Podcasts about Die Fledermaus

Die Fledermaus von Synphon schützt den Oberkörper vor Hindernissen. Aber was ist mit dem Kopf? Diese Lücke hat Geschäftsführer Lyder Tideman erkannt. Auf der SightCity präsentierte er einen Prototypen, der per Ultraschall Hindernisse im Kopfbereich erkennen soll. Wie beim bewährten Vorgänger gibt es akustische Warnsignale und Vibration. Damit ist das Gerät auch für Taubblinde interessant. Die Bedienung soll mit zwei Tasten einfach bleiben, die Reichweite flexibel einstellbar. Noch ist vieles offen: ob es eine Brille, eine Mütze oder ein Stirnband wird, welche Vibrationsmuster sich bewähren und wie weit das Gerät warnen soll. Genau das soll eine Testphase ab Sommer 2026 klären. Tester sind gesucht.

Send us Fan MailWhat is the difference between opera and operetta?In this episode of The Classical Music Minute, we explore two closely related forms of musical theatre. Opera is usually larger in scale and often more serious in tone, with music driving the drama from beginning to end. Many operas deal with intense themes such as love, tragedy, power, fate, and betrayal.Operetta, whose name means “little opera,” is generally lighter and more comic. It often includes spoken dialogue, catchy melodies, romantic plots, mistaken identities, and a playful theatrical style.Popularized by composers such as Johann Strauss II and Franz Lehár, operetta became especially fashionable in nineteenth-century Vienna and later influenced the development of musical theatre.In just sixty seconds, discover how opera and operetta are connected, and why one tends to bring the drama while the other brings the sparkle.Fun FactOperetta helped shape the modern musical. Its combination of spoken dialogue, memorable songs, romance, and comedy influenced later stage works on Broadway and in London's West End.About The Classical Music MinuteThe Classical Music Minute is a short podcast exploring fascinating stories, quirky history, and surprising facts from the world of classical music—all in about sixty seconds.Each episode offers a quick and entertaining glimpse into composers, masterpieces, musical traditions, and the curious moments that shaped music history.You can also read the written versions of these episodes on Substack, where they're published as short articles delivered directly to subscribers.About Steven, HostSteven Hobé is a Canadian composer and actor based in Toronto and a member of the Canadian League of Composers. He is the creator and host of The Classical Music Minute, a series devoted to making classical music history engaging, surprising, and accessible.Topics Coveredopera vs operetta, difference between opera and operetta, what is operetta, opera explained, operetta explained, classical music terms, musical theatre history, Johann Strauss II, Franz Lehár, Die Fledermaus, The Merry Widow, classical music for beginnersJoin me on Substack

I've had a real urge lately to revisit the voices and careers of some of my favorite tenors. So today I bring you the exceptional American artist Charles Kullman (1903 – 1983). The early years of his career were spent primarily in Berlin and Vienna, but for twenty-five years beginning in 1935, he was also a mainstay at the Metropolitan Opera, where he sang a total of 33 different roles. The sheen and spin on his lyric voice, allied to a firm technique, allowed him sing everything from Rinuccio and Fenton to Tannhäuser and Herodes (and nearly everything else in between!) During his European years, he made a number of invaluable recordings, including opera and operetta arias as well as songs from a number of popular films in which he starred. Though he recorded only one complete operatic role in the studio (Eisenstein in Die Fledermaus in 1951), there exist a large number of choice live stage performances that allow us to more fully explore the full length (and variety) of Kullman's performing career. In this episode, we not only hear excerpts from those early German recordings, but also from live performances of Das Lied von der Erde, Meistersinger, Manon, Traviata, Fledermaus, and Montemezzi's monumental L'amore dei tre re, some of which feature recent Countermelody divas Licia Albanese, Regina Resnik, and Bidú Sayão. Some aficionado or other has dubbed Kullman “the compleat tenor” and I couldn't agree more. Enjoy getting better acquainted with this great singer! Countermelody is the 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 author 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.  

