Podcasts about dido aeneas

How do music, plot, staging, action, dance and performance combine to produce meaning for an opera audience? Taking a close look at Thomas Adès's The Tempest, Professor Edward Venn of the University of Leeds and choreographer and director Aletta Collins – who choreographed the opera's premiere in 2004 – explore the conversation between different elements in opera. They also consider the notions of confinement and restricted movement in all three of Adès's operas: The Tempest, Powder Her Face (1995), and The Exterminating Angel (2016), which take on a new significance in the COVID-era. Musical excerpts Overture from The Tempest: Orchestra of the Royal Opera House conducted by Thomas Adès, from the 2009 EMI release The Tempest ‘Five Fathoms Deep’ from The Tempest: Cyndia Sieden with the Orchestra of the Royal Opera House conducted by Thomas Adès, from the 2009 EMI release The Tempest Overture A Midsummer Night's Dream, London Symphony Orchestra conducted by Claudio Abbado, from the 1985 Deutsche Grammophon release Mendelssohn: 5 Symphonies / 7 Overtures 'When I Am Laid In Earth' from rehearsals for Opera North’s 2013 production of Purcell's Dido & Aeneas. Pamela Helen Stephen with the Orchestra of Opera North conducted by Wyn Davies ‘Dov'è Minnie?’ from rehearsals for Opera North’s 2014 production of Puccini’s The Girl of the Golden West. Bonaventura Bottone as Nick, Robert Hayward as Jack Rance and the Orchestra and Chorus of Opera North conducted by Richard Farnes

Bethany Hill is a versatile and critically acclaimed operatic soprano committed to creating art that resonates with an Australian audience. She aspires to approach a variety of musical genres with fresh ears and an open mind, and delights in the evocation of emotional response from audiences through her performances.   With her love for the ancient and new, Bethany's performances range from Dido in Purcell's Dido & Aeneas, to Mozart's opera heros, to Schönberg's Erwartung. She is also regularly involved in development for new Australian compositions.     Bethany Hill - Soprano https://www.bethanyhillsoprano.com/   Insta : https://www.instagram.com/bethany_a_hill/ Youtube : https://www.youtube.com/channel/UCgN88PLehCzfilshv9Wtgdg Facebook : https://www.facebook.com/bethanyhillsoprano     Adelaide Chamber Singers https://adelaidechambersingers.com/   Dartington Music School https://www.dartington.org/   Fretwork https://www.fretwork.co.uk/   Adelaide Baroque https://www.adelaidebaroque.com.au/   Ludivico's Band http://www.ludovicosband.com/   Penelope Cashman https://penelopecashman.com/   “Caro nome” Rigoletto https://youtu.be/00WendNg5VM Metropolitan Opera. Nadine Sierra sings Gilda's Act I aria in the final dress rehearsal. Production: Michael Mayer. Conductor: Nicola Luisotti. 2018–19 season.   Pinchgut Opera https://www.pinchgutopera.com.au/   Erin Helyard http://erinhelyard.com/   John Dowland[a] (1563 – buried 20 February 1626 https://en.wikipedia.org/wiki/John_Dowland   "Lachrimae" by John Dowland https://youtu.be/fZYzuIGDYGs Christopher Morrongiello performs "Lachrimae" (ca. 1590s) by John Dowland (1563–1626), Cambridge University Library manuscript DD.2.11. Filmed in the Chapel from Le Château de la Bastie d'Urfé at The Metropolitan Museum of Art.   