Kyrie fr. John the Revelator Lionheart Vocal Ensemble John Tavener: The Whale (excerpt) London Sinfonietta/David Atherton

John Adams and Dawn Upshaw discuss the importance of text when writing for voice, with Julian Philips.

John Adams and Dawn Upshaw discuss their collaborations over the years, and how composers and singers can work together most effectively.

John Adams and Dawn Upshaw are interviewed by the London Symphony Orchestra's Principal Second Violin, David Alberman, for the LSO's Artist Conversation series.

One of Poland's most significant 20th century composers, Henryk Górecki led a quiet revolution against the Soviet authorities through his inimitable style of mystical minimalism. We'll dedicate an hour to his music and life. Hosted by Seth Boustead Produced by Jesse McQuarters Symphony No. 3 (excerpts)— London Sinfonietta, David Zinman, Conductor, Dawn Upshaw, Piano Preludes (excerpts) — Stephen de Pledge, p. Scontri — Polish Radio National Symphony Orchestra Beatus Vir (excerpts) — Czech Phil Prague Philharmonic Choir/John Nelson, Nikita Storojev, Miserere (excerpt) — Krakow Choral Society, Krakow State Philharmonic/Roland Bader

Composer Maria Schneider's most recent CD is Sky Blue (ArtistShare). Now Schneider has turned her attention to the classical world, composing music for soprano and orchestra. In this interview, Schneider talks about how a meeting with soprano Dawn Upshaw led to this new direction in her music; how she waded through oceans of poetry to find the text she wanted for her new pieces; and how a chance comment from a college professor led her to the world of jazz. Learn more at mariaschneider.com. Tracks used in this episode: The Pretty Road; Aires de Lando; Rich's Piece; How Are Things In Glocca Morra? (Bing Crosby); Sky Blue.

Hearing heavenly voices from afar, thanks to the talents of Lisa Gerrard, Irene Papas, Dawn Upshaw and Cantillation.

Hearing heavenly voices from afar, thanks to the talents of Lisa Gerrard, Irene Papas, Dawn Upshaw and Cantillation.