Leandra Mitschka, Sofia Mars und Stefanie Santer über  Sterne und Shakespeaer, Fasten, Vampire sowie Messen und Hoffnung! Fantasy vs. Thriller? Nein, Fantasy und Thriller! Das funktioniert nicht nur in dieser Podcast-Ausgabe, das funktioniert auch in immer mehr Bücher. Sofia Mars spricht sogar von einem „Trend das Crime mit Fantasy gemixt wird, das hat ja viele Vorteile…..“ Stefanie mixt ihr Fantasy-Debüt mit einer mehr als realen Stadt, mit dem wunderschönen Valencia: „ich war da das hat mich so fasziniert. Die Fledermaus im Stadtwappen überall drauf… deshalb findet die sich auch auf irhem Buch. Im Übrigen ist die sogar bei FC Valencia im Wappen ...Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.

Guest: Katie Stuelke, Marketing and Office Manager at Cedar Rapids Opera Johann Strauss’s effervescent operetta Die Fledermaus enters a realm of luck, luxury, and laughter as Cedar Rapids Opera's mainstage January 2026 production. Die Fledermaus plunges the audience into a world of chance and intrigue, where fortunes—and secrets—are gambled away. Prince Orlofsky's soirée becomes a grand ... Read more

Unsere Dramaturgin Jana Beckmann gibt einen Einblick in die Operette «Die Fledermaus». Live-Einführungen finden jeweils 45 Minuten vor der Vorstellung im Opernhaus statt.

(00:26) «Die Fledermaus» von Johann Strauss ist die Operette schlechthin. Am Zürcher Opernhaus gibt es nun eine Inszenierung, die das Attribut «neu» definitiv verdient. Weitere Themen: (04:30) Stararchitekt Frank O. Gehry im Alter von 96 Jahren gestorben. (09:01) Aktueller Roman von John Banville «Im Schatten der Gondeln» auf Deutsch erschienen. (13:02) «Des preuves d'amour – Liebesbeweise»: Der französische Spielfilm von Alice Douard erzählt von der Odyssee zweier Frauen, die ein Kind bekommen. (17:11) Von Tieren und Pflanzen: Leipziger Autor Matthias Jügler hat mit «Wir dachten, wir könnten fliegen» eines der schönsten Bücher des Jahres veröffentlicht. (21:36) Britischer Fotograf Martin Parr stirbt im Alter von 73 Jahren.

Schon als Jugendlicher verstand es Johann Strauss (Sohn), in Wien mit seinem musikalischen Talent Geld zu machen. Seine Walzer, Operetten wie „Die Fledermaus“ und andere Kompositionen sind heute fest mit Österreichs Hauptstadt verbunden. Struck-Schloen, Michael www.deutschlandfunk.de, Kalenderblatt

Johann Strauss, Jr. - Die Fledermaus: OvertureSlovak State Philharmonic OrchestraAlfred Waller, conductorMore info about today's track: Naxos 8.552115-16Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Pippa speaks to music director and conductor Jeremy Silver and cast member Mkhanyiseli Dyantyi about Opera UCT’s new production of the comic operetta, De Fledermaus. Lunch with Pippa Hudson is CapeTalk’s mid-afternoon show. This 2-hour respite from hard news encourages the audience to take the time to explore, taste, read and reflect. The show - presented by former journalist, baker and water sports enthusiast Pippa Hudson - is unashamedly lifestyle driven. Popular features include a daily profile interview #OnTheCouch at 1:10pm. Consumer issues are in the spotlight every Wednesday while the team also unpacks all things related to health, wealth & the environment. Thank you for listening to a podcast from Lunch with Pippa Hudson Listen live on Primedia+ weekdays between 13:00 and 15:00 (SA Time) to Lunch with Pippa Hudson broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/MdSlWEs or find all the catch-up podcasts here https://buff.ly/fDJWe69 Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Established in 2003, Inland Northwest Opera brings world-class talent to our region while providing a stage for local professionals to share their artistry with an engaged and inspired community. Mike Bullard, board member, volunteer, and performer, talks to us about this valuable organization and its return thanks to some passionate folks in our community. Inland Northwest Opera is a 501(c)(3) organization who produces opera which inspires and educates young and old, provides opportunity for local singers, and fosters access to the dramatic arts in the Inland Northwest. Be sure to join them on Sunday, October 12 at 3 pm at the First Presbyterian Church in CDA for a free afternoon performance dedicated to Menotti's extraordinary ability to blend heart, humor, and humanity in music in The Human Spirit Demands to be Heard. More events are planned with a big stage production of Die Fledermaus at North Idaho College Sept 11-13, 2026. Visit inlandnwopera.org for information, volunteer opportunities and upcoming auditions.