Early Music America https://www.earlymusicamerica.org/   Lucas Harris - Tafel Musik https://www.tafelmusik.org/about/bios/lucas-harris   Feldenkrais Method https://en.wikipedia.org/wiki/Feldenkrais_Method   Rob Nairne https://finearts-music.unimelb.edu.au/events/baroque-winter-academy/artists/rob-nairn   Rob Nairn, Baroque Bass https://youtu.be/7MocTZG3BUY   Gumeracha Medieval Fair Inc https://www.facebook.com/MedievalSA/about/   Erwartung -  Arnold Schoenberg https://en.wikipedia.org/wiki/Erwartung   Arnold Schoenberg: Erwartung op.17 (1909) https://youtu.be/sJSvA8oP7rw Arnold Schoenberg (1874-1951): Erwartung, monodramma, libretto di Marie Pappenheim op.17 (1909) -- Magda László, soprano -- Orchestra Sinfonica di Torino della RAI diretta da Hermann Scherchen (dal vivo: Torino 6 novembre 1953) --   Cloud Street  https://stateopera.com.au/productions/cloudstreet/    Summer of the Seventeenth Doll  https://stateopera.com.au/productions/summer-of-the-seventeenth-doll/   Saul By George Frideric Handel - Directed By Barrie Kosky ( Adealide Festival 2017) https://archive.adelaidefestival.com.au/2017/saul    Ensemble Galante http://www.ensemblegalante.com/   Short Black Opera https://www.shortblackopera.org.au/   Prof. Deborah Cheetham AO - DUniv, BMus Ed, AmusA https://www.shortblackopera.org.au/team    Music SA Spotify Playlists https://open.spotify.com/user/kc27erllqrxilz1h7utruw2wb?si=2ODggjD9SJ-4m8ydIpXitg

Dido & Aeneas, la nueva producción del Teatro Arriaga de Bilbao, cuenta las horas para su estreno. La expectación es máxima porque para construir esta propuesta de teatro musical barroco se ha fusionado la ópera 'Dido y Eneas' de Henry Purcell, con la obra 'Dido, la reina de Cartago' de Christopher Marlowe. El primero de los hitos lo encontramos, precisamente, en el texto: Por primera vez en la historia se van a interpretar los textos del primer gran autor de teatro inglés en euskera. La que se disfrutará en su idioma original, entretanto, será la música. Nerea Berraondo y León de la Guardia son las voces solistas que dan vida a Dido y Eneas, mientras que su interpretación actoral corre a cargo de Miren Gaztañaga y Adrián García de los Ojos. Sí, aquí también hay fusión… dos talentos por cada uno de los personajes protagonistas. Junto a ellos y ellas, un maravilloso y amplio elenco formado por Joseba Apaolaza, Itziar Lazkano, Mikel Losada, Karmele Larrinaga, Idoia Merodio, Lucía Astigarraga y Koldo Olabarri. Miren Gaztañaga, Dido, y Adrián García de los Ojos, Eneas, han visitado este jueves Euskadi Hoy Magazine.

Dido & Aeneas, la nueva producción del Teatro Arriaga de Bilbao, cuenta las horas para su estreno. La expectación es máxima porque para construir esta propuesta de teatro musical barroco se ha fusionado la ópera 'Dido y Eneas' de Henry Purcell, con la obra 'Dido, la reina de Cartago' de Christopher Marlowe. El primero de los hitos lo encontramos, precisamente, en el texto: Por primera vez en la historia se van a interpretar los textos del primer gran autor de teatro inglés en euskera. La que se disfrutará en su idioma original, entretanto, será la música. Nerea Berraondo y León de la Guardia son las voces solistas que dan vida a Dido y Eneas, mientras que su interpretación actoral corre a cargo de Miren Gaztañaga y Adrián García de los Ojos. Sí, aquí también hay fusión… dos talentos por cada uno de los personajes protagonistas. Junto a ellos y ellas, un maravilloso y amplio elenco formado por Joseba Apaolaza, Itziar Lazkano, Mikel Losada, Karmele Larrinaga, Idoia Merodio, Lucía Astigarraga y Koldo Olabarri. Miren Gaztañaga, Dido, y Adrián García de los Ojos, Eneas, han visitado este jueves Euskadi Hoy Magazine.

