Podcasts about dido's lament

Een paar mooie nieuwe CD's vanavond, maar ook, om even heel stil van te worden, een deel uit de schitterende opname die Holland Baroque met o.a. sopraan Barbara Kozielj maakte van Purcell's Dido and Aeneas, voor de podcast van Noorderkerkconcerten, NPO Radio 4 en VPRO Vrije Geluiden. De welbekende psychiater Dirk de Wachter duidt het verdriet van Dido, het verdriet dat onlosmakelijk bij het leven hoort, en vertelt hoe we troost kunnen vinden in de schoonheid van de muziek. 23:03:54 CD Sibelius Symphony No. 2 - King Christian II Jean Sibelius: King Christian II Suite opus 27, III: Sérénade Gothenburg Symphony Orchestra olv Santtu-Matias Rouvali 4'57” 23.10 CD The Boulanger Legacy (TRPTK TTK 0064) Leonard Bernstein: Sonate voor viool en piano (pt 8, 9, 13, 14) Merel Vercammen [viool] & Dina Ivanova [piano] 10'23” 23.15 eigen opname Holland Baroque Henry Purcell: Dido and Aeneas (fragmenten) Holland Baroque olv Tineke en Judith Steenbrink Dido - Barbara Kozielj Belinda - Elisabeth Hetherington, Aeneas - Thomas Oliemans Second Woman - Elsbeth Gerritsen Tenor - William Knight 21'03” 23.38 Eigen opname VPRO Zoltán Kodály: Sonate voor cello solo opus 8 Nuala McKenna [cello] 9'10” 23.49 eigen uitgave musici Robert Fipp: Time and Time Again (Music for Quiet Moments 52) Robert Fripp [gitaar] 6'47”

Evelyn always assumed her partner would be the one whose life would disappear, one early-onset Alzheimer's memory at a time. But that was before Evelyn jumped decades into the future... Dido's Lament is written by Aidan J.S. Menuge and performed by Sarah Drew.

In my conversation with jazz violinist, Zach Brock, we talk about his musical upbringing and how he straddles the line between classical training and improvisation. Snarky Puppy What it means to take risks and be vulnerable. How Zach and I met at Mike Block String Camp and what how challenging and vulnerable that was for me. How some classical musicians embody a sort of cultural musical superiority complex and how some can experience that as social violence. How some people are socially and economically blocked from access to the upper echelons of classical music. How it seemed like I was having a great time at Mike Block's camp but was having "the worst time" because I was uncomfortable and being stretched creatively. Why vulnerability is the most important thing PERIOD if you're going to be a performing artist. Nathan Milstein Fritz Kreisler Why people want to see performers being open and vulnerable. How vulnerability is a way to show that you don't care what people think or say about you. How vulnerability empowers the performer. How the vulnerable performer gives permission to others to aspire to greatness because "this is in you, too." Maria Callas Jeff Buckley singing Dido's Lament How vulnerability amplifies our humanity. Stuff Smith and Stephane Grapelli How we can become more open-minded as we grow older and why we are necessarily more judgemental when we are aquiring information. "Arts" versus "Crafts": When are you being an "artist" and when are you being a "craftsperson" and why we need to be both. Kid Logic: This American Life Pee-Wee's Big Adventure How classical musicians can practice improvisation. How improvisation connects you more immediately to your instrument and musical voice. Facing the void when you first start improvising and why we need to wait and listen and allow for nothing to come back. How improvising enables us to make musical choices with more authority. Why you can't think you're a "schmuck" if your first improv attempts don't sound like a "double fugue by Bach." Why being an improvisor is not profound. Why we should trust our internal musical voice and trust that is it there. Why the concept of "play" needs to come back into our own playing and how improvisation can do that for us. Why enjoyment, experimentation, being silly and feeling joy in playing the violin is worthwhile. The importance of finding creative partners. How institutions are always the last to evolve and why we have to fight for change from the bottom up. Seth Godin Noa Kageyama and Bulletproof Musician Why we shouldn't "give up and float just because we think it's too late." The mental game of performing: why he thinks performers need to get serious about meditation. How improvisation lights up different parts of our brains than classical playing. The importance of mastering our minds.

Lost Spaces and Stories of Vizcaya—Curator Gina Wouters, and artists Mira Lehr and Yara Travieso talk about What This Place Does Not Remember, one of eleven projects in the contemporary art exhibition Lost Spaces and Stories at Vizcaya Museum and Gardens in Miami, Florida. The inspiration for Mira Lehr's and Yara Travieso's dramatic Baroque performance installation? The wild garden at the edge of the museum's south property and Henry Purcell's Dido and Aeneas, an English opera he composed more than 300 years ago. The opera tells the mythological story of Dido, Queen of Carthage, and her love for the Trojan hero Aeneas. In What This Place Does Not Remember, the two contemporary artists personify Vizcaya as the legendary Queen Dido. Lehr's environmental installation sets the stage for Dido's Lament, the performance that Travieso directs. An opera singer, a dancer, and a cellist enact the queen’s tragic love story within a lyric web of black rope that evokes the surrounding mangroves. Sound Editor: Guney Ozscan | Dido's Lament performance: Amanda Crider (Mezzo Soprano), Stephanie Jaimes (Cellist)

Series exploring famous pieces of music and their emotional appeal. Dido's Lament is a popular name for a famous aria, 'When I am laid in earth', from the opera Dido and Aeneas by Henry Purcell, with the libretto by Nahum Tate. Mezzo soprano Sarah Connolly talks about why she finds the piece, sung by the likes of Janet Baker and Emma Kirkby, so extraordinary, and the skill it takes to perform it. Composer and cellist Philip Shepperd's musical life was transformed when he was part of the rock singer Jeff Buckley's performance of the piece at the 1995 Meltdown Festival.