Sarah fährt auf Klassenfahrt und ist vor Freude ganz kribbelig. Aber auch aufgeregt. Denn sie schläft nicht gern unter einem fremden Dach. Angst vor der Dunkelheit hat sie noch dazu. Nur gut, dass sie sich ein Zimmer mit ihrer besten Freundin Aylin teilt. Die ist aber auch nicht gern im Dunkeln. Da verirrt sich nachts eine Fledermaus in die Jugendherberge. Oh Schreck! Alle 2 Folgen der OHRENBÄR-Hörgeschichte: Mach es wie die Fledermaus! von Andreas Hartmann. Es liest: Ilka Teichmüller. ▶ Mehr Hörgeschichten empfohlen ab 6: https://www.ohrenbaer.de/podcast/empfohlen-ab-6.html ▶ Mehr Infos unter https://www.ohrenbaer.de & ohrenbaer@rbb-online.de

Roger Wettone is the Chair of the Winton Players and a director of Petersfield Theatre Group. On his 80th birthday he talks to Mike Waddington about his life, the singing (he's a bass), meeting his wife (a soprano) in the theatre (one of a number of family links to performing), his first performacne aged 12 in Die Fledermaus and what the future holds in the highly competitive world of winning the attention - and affections - of the people of Petersfield. More at About - PTG Petersfield Theatre Group and Home | Winton PlayersSee omnystudio.com/listener for privacy information.

Die Fledermaus

Die internationale Opernakademie Jeunesses Muiscales in Weikersheim gilt als Talentschiede der Opernwelt. Agenturen und Opernhäuser „casten“ hier die Musikstars von morgen. 18 Solistinnen und Solisten konnten im Auswahlverfahren eine Rolle in Johann Strauss' Operette ergattern, mit der die Akademie in diesem Sommer ihr 60-jähriges Jubiläum feiert.

Send us a textThis week as The Maladjusted Misfits log the events of our FRIENDS - Rachel passes up free tickets to Die Fledermaus; instead handing them over to Ross.The girls take Chandler to a strip club to cheer him up. And Joey goes on a fishing trip and the Misfits feel like they can smell him through the TV. Oh, and Charlton Heston almost shoots Joey - not really - but almost.The One to Follow Misfits on Facebook: The One Where We Talk About FriendsThe One to Visit Misfits on Instagram: The One Where We Talk About FriendsThe One to Email The Misfits: themaladjustedmisfits@gmail.comBuzzSprout- Subscription: https://www.buzzsprout.com/2250163/supportTeePublic shop: http://tee.pub/lic/NvrkWcFWyI8Support the show

Lynn & Carl are joined by Opera Theatre of Saint Louis' stage director Shawna Lucey and set and costume designer Robert Innes Hopkins to discuss Die Fledermaus opening this weekend to kick off the 50th Anniversary Season. They are then joined by Dr. Jeremy Housewright about his latest book, a follow-up to his "For Love of the Show" -- "For the Love of the Show II: More Stories from Pro Wrestling Fans"

Jerry spoke to Megan O’Neill from Killarney and Leanne Fitzgerald from Lixnaw who are performing in the Irish National Opera’s staging of Johann Strauss’s Die Fledermaus at Siamsa Tíre this Saturday, February 1st.