Mezzo-soprano Wallis Giunta is a multi-faceted artist with a variety of interests, a great take on mindful practice, and a truly wonderful personality.  In our conversation, we discuss, among other things, the importance of making choices that will allow you to thrive, how she prepares for a role, and how she uses mental practice to learn and memorize music at a deeper level. We elaborate on: Her journey from Ottawa, Ontario (Canada) to Toronto, New York, and, more recently Leipzig as a member of Oper Leipzig Her experience as a young girl in the Ottawa Youth Choir, and the importance it had in her becoming a professional singer Her experience at the Glenn Gould School and the Canadian Opera Company and the various opportunities she found there How making choices that fit her well were very important in her development and allowed her to thrive Her life as a member of Oper Leipzig Her fun, mindful way of curating a recital program that is meaningful to her How she prepares for a role How she went from a more repetitive form of working on songs to a more mindful and mental approach to practicing as she evolved as an artist o   Translate the text and understand the meaning o   Listen to various recordings and interpretations o   Break it down o   Memorize it How practicing mentally first thing in the morning and last thing before bed is tremendously effective for her and helps her cement the repertoire to memory How she has developed the skill to learn repertoire mentally, now that that is in a place where she feels confident about her technique How singers practice difficult passages How she brings operatic characters to life     ALL ABOUT WALLIS: Wallis Giunta's website Wallis' YouTube channel Wallis' Facebook page Wallis on Instagram The Complete Sherlock Holmes (Knickerbocker Classics) The Complete Sherlock Holmes (2 Volumes)   Irish-Canadian mezzo, Wallis Giunta, has been named “Young Singer of the Year” in the 2018 International Opera Awards, and was named both “Young Artist of the Year” by The Arts Desk and “Breakthrough Artist in UK Opera” in the What's On Stage Opera Awards for her work in 2017. She has been praised by OPERA NEWS for her “delectably rich, silver-toned mezzo-soprano, with a beautiful sense of line and effortless, rapid runs”, with her performance as Mozart's Sesto for the Canadian Opera Company celebrated as “a triumph…remarkable in its combination of intelligence and beauty”. Her 2018/19 season includes debuts with the BBC Proms Festival in a program celebrating Leonard Bernstein, with the Grange Festival as Cherubino at The Barbican, London, with the MDR Sinfonieorchester as Haydn's Berenice, and with the Royal Opera House Muscat in La Traviata. She also debuts the title roles in Carmen and Der Rosenkavalier, along with Rossini's Rosina for Oper Leipzig, and Idamante for Toronto's Opera Atelier. She began the 2017/18 season with two role debuts for Opera North, the title role in Ravel's L'enfant et les sortiléges, and Dinah in Bernstein's Trouble in Tahiti, both to great critical acclaim. She returned to Oper Leipzig, where she has been an ensemble member since 2015/16, for her house roles of Angelina, Cherubino, Rossweise & Wellgunde, and debuted Prince Orlofsky in Die Fledermaus and Der Gymnasiast in a new production of Berg's Lulu. She also returned to the Munich Radio Orchestra, Toronto's Koerner Hall and the Music & Beyond Festival in concert, and debuted at the Oregon Music Festival as Anna I in Weill's The Seven Deadly Sins. The 2016/17 season saw her debuts with Opera North, performing the title role in Rossini's La Cenerentola, with Teatro Communale di Bolzano as Cherubino, and with the Munich Radio Orchestra, Tokyo Metropolitan Symphony Orchestra, and Symphony