Podcasts about Die Fledermaus

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.

Title: Opera's Best Holiday Moments

Regine Sonnleitner stellt ihr Buch "Malu - Die Fledermaus mit dem großen Herzen" vor. Ein Mitmachbuch das Mut, Selbstwertgefühl und Achtsamkeit stärkt. Zur Autorin Regine Sonnleitner wurde 1969 in Rödental bei Coburg geboren. Sie lebt seit 1997 in Hagen/ Westfalen. Die Autorin schafft den Spagat, ihren Inhalt sowohl für Kinder als auch für Erwachsene und insbesondere ältere Leser so darzubringen, dass er anspricht und die Herzen berührt. Und bleibt dabei äußerst kurzweilig. Jede Geschichte beschreibt alltägliche Situationen und Erlebnisse aus unserem Leben. Ihre Themen sind Naturschutz, Freundschaft, Hoffnung, Zuversicht, Erkenntnis, Trost, Obdachlosigkeit, Missbrauch oder sogar Demenz. https://www.regine-sonnleitner.de https://www.facebook.com/regine.sonnleitner.75 https://www.instagram.com/malufledermaus --- Meine Lesung Ein Podcast in dem Autoren ihre Bücher, und auch sich selbst vorstellen. Du als Leser, mit Interesse an Lesungen, kommst voll auf deine Kosten. Finden für dich interessante Lesungen nicht in deiner näheren Umgebung statt? Dann ist dieser Podcast genau das Richtige für dich. Hier stellen diverse Autoren ihre Bücher im Rahmen einer Lesung vor. Ein paar Fragen zum Autor und seinem Buch dürfen natürlich nicht fehlen. Der Podcast kommt in einem wöchentlichen Rhythmus und bietet ein riesiges Portfolio an Autoren bzw. Buch-Lesungen. Du kannst diesen Podcast auch kostenlos mit der App deiner Wahl abonnieren. Sobald es eine neue Folge gibt, wird diese zum anhören bereitgestellt. Alle Einzelheiten und Informationen unter https://meinelesung.de. Bist du AutorIn oder Autor und möchtest dein Buch in meinem Podcast vorstellen? Aufnahmen sind per Telefon, Skype, FaceTime, Zoom oder bei einem gemütlichen und persönlichen Zusammensitzen möglich. Melde dich ganz einfach bei mir, und wir können vorab alle Einzelheiten besprechen. Weitere Einzelheiten, Informationen und Kontaktmöglichkeiten unter https://meinelesung.de. Dir gefällt dieser Podcast? Dann empfehle ihn weiter und lass eine kleine Bewertung in den entsprechenden Portalen da, wie zum Beispiel Apple Podcasts (iTunes) oder Podcast.de. Herzlichen Dank. SocialMedia: website: https://meinelesung.de Instagram: https://www.instagram.com/meinelesung facebook: https://www.facebook.com/meineLesung YouTube: https://www.youtube.com/@meinelesung Podcast Abonnement RSS-Feed: https://pcr.apple.com/id1484505215

Alle Jahre wieder beschäftigt uns die aktuelle Lage der Wildtiere in Deutschland. Teilweise ist es um einige Tierarten nicht gut bestellt. Die Sorgenkinder dieses Jahres sind wie auch die letzten Jahre der Feldhamster aber auch der Igel. Früher ein häufiger Bewohner unserer Gärten, befindet sich die Zahl der in Deutschland lebenden Igel heute in einem steilen Abwärtstrend. Auf der anderen Seite machen den Deutschen alte Bekannte wie der Wolf immer häufiger Ärger. Die Zahl der Wolfsrudel wächst jedes Jahr kontinuierlich. So oder so geht es tierisch zur Sache in heimischen Gärten.   (00:00:00) - Intro / Einleitung (00:02:57) - Charakterfrage: Wenn es einem nicht schmeckt (00:12:56) - Deutsche Wildtier Stiftung 2024 (00:16:36) - Schweinswal (00:20:28) - Die Fledermaus (00:22:54) - Der Goldschakal (00:24:06) - Die tragische Geschichte der Tauben (00:27:35) - Das Eichhörnchen (00:32:11) - Der Maulwurf (00:34:07) - Der Igel (00:46:39) - Der Wolf (01:00:03) - Geh nach Hause Waschbär  (01:15:18) - Schlusswort