Avui hem sentit: "Marxa dels estudiants", op. 56; "Pizzicato Polka"; "Die Libelle", polca op. 204; "Die Fledermaus" (extractes); "Eine Nacht in Venedig" (Obertura); "Die Zigeunerbaron" (extractes). La nissaga Strauss, formada pel pare, Johann, i per tres fills m

The world of Vienna at the end of the 19th century was a world of change.  New design, new fashion and new philosophy  -- and new music.  But amidst sweeping change, the Viennese drank champagne and were swept along by the works of the great Johann Strauss II, known appropriately as the "Waltz King". One of his greatest works is the operetta megahit Die Fledermaus which, beneath its frivolity and popping champagne corks, lies a darker vision and foreshadowing of a very different world to come. In this episode, Carl is joined by returning musicologist and professional musician Dr. Christopher Brellochs for a look at Strauss and his most famous work -- how he created it and what he was trying to communicate to audiences.   In addition, Carl and Chris take a look at another blockbuster operetta, The Merry Widow by Franz Lehar and discuss how the musical form has evolved into a modern era.  Lastly, this episode ends with a look at just how works like Die Fledermaus and The Merry Widow have influenced our modern Broadway musical theatre today. Visit the Gilded Gentleman website for more episodes.

„Die Fledermaus“ von Johann Strauss gilt als großartiger Silvesterspaß. Das Badische Staatstheater hat die Operette mit einer Neuinszenierung von Tobias Ribitzki neu befragt.

Johann Strauss II - Die Fledermaus: OvertureSlovak Radio Symphony Orchestra Johannes Wildner, conductorMore info about today's track: Naxos 8.553171Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Die Fledermaus - das unbekannte Wesen ; Hochwasser - Mehr Schutz durch weniger Bebauung ; Seit Jahrzehnten im Blick: die Bielefelder Greifvogel-Studie ; Klimaangst - wie können wir zuversichtlicher in die Zukunft blicken? ; Was Träume beeinflusst ; Schmerztabletten - Was hilft wann am besten? ; Kochboxen - Wie nachhaltig sind sie wirklich? ; Raumfahrt: Wann reisen wir zu fernen Planeten? ; Moderation: Franz Hansel. Von WDR 5.

From Broadway to classics, on stage and in concert, Lisa Vroman has established herself as one of America's most versatile voices. She starred on Broadway, LA and SF as Christine Daaé in The Phantom of the Opera and garnered theater critics' awards for her portrayal. Her Broadway debut was in Aspects of Love and she was the first to play both Fantine and Cosette in Les Misérables. She has starred in major productions as Marian Paroo in The Music Man, Lili Vanessi in Kiss Me Kate, Birdie in Regina, Josephine in HMS Pinafore, Anna 1 in The Seven Deadly Sins, Rosalinde in Die Fledermaus, Laurey in Oklahoma, Anna Leonowens in The King and I, Mary Turner in Of Thee I Sing and Rosabella in The Most Happy Fella. Lisa appeared on PBS as Johanna in the Emmy Award winning production of Sweeney Todd and was featured in the London Royal Gala, Hey! Mr. Producer. She has played, sang and danced opposite Dick Van Dyke as Mary Poppins at the Hollywood Bowl Disney's 75th, and played the role of Maria Callas in Terence McNally's award-winning play, Master Class. Lisa is a frequent guest with symphonies including SF, Nashville, Philadelphia, Dallas, Utah, St. Louis, Houston, Pacific, Atlanta, Hong Kong, Cleveland, National, Florida, Cleveland, BBC Concert Orchestra, Boston Pops, Philly Pops, and the NY Pops. She is a graduate of the Crane School of Music, SUNY Potsdam (BM, Hon. Dr. of Music, Minerva Award), Carnegie-Mellon University (MFA), and is a George London Competition winner. Lisa has become an active mentor and sought-after clinician with many colleges and universities across the country and around the world. She has acted as a judge in both the Lotte Lenya Competition for the Kurt Weill Foundation and UCLA's Walter Jurmann Competition, and regularly performs Weill's music with symphonies throughout the country. Recent performances have included symphony concerts celebrating the music of George Gershwin, and her 2024 Bistro Award-winning cabaret, “Ingénue…Ingé-not-so-new!”, in NY. www.lisavroman.com Lisa also gave us the scoop on the upcoming "Broadway and Beyond" benefit for the Richmond/Ermet Aid Foundation. It's happening on July 14th at the Marines Memorial Theater, and it's set to be a night filled with incredible talent and heartwarming performances, all for a good cause. Trust me, you won't want to miss this intimate look into Lisa's world and the wonderful community she's part of. Head over to reef-sf.org for more details on the event. Let's support the arts together! Contact Ray at Green Room on Air: greenroomonair@gmail.com Leave a review on Apple Podcasts (iTunes) Visit Green Room On Air website: http://greenroomonair.com Connect with us on Facebook: https://www.facebook.com/raysgreenroom/