Nova Scotia in concert. Wallis returned to Opera Atelier to debut the title role in Purcell's Dido & Aeneas, and to both the Toronto Symphony and the Real Orquesta Sinfónica de Sevilla for new productions of Weill's The Seven Deadly Sins. The 2015/16 season saw her make several major European debuts, including for Teatro dell'Opera di Roma (Adams' I Was Looking at the Ceiling and Then I Saw the Sky), Oper Frankfurt (Carmen), Oper Leipzig (La Cenerentola, Le Nozze di Figaro, Faust, Der Ring des Nibelungen), the Hamburg Symphony (Candide), and the Deutsche Oper am Rhein in concert. She also returned to the Edmonton Symphony for Messiah and had her first experience teaching, with a series of masterclasses for Toronto's Tapestry New Opera. Early in 2015, she returned to The Metropolitan Opera as Olga in their new production of The Merry Widow, directed by Susan Stroman. Other recent highlights include returns to the Canadian Opera Company as Dorabella in Atom Egoyan's new production of Cosí fan tutte (2014), to Opera Lyra Ottawa as Cherubino in Le Nozze di Figaro (2015), and to Opera Atelier as Bradamante in a new period-production of Alcina (2014), along with debuts at Madison Opera (2014) and the Taipei Symphony Orchestra as Annio in La Clemenza di Tito (2013). In June 2014, she recorded her first album with the RTÉ National Symphony Orchestra in Dublin (NAXOS), of a new work by American composer, William Perry. Wallis also debuted in 2014 with Toronto's 21C Music Festival in Louis Andriessen's one-woman-opera, Anaïs Nin, and brought her acclaimed recital program of Kurt Weill's The Seven Deadly Sins to Miami, New York, Toronto and Ottawa. She had a whirlwind 2012/13 season, making her Metropolitan Opera debut in Rigoletto, debuting the roles of Sesto & Annio in La Clemenza di Tito with the Canadian Opera Company, making her Paris debut with Le Théâtre du Châtelet as Tiffany in John Adams's I Was Looking at the Ceiling…, and singing Dorabella in the Met + Juilliard production of Cosí fan tutte at Lincoln Center. She also made debuts with Fort Worth Opera, L'Opéra de Montréal, the Edmonton, Seville and Nuremberg Symphonies, the Stuttgart Festivalorchester, and the National Arts Centre Orchestra. Wallis is a passionate recitalist, and has recently performed for the Aspen, Caramoor, Banff, Luminato, Music & Beyond, and Ottawa Chamber Music festivals. She is the grateful recipient of the 2016 Bernard Diamant Prize from the Canada Council for the Arts, the 2013 Novick Career Advancement Grant, the 2013 Sylva Gelber Music Foundation Career Development Award, and multiple prizes from the George London Foundation. Wallis is a 2013 graduate of both the Metropolitan Opera Lindemann Young Artist Development Program & the Juilliard School's Artist Diploma in Opera Studies, and a 2011 graduate of the Canadian Opera Company Ensemble Studio. She has also studied at The Glenn Gould School, the Ravinia Festival's Steans Music Institute, and the International Meistersinger Akademie in Germany, and continues her private studies with Edith Wiens. Wallis is also devoted to animal rights, particularly the rescue and rehabilitation of abandoned domestic rabbits. She is an active rabbit foster parent and finds opportunities to foster and volunteer at shelters as she is performing around the world. She is a volunteer and supporter at Rabbit's Rest Sanctuary & WildRescue in Denton, Texas, and works to draw attention to our societal responsibility towards domesticated animals. Please get in touch if you are interested and would also like to help!   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. For added fun, join the Mind Over Finger Tribe on Facebook where you will find a community of mindful musicians!   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/     (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