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

On today's episode, we're proud to welcome the Canadian mezzo-soprano, Mireille Lebel, who's known for her captivating performances across the globe in operas such as Carmen, The Marriage of Figaro, and The Barber of Seville. And currently, she's starring as Count Orlofsky in our production of Die Fledermaus on stage October 26 to November 3rd. I hope you enjoy the conversation. Full Article Credits: Ashley Daniel Foot - Host Mireille Lebel - Guest Mack McGillivray - Audio Producer

Was wäre, wenn „Die Fledermaus“ von Johann Strauß als berühmteste deutschsprachige Operette seit bald 150 Jahren unvollständig gespielt würde? Das ist zum Glück nicht der Fall. Doch die wohl bekannteste französischen Operette, „La vie parisienne“ von Jacques Offenbach, führte bisher nur eine verstümmelte Existenz. Doch die Recherchen der bewährten Stiftung Palazzetto Bru Zane haben mehr als ein Dutzend neuer Gesangsnummern zum sowieso schon melodienprallen, rhythmusknatternden, Dynamik switchenden Klangpanorama dieser farbenschillernden Partitur hinzuaddiert. Die Essenz dieses frechen Stücks hat jetzt noch mehr Geschmack und Tiefenwirkung, findet SWR-Kritiker Manuel Brug.

We are celebrating Vancouver Opera's 65th anniversary with a truly fabulous season. The season opens with Johann Strauss II's beloved operetta Die Fledermaus. This charming comedy relies almost entirely on a series of pranks, trickery and disguise as plot devices to illuminate the themes of revenge, love, friendship, and forgiveness and reconciliation. Die Fledermaus runs from October 26th to November 3rd, with a masquerade party performance on Halloween. Full article. Credits: Ashley Daniel Foot - Host Mack McGillivray - Audio Producer Jane Potter - Writer and Narrator Bryan Tran - Miscellaneous Voices

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…

A musical theatre actor responsible for some of the most notable performances on our stages, Anthony Warlow began his career with the Australian Opera in 1980. He has since become a household name thanks to his work in The Phantom of the Opera, The Secret Garden, Annie, My Fair Lady, Jeckyll & Hyde to name only a few, while also performing with Opera Australia for The Magic Flute, Die Fledermaus, The Pirates of Penzance, and more. He's performed on Broadway and the West End, and has several albums to his name. In this extended version of the broadcast edition, Anthony displays his deep understanding of how to create a successful performance, time and again. We hear stories about his journey to the stage, and about some of the roles that have made him one of Australia's popular and successful musical theatre performers. Anthony Warlow plays Billy Flynn, the lawyer who lets you get away with murder, in Chicago, on now at Sydney's Capitol Theatre.

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.

Ich hatte das unglaubliche Privileg, die talentierte Opernsängerin Katia zu interviewen, die sich selbst als schwarze Queer Feministin beschreibt und zutiefst glücklich über ihr Leben ist. Ihre Geschichte beginnt mit einem Geschenk - einer VHS - und dem kindlichen Wunsch, Opernsängerin zu werden, inspiriert von der faszinierenden Figur der Carmen. Dieser Traum hat sich nicht nur manifestiert, sondern ist zu einem stolzen Lebensweg geworden. Vom Schlosstheater Schönbrunn bis zur International Vocal Competition in Hertogenbosch - Katia hat sich durch ihre herausragende Stimme und ihr Talent einen Platz in der Opernwelt erkämpft. Eine bemerkenswerte Leistung zeigte sie, als gleichzeitig zwei Rollen in "Orpheus in der Unterwelt" verkörpert, es unterstreicht ihre beeindruckende Vielseitigkeit und Beharrlichkeit in einer Branche, in der Männer oft bevorzugt werden. Aber Katia spricht nicht nur über ihre eigenen Erfolge - sie erhebt auch ihre Stimme, um die politische Dimension der Oper zu betonen. In Werken wie Mozarts "Die Fledermaus" werden Themen wie Sexismus, Misogynie und Rassismus dargestellt, das findet Katia schwierig. Doch trotz dieser Herausforderungen glaubt Katia an die transformative Kraft der Oper und diskutiert leidenschaftlich über mögliche Neugestaltung und Interpretation. Und natürlich teilt sie ihre Liebe zur Traumrolle der Carmen und ihre Mission, die Oper einem breiteren Publikum zugänglich zu machen. Katia ist nicht nur eine beeindruckende Künstlerin, sondern auch eine inspirierende Persönlichkeit, die die Welt der Oper mit Leidenschaft und Engagement bereichert. Mit Katia lernt ihr eine Frau kennen, die mit viel Herz und Hingabe für ihren Beruf und ihre Geschichte lebt. Sie setzt sich für Geschlechtergerechtigkeit und positive Veränderung in der Gesellschaft ein, und das auf eine sehr wertschätzende Art.