Lotta hatte einen Texthänger und rettete sich mit Fantasie-Sprache. Vielleicht lag das am Fledermaus-den-Kopf-abbeiß-Mann, der sie gedanklich stark beschäftigte. Die Fledermaus wollte doch nur ein Rockkonzert anschauen…

Die Miniserie "For the Drama" von ARD Kultur erzählt in der Umgebung der realen Proben zur Operette "Die Fledermaus" an der Bayerischen Staatsoper eine fiktive Beziehungsgeschichte. Antonia Goldhammer hat die Serie schon vorab gesehen.

Die Fledermaus is still the Tick hero I think about the most.

Avery Boettcher, Schyler Vargas, and Chloe Sundet had some more funny stories to share!   One Weekend ONLY  February 17-18, 2024 Thorne Hall, Occidental College 

Jennifer Miller Hammel discusses the upcoming production of Die Fledermaus with cast members Avery Boettcher, Schyler Vargas, and Chloe Sundet.   One Weekend ONLY  February 17-18, 2024 Thorne Hall, Occidental College 

A cura di Paolo PellegriniJohann Strauss II – Die FledermausRosalinde, Gundula JanowitzGabriel von Eisenstein, Eberhardt WächterFrank, Erich KunzPrincipe Orlofsky, Wolfgang WindgassenAlfred, Waldemar KmenttDr. Falke, Heinz HolkDr. Blind, Erich KucharAdele, Renate HolmFrosch, Otto SchenkIda, Sylvia LukanWiener StaatsopernchorWiener PhilharmonikerKarl Böhm, direttore

In der wohl beliebtesten Operette von Walzerkönig Johann Strauß geht's um ausufernde Partys, erotische Verwechslungen, Intrigen und reichlich Schadenfreude. Schuld hat im Zweifel der Champagner... Das silvestertaugliche Werk von 1874 markiert den Höhepunkt der goldenen Operettenära. Von Christoph Vratz.

Regisseur Barrie Kosky hat in seiner Zeit als Intendant der Komischen Oper in Berlin der Kunstform Operette wiederholt Vitaminspritzen verabreicht. Nun hat er an der Bayerischen Staatsoper "Die Fledermaus" von Johann Strauß inszeniert. Hochkarätig besetzt mit Diana Damrau als Rosalinde und Vladimir Jurowski am Pult.

Some people are surprised to learn that Black Rock City is home to not just one but two full-fledged symphony orchestras. While the Black Rock Philharmonic kicks out the classical jams, the Playa Pops brings the big-ensemble sound to popular music. Both are composed (ahem) of passionate volunteer musicians – classically trained, self-trained, and otherwise – who come together once a year to perform in the dust (or mud) the songs they have practiced all year at home.In this installment, kbot and Stuart talk to members of the Playa Pops and the Black Rock Philharmonic about their process, their performances, and how the desert hates their instruments. And we get to hear some amazing live music performed by actual humans, recorded live at Burning Man 2023 in the Black Rock Desert.https://www.playapops.comhttps://blackrockphilharmonic.orghttps://www.temple2023.comhttps://www.michaelgarlington.com/chapel-of-babel LIVE.BURNINGMAN.ORG

Stürz, Franziskawww.deutschlandfunkkultur.de, Fazit

Johann Strauß‘ Operette "Die Fledermaus" ist eine der beliebtesten und meistgespielten des Genres. Gern wird sie zum Ende des Jahres auf die Spielpläne gesetzt - auch an der Bayerischen Staatsoper in München. Am 23. Dezember ist Premiere der Neuinszenierung von Barrie Kosky. Die musikalische Leitung hat Vladimir Jurowski.

Am Staatstheater Nürnberg feierte "Die Fledermaus" von Johann Strauss Premiere. Regisseur Marco Štorman verlagerte die Handlung der Operette ins Großraumbüro und auf die Luxusyacht. Eine Inszenierung, die keinen Charme versprühte.