Mezzosopran/Alt, Lied, Konzert, Oper: barocke und zeitgenössische Musik;        experimentelles Musiktheater (Mathis Nitschke). Eigene Konzertreihe: kunst.salon auf wanderschaft (zusammen mit Monika Lichtenegger und Michel Watzinger): Musik und Literatur verbinden, neue Interpretationen und Kompositionen anregen. Mitglied der Gruppe 3Gesang (mit Ruth Geiersberger, Performance, und Georg Glasl, Zither): Verbindung von zeitgenössischer und bayr. Volksmusik Dozentin für Ariengestaltung am Masterstudiengang Musiktheater an der August -Everding-Akademie, München. Stimmbildnerin beim Münchner Mädchenchor Nach der Musikhochschule München nahm sie Engagements an verschiedenen Opernhäusern an, widmete sich aber auch gleichermaßen dem Konzert- und Liedgesang. Die Mezzosopranistin arbeitete mit Dirigenten wie Enoch zu Guttenberg, Helmuth Rilling, Armin Jordan, Alicja Mounk, Paul Goodwin und Constantinos Carydis und war Gast u.a. beim Rheingau-Musikfestival, den Internationalen Festwochen in Stuttgart, dem Osterklang Wien und dem International Festival of Music in Bath/England. Martina Koppelstetter ist eine gefragte Interpretin für zeitgenössische Musik. Sie war wiederholt Gast bei der Münchener Biennale für modernes Musiktheater und trat bei Konzerten der Reihe „das neue werk“ des NDR in Hamburg, beim A.Devantgart-Festival und bei „musica viva“ des BR in München auf, sowie bei den Tagen für Neue Musik in Darmstadt und Witten. Sie gastierte am Stadttheater Klagenfurt, Theater Ulm, Tiroler Landestheater und am Staatstheater am Gärtnerplatz, München, dem Sie von 2003 bis 2007 als Ensemblemitglied angehörte. Dort war sie u.a. als Dorabella, Hänsel, Suzuki, Orlofsky, Nancy und Frau Reich zu hören und arbeitete mit Regisseuren wie Claus Guth, Doris Dörrie und Katharina Wagner. In der Saison 2012/13 debutierte Martina Koppelstetter an der Opéra National de Montpellier mit „What next?“ von E. Carter und „Jetzt“ von Mathis Nitschke, sowie als „Fili“ in Händels „Acis and Galatea“ am Théâtre des Champs-Élysées, Paris, und dem Theater an der Wien. Im Sommer 2015 u.a. erarbeitete sie mit Mathis Nitschke dessen interaktive Kurzoper im öffentlichen Raum „Viola“ in der Titelrolle, im Rahmen des Festivals „pasing by“ in München. Eine Fortsetzung dieses Aufsehen erregenden Konzeptes bildete „Katharina“ im September 2016 im Rahmen von „München dezentral“. (katharina.mathis-nitschke.com). 2017 wird sie in nun die „Maya“ im gleichnamigen Werk des Komponisten verkörpern. Eine enge Zusammenarbeit verbindet die Künstlerin auch mit dem Ensemble für Alte und Neue Musik Così facciamo. Hier war sie als Herzog Polinesso in Händels „Ariodante“ und als Sorceress in „Dido & Aeneas“ von H. Purcell zu hören sowie als Messagiera und Proserpina in „L'Orfeo“ und als Ottavia in „L'incoronazione di Poppea“ von C. Monteverdi. Mit dieser Partie war sie zuletzt 2016 u.a. im Münchener Cuvilliéstheater zu erleben. Zu ihren Einspielungen zählen die „Petite Messe Solennelle“ von Gioacchino Rossini, die „h-moll-Messe“ von Bach, „Der kleine blaue Bergsee“ und „Peter Pan“  von Wilfried Hiller (Deutsche Grammophon) und eine Reihe von Liedaufnahmen mit Werken von R. Schumann, B. Britten, R. Spring und J. Sibelius beim HR und BR. Martina Koppelstetter arbeitet als Gesangspädagogin u.a. beim Münchner Mädchenchor und hat eine Dozentur für Ariengestaltung im Masterstudiengang Musiktheater an der Bayerischen Theaterakademie inne. Buchempfehlung:  „Strudlhofstiege“ von Heimito von Dodoerer   „Alles hat seine Zeit“ Ole Knausgard  „Warum ich fühle, was du fühlst“ Joachim Bauer    Kontakt:  www.koppelstetter.com