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 Ende muss ein Ehemann seine Gattin um Verzeihung bitten – aber ganz anders als in Wolfgang Amadeus Mozarts „Figaro“, und auch das Finale im fidelen Gefängnis hat wenig zu tun mit Ludwig van Beethovens Befreiungsoper: Johann Strauß‘ Die Fledermaus zeigt eine champagnergetriebene Gesellschaft, der die Stunde geschlagen hat. Aber man amüsiert sich prächtig. Barrie Kosky, Regisseur der neuen Fledermaus an der Bayerischen Staatsoper, liebt den sarkastischen Charme Wiener Art, und inszeniert eine doppelbödige Screwball-Farce, in der nicht einmal den Räumen zu trauen ist. Ist es ein Traum? Ist es ein Alptraum? – Es ist jedenfalls lustig, und ziemlich ernst. Autor und Sprecher: Holger Noltze Sprecher:innen: Cathrin Störmer, Barrie Kosky, Vladimir Jurowski, Diana Damrau, Georg Nigl Schnitt: Thomas Rott Betreuung: Nicolas Léwy Dramaturgie und Projektleitung: Christopher Warmuth

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

"Die Fledermaus und die Sonne" von Dr. Espérance-François Bulayumi Moderation: Verena Prandstätter Video: Cyril Chima Ozoekwe und Madge Gill Bukasa Die Veranstaltung wurde mit Mitteln der Stadt Wien MA7 und dem Bezirk 1090 Wien unterstützt.

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.

Wednesday, September 7, 2022 - We hear a story about two Montana families whose conflicts did much to shape the politics and economy of modern Montana. Bill Vaughn tells that story in “The Last Heir,” recounting twelve decades of triumphs and tragedies. He visits with Lauren Korn, host of The Write Question. ~~~ Music host Scott Prebys previews this weekend's production of Die Fledermaus in a visit with Kenneth Bowles, vice president of the Western Plains Opera in Minot. ~~~ Tom Isern has a Plains Folk essay titled “The True Character of the Plains.”

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.

Scottish Field has two guests in our 35th podcast episode. Our first guest this week is a John Savournin, who's directing a new Scottish Opera Highlights production, which is touring to 18 venues around the country this spring. Starting on February 8 at Websters Theatre in Glasgow's West End the tour visits Birnam, Midmar, Fochabers, Tain, Wick, Harris, North Uist, Isle of Barra, Ardfern, Lochranza, Cove, Newton Stewart, Melrose, Lockerbie, Troon, Killin and finishes at Cumbernauld Theatre on 19 March. John directs a cast that includes Scottish soprano Monica McGhee, former Scottish Opera Emerging Artists Margo Arsane and Shengzhi Ren, who were both in Così fan tutte earlier this year, and Dan Shelvey (The Gondoliers 2021). This is a great chance for audiences to see Margo and Shengzhi perform in Opera Highlights, as they were originally scheduled to take part in the tour last year, before it was cancelled because of the pandemic. Mark Sandon joins the singers as pianist and Music Director. The Edwardian-inspired production, designed by Janis Hart, is an opportunity to hear a whole range of music in just one evening, and curated by Scottish Opera's Head of Music Derek Clark. audiences can enjoy much-loved classics including Hansel & Gretel, Die Fledermaus and La bohème, as well as lesser known gems. The production also features the world premiere of a new piece by Scottish composer, Lucie Treacher. The quartet, entitled ‘To the Lighthouse', weaves together scenes from the 1927 novel by Virginia Woolf. Tickets are on sale now for the new vaudeville-inspired show at www.scottishopera.org.uk Our second guest is someone who's represented his country on the football field. The board of Walker's Shortbread Ltd last week announced that Nicky Walker has been appointed managing director with immediate effect. Nicky had a career as a footballer, which started in Leicester, took him to Motherwell, Glasgow, Edinburgh, Aberdeen, Inverness and Dingwall, playing in goal for clubs including Motherwell, Rangers, Partick Thistle, Hearts, Aberdeen and Ross Country, before retiring in 2002 after a spell with Inverness Caledonian Thistle. Nicky joined the family firm 25 years ago, was appointed to the Board in 2007 as production director and has been instrumental, working alongside his late father, Joe, in developing the company's world-class facilities in Aberlour and Elgin. But, of course, Nicky had a career of his own before joining the family firm, which was founded in 1898 by Joseph Walker in the Speyside village of Aberlour, with the ambition to bake ‘The World's Finest Shortbread'. Walker's products are now sold all over the world and the company bakes the most extensive selection of pure butter shortbreads available, as well as producing a wide range of other Scottish delicacies. The company employs over 1400 people across its sites in Elgin and Aberlour and holds a Royal Warrant for Shortbread & Oatcakes, by appointment to Her Majesty the Queen. You can order the latest Scottish Field, priced £4.75, or subscribe, at www.scottishfield.co.uk/subscriptions