Richard Roberts is an award-winning designer and educator. His body of work spans theatre, ballet, opera, musical theatre, and film, across Australia and internationally. Richard is currently Head of Design and Production at the Victorian College of the Arts.  He has held positions as Head of Design at The Western Australian Academy of Performing Arts, Head of Production at The Victorian College of the Arts and Head of Design at The Hong Kong Academy of Performing Arts. Richard's designs for opera include: for Opera Australia, Rigoletto, Don Pasquale, The Magic Flute and Die Fledermaus (with West Australian Opera); for Victorian Opera, Parsifal, Cunning Little Vixen; Nixon In China, The Magic Flute, Baroque Triple Bill, The Marriage Of Figaro; The Corronation Of Poppea and Don Giovanni; for Opera Queensland, Ruddigore; and for New Zealand Opera, Seattle Opera, and Philadelphia Opera Rigoletto. For dance, Richard's designs include: for Australian Ballet, Don Quixote, Requiem, Molto Vivace and Raymonda; La Sylphide and La Fille Mal Gardee for West Australian Ballet and Queensland Ballet. For theatre, Richard's designs include: for Queensland Theatre, Othello, The Sunshine Club, Death Of A Salesman, Noises Off (with MTC), Much Ado About Nothing, Tartuffe and Managing Carmen (with Black Swan); for Ensemble Theatre, Black Cockatoo; for TML, Fiddler On The Roof; for Melbourne and Sydney Festivals, The Season national tour; for Melbourne Theatre Company, Last Man Standing, Solomon And Marion, Next To Normal, The Gift and Frost/Nixon, Macbeth, Dreams in an Empty City, As You Like It, Hedda Gabler, The Sapphires, All My Sons; for Sydney Theatre Company, Australia Day(with MTC), True West, Riflemind; for Black Swan, The Caucasian Chalk Circle and Glengarry Glen Ross; for Belvoir, The Sapphires (with Black Swan). For screen, Richard's work includes production design for George Ogilvie's The Battlers for the Seven Network, the 12-part series Five Times Dizzy for SBS and I Own The Racecourse for Barron Films. Richard has designed the Operatic adaptation of Jane Harrison's The Visitors for Victorian Opera, currently playing The Arts Centre in Melbourne. For Opera Australia's Summer season he is Design Consultant for the Mozart Opera's Idomeneo and The Magic Flute. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Der Schauspieler und Regisseur Thomas Enzinger ist gerade mit „Die Fledermaus“ beschäftigt. Im Gespräch mit Christoph Wellner spricht er, worum es ihm bei der Erarbeitung des Stückes ging, und er gibt einen Ausblick, was nach „Die Fledermaus“ kommt.

They call it a Performance Hall but, heck, it's an Opera House in Ft-Worth, Texas--yes, it's right alongside the stockyards, but whad'ya y'all gonna do? An advantage really, during the break in the opera you can hop right over to Billy Bob's and still be back in your seat to check on how Die Fledermaus is winging it. From February 2, 2003 it's Whad'ya Know from Ft.Worth-Dallas, with John, Jeff, Clyde, Jim, Michael and a rockin' Bass Performanc Hall filled with enthusiastic Ft Worth-Dallasians!

Sie sind nur nachts unterwegs, sausen pfeilschnell durch die Luft und machen Geräusche, die für Menschen unhörbar sind: Fledermäuse sind geheimnisvolle Tiere – und schwer zu entdecken. Wie man ihnen trotzdem auf die Spur kommt, findet Reporter Hendrik an einem Abend in einem Berliner Park heraus. Dort trifft er den Fledermaus-Experten Dr. Simon Ripperger, der ein paar interessante Geräte im Gepäck hat. Er erklärt auch, warum die Flattermänner Winterschlaf machen, wie sie Freundschaften pflegen und wie du verletzte Fledermäuse rettest. In Winnis Baumhaus zu Gast: die neunjährige Elli, die auf einer Bootsfahrt schon mal Fledermäuse mit eigenen Augen gesehen hat.