Den är en av världens mest kända kärleksarior, och den bär på nycklar till barockens föreställningsvärld om hur exempelvis sorg skulle gestaltas i musiken. I den här "Interplay i P1"-programmet från den 14 februari och 6 april 2015 berättar sångerskan och barockkännaren Sandra Lindqvist om Didos klagan. - Didos klagan är ju en fantastisk aria som representerar barocken och representerar starka, starka känslor i operamusik under 1600-talet, säger Sandra Lindqvist. Under 1600-talet började tonsättarna att sätta texterna i centrum. Då lades grunden till det som vi idag tycker är en självklar kompositionsform, i alla fall inom populärmusiken, nämligen att ett verk har en huvudstämma och ett ackompanjemang. Kompet då kallades för generalbas och parallellt med det införde man också retoriska figurer i musiken. Det var figurer som skulle lyfta fram texten och påverka lyssnarna i samma känslomässiga riktning som texten gav uttryck för - på ett objektivt, vetenskapligt sätt, tänkte man, men hur skulle då de här figurerna utformas? Ja, det diskuterades en hel del och det blev också en slags samsyn på många punkter, men alla de här idéerna kom sedermera med ett gemensamt namn att kallas för affektläran. Didos klagan ligger i slutet av operan Dido & Aeneas från 1689 av den brittiske barocktonsättaren Henry Purcell, och i det här programmet framförs den av den brittiska sopranen Emma Kirkby. Bland de figurer som Lindqvist berättar om finns lamentobasen. Det är den som inleder arian och som upprepar samma toner om och om igen. Vidare finns det en annan figur i melodistämman som kallas 'katabasis'. Den markerar i ett nedåtgående intervall bland annat ordet 'laid'. Det är då hon sjunger om att hon ska läggas ner i graven, i sorgen, för att ta ett par exempel. Producent Berit Nygren. Av upphovsrättsliga skäl är musiken i det nedladdningsbara avsnittet kraftigt förkortad.

Den är en av världens mest kända kärleksarior, och den bär på nycklar till barockens föreställningsvärld om hur exempelvis sorg skulle gestaltas i musiken. I den sjätte delen av "Interplay i P1 - dolda mönster i musiken" lördag 14 februari 2015 berättar sångerskan och barockkännaren Sandra Lindqvist om arian Didos klagan. - Didos klagan är ju en fantastisk aria som representerar barocken och representerar starka, starka känslor i operamusik under 1600-talet, säger Sandra Lindqvist. Under 1600-talet började tonsättarna att sätta texterna i centrum, och då lades grunden till det som vi idag tycker är en självklar kompositionsform, i alla fall inom populärmusiken, nämligen att ett verk har en huvudstämma och ett ackompanjemang. Kompet då kallades för generalbas, och parallellt med det införde man också retoriska figurer i musiken. Det var figurer som skulle lyfta fram texten och påverka lyssnarna i samma känslomässiga riktning som texten gav uttryck för - på ett objektivt, vetenskapligt sätt, tänkte man, men hur skulle då de här figurerna utformas? Ja, det diskuterades en hel del och det blev också en slags samsyn på många punkter, men alla de här idéerna kom sedermera att kallas för affektläran med ett gemensamt namn. Didos klagan ligger i slutet av operan Dido & Aeneas från 1689 av den brittiske barocktonsättaren Henry Purcell, och i det här programmet framförs den av den brittiska sopranen Emma Kirkby. Bland de figurer som Lindqvist berättar om finns lamentobasen som inleder arian och som upprepar samma toner om och om igen. Samtidigt finns det en annan figur i melodistämman som kallas 'katabasis'. Den markerar i ett nedåtgående intervall bland annat ordet 'laid'. Det är då hon sjunger om att hon ska läggas ner i graven, i sorgen, för att ta ett par exempel. Producent och programledare Berit Nygren. Av upphovsrättsliga skäl är musiken i det nedladdningsbara avsnittet kraftigt förkortad.