In der Schweiz gibt es rund 30 verschiedene Fledermausarten. Dies entspricht rund einem Drittel aller Säugetierarten in der Schweiz. Fledermäuse können vieles, was einzigartig und speziell ist: Sie sehen mit den Ohren, fliegen mit den Händen und schlafen mit dem Kopf nach unten. Fledermäuse sind friedlich und nicht angriffslustig, solange sie nicht bedroht werden! Alle in der Schweiz vorkommenden Fledermausarten stehen unter Schutz und sind teilweise vom Aussterben bedroht. Grosse Ohren, spitze Zähne Fledermäuse sind selten grösser als 5 cm, haben spitze, zum Teil sehr grosse Ohren und zwischen den Geschlechtern gibt es optisch keine grossen Unterschiede. Ihre Eckzähne sind stark ausgeprägt. Sie dienen zum Aufbrechen der Panzer ihrer Beuteinsekten. Die Augen von Fledermäusen sind klein, schwarz und ohne Wimpern. Fledermäuse (Microchiroptera) sind eine Säugetiergruppe, die – zusammen mit den Flughunden (Megachiroptera) – zu den Fledertieren gehören.

Synopsis The “waltz king” Johann Strauss Jr. was 45 years old before he tried his hand at writing an operetta, urged on by the management of Vienna's Theater an der Wien, who wanted to replace the extremely popular French operettas of Jacques Offenbach with some by Vienna's own famous purveyor of light music. Even so, for the libretto of Strauss's third operetta, the cagey theater managers hedged their bets by acquiring the rights to a spicy French farce which just happened to be written by the librettists of Offenbach's biggest hits. The original French farce was considered a little too racy as it stood, so some substantial changes were made before Strauss set to work. The end result, re-titled Die Fledermaus (or The Bat) opened in Vienna on today's date in 1874. Now, there is an oft-repeated myth that Fledermaus was initially a flop and that it closed after only sixteen performances. But blame that on the famous American soprano, Adelina Patti, who had booked the Theater an der Wien for a run of Italian opera performances right after Fledermaus was opened. When Patti left Vienna, Fledermaus returned for more performances, and has rarely been absent from Viennese stages from that day to this. Music Played in Today's Program Johann Strauss II (1825 – 1899) Die Fledermaus Overture Vienna Symphony; Robert Stolz, cond. BMG 72916

Glittering and gloriously tuneful, Die Fledermaus (“The Bat”) is the most enduring operetta of Vienna's famous “Waltz King,” Johann Strauss II.  Its plot features revenge, infidelity, disguised identities, and a glamorous ball at its center, given by a wealthy host who requires his guests to keep the party lively.  Toasting “King Champagne,” the characters of this “spirited” operetta recognize the royalty of sparkling wine: the beverage that motivates, infuriates, and ultimately exonerates them.    Hosted by Pat and Rosie (www.rosiebrooks.com)  

Nigel Simeone with his pick of recordings of Johann Strauss II's Die Fledermaus. Strauss's sparkling operetta premiered in 1874 and has been delighting audiences and listeners ever since. It has been fortunate on record, and Nigel discusses with Andrew a huge range of performances and styles.

For Video Edition, Please Click and Subscribe Here: https://youtu.be/o4eV9qN2SEI Karen Morrow, beloved stage and television personality, first stepped onto the New York stage as the female lead 'Jeannie' in I Had a Ball co-starring Buddy Hackett and Richard Kiley. Her last performance on Broadway was playing the dual role of ‘The Princess Puffer'/‘Miss Angela Prysock' in the original Tony® Award-winning musical The Mystery of Edwin Drood. Her stage work outside of New York includes the role of ‘Parthy' in the Tony®- Award winning production of Show Boat, as well as leading roles in Die Fledermaus, Anything Goes, Annie Get Your Gun, Call Me Madam, Hello, Dolly!, Oliver!, Follies, Sweeney Todd, A New Brain and White Christmas The Musical. She has appeared in concerts with major orchestras in Los Angeles, Minneapolis, New York, Honolulu and The White House. She can be heard on the concept album Miss Spectacular, a studio recording of an unproduced work by Jerry Herman with whom she has worked and recorded extensively. Other albums include White Christmas: The Musical. Karen performed regularly on Garrison Keillor's popular broadcast A Prairie Home Companion. She starred in the series Singin' alongside her performance peer (and friend) Nancy Dussault. Together, they won an Emmy® Award for the PBS program Cabaret Tonight. In addition to theatre and concert performances, Karen is a nationally sought-after Master Class Teacher in the art of musical theatre performance. She has conducted classes at Carnegie-Mellon; Northwestern; University of Southern California; University of California-Irvine; Pepperdine; Arizona State University; Viterbo; Baylor; the Kennedy Center and the Los Angeles Music Center. 

On this episode, we hear from conductor Brandon Eldredge and soprano Tessa McQueen about Act One of Jake Heggie and Gene Scheer's chamber opera, TWO REMAIN. Act One focuses on the true story of Polish poet Krystyna Zywulska surviving the Holocaust – and the psychological trauma she dealt with the rest of her life. It's based on her searing memoir of 1946, “I Survived Auschwitz.” Brandon and Tessa share more about Krystyna's life, about how challenging it is to perform and interpret a story of this magnitude, and how important it is to keep telling these stories. Brandon Eldredge has built a broad-scoped knowledge and experience as a conductor, pianist, and operatic coach, working across the United States, Germany, and Sweden. He is CCO's Associate Conductor and Chorus Master this summer, working on all three productions. During the year, he is on staff at Virginia Opera as Assistant Conductor and Chorus Master. Soprano Tessa McQueen is a first year Studio Artist in the Bonfils-Stanton Artists Training Program, and in addition to her role of Krystyna Zywulska in TWO REMAIN, she is in the chorus of Die Fledermaus and several opera scenes for the Short Works performances. Tessa received her Bachelor of Music degree in Voice Performance from Oklahoma City University and will begin her Master's degree at Rice University this fall. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  

On this episode, we hear from two principal singers in DIE FLEDERMAUS: mezzo-soprano Kira Dills-DeSurra who plays the role of Prince Orlofsky, and tenor William Ferguson, who plays the role of Eisenstein. Both Kira and Will are seasoned comedic performers, and their healthy senses of humor are on full display during this episode. Will and Kira talk about the magic of live performance and how much the audience influences them, how April Fools' is a recognized holiday in both their families, how they got into opera in the first place, and the role that Central City Opera plays in the context of opera in America. Kira Dills-DeSurra is a vibrant American mezzo-soprano whose magnetic stage presence communicates effortless charm and truth. A champion of new and rarely performed works, Kira has appeared in many American premieres, and she also cultivates skills in musical improvisation and circus arts as part of her broad-ranging palate of storytelling tools. She is a graduate of Roosevelt University and the University of Southern California. Tenor William Ferguson has always pushed the boundaries of opera performance through his exploration of new repertoire and through the commitment of his characterizations. A Juilliard graduate, he has sung with Santa Fe Opera, Opera Australia, New York City Opera, Salzburger Landestheater, Opéra de Québec, Opera Philadelphia, Opera Theatre of St. Louis, Dallas Opera and The Metropolitan Opera, as well as symphonies around the world. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this episode, we dive deep into DIE FLEDERMAUS with stage director Joachim Schamberger and conductor John Baril. While on the surface, this operetta may seem like nothing but champagne bubbles and fun, Joachim and John reveal the complexities of the story and music that make this operetta timeless. Joachim is an acclaimed stage director and video designer who is currently Director of Opera at Northwestern University in Chicago. He is in demand as a director, designer, and teacher throughout the world. DIE FLEDERMAUS is his third production with Central City Opera. John Baril, Principal Conductor, is also the Music Director of Central City Opera, and this is his 30th year with the company. He got his start as Festival Scheduler back in 1992. John has conducted throughout the United States in the genres of opera, ballet, symphonic works, and music theatre. Both John and Joachim have been featured on the Central City Opera Podcast in past seasons – visit ccopodcast.org to find their episodes and learn more about them. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  

Bacardi ist die beliebteste Rum-Marke in den USA, doch die ehemaligen Rivalen Ricard und Pernod haben sich zusammengetan, um an Bacardis Thron zu rütteln. Das Schlimmste daran für Bacardi: Die Franzosen wollen sich die Rechte an der Marke „Havana Club” sichern und haben einen Deal mit dem Erzfeind geschlossen – Fidel Castro. Das nehmen die Exil-Kubaner nicht hin und gehen in die Offensive.Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.