In this episode I will visit with my dear friends, Julie Wyma and Anastasia Nikolov, founders of Opera Programs Berlin. Both Julie and Anastasia went through traditional conservatory training, and were both taken aback by the insistence that there's only one prescribed path to success in opera.  Their answer to filling the gaps in vocal education was to create http://www.operaprogramsberlin.com (Opera Programs Berlin,) an online and in-person opera academy which has grown exponentially over the last year in the online space. As an educator, Julie's passion lies in helping singers make the transition from student to professional, and in guiding talented people to the places where they are needed. She has served as a vocal coach, preparing singers for auditions and talent competitions, as well as an audition panelist and advisor. With organizations such as Opera Programs Berlin, Dramatic Voices Program Berlin, Irrational Entertainment, Midwest Early Opera Works, Voci Inglesi, Berlin Wagner Gruppe and Berliner Opernverein, she has facilitated performance opportunities for singers seeking additional stage experience and the chance to hone their craft in a supportive, professional environment. As a professional operatic soprano she has performed more than 25 roles, including die Königin der Nacht and Pamina in Die Zauberflöte, Rosina in I barbiere di Siviglia, Adele in Die Fledermaus, Gilda in Rigoletto, Marie in Die verkaufte Braut, Musetta in La Bohème, Sophie in Werther, Gretel in Hänsel und Gretel, the Waldvogel in Siegfried, and Norina in Don Pasquale. Of her Norina, the Kansas City Metropolis said: “soprano Julie Wyma sparkled with a self-confident air and a strong, beautiful voice.”  ​ An active concert performer and recitalist, her recent appearances include concerts at the US Consul General in Düsseldorf and the Residence of the US Ambassador to Germany in Berlin; a song recital at the University of Pittsburg at Greensburg; Lovers' Quarrels, a concert of operatic duets and arias in Concord, New Hampshire and Niemegk, Germany; Three Tenors and a Soprano concerts in Cornish and New London, New Hampshire; and Viva Divas!, a concert of operatic arias, duets, and trios in Cornish, New Hampshire, Phoenix, Arizona and Berlin, Germany. ​​Soprano Anastasia Nikolov started her musical training at the age of 5, studying piano. She was a member of the Bulgarian National Theater Youth Ensemble, where she was cast in numerous main stage and touring productions. Her training at the National Theatre included acting, improvisation, Latin and folk dance. Other musical studies also included percussion and classical guitar. Ms. Nikolov is a champion of new music. She has premiered works by prominent American and British composers such as Vartan Aghababian, Michael Djupstrom, Victoria Ellis, Heather Gilligan and Eric Sawyer; some of these works were written and dedicated to her. In addition to numerous song cycles and solo concert works with orchestra, she also created the role of Anna von Mildenburg in the new piece Geboren Alma Schindler (Berliner Opern Verein); the role of Member of the Chamber in the premiere performance of Eric Sawyer's Our American Cousin (Composers in Red Sneakers); and the title role in the world premiere of Victoria Ellis' opera Darling (One of Us Foundation). Twitter @operaberlin Instagram @operaprogramsberlin Facebook  @operaprogramsberlin http://www.operaprogramsberlin.com (www.operaprogramsberlin.com) At http://makinitinopera.com/ (makinitinopera.com), you can  Get access to a spreadsheet of resources and inspiration from folks who are changing the conversation about how we tell stories and how we train artists Subscribe to the Audition Pep Talk Series newsletter Donate and support the podcast If you'd like to share your point of view of what it means to “make it”, send me a voice recording to makinitinopera@gmail.com and I may feature you in a...

The West End theatre version of TV's "The Good Life", the "Toys" musical that came *before* the film... Jeremy's selection of near misses covers both stage and screen. Clips performed by:  Alex Lowe, Lizzie Roper, David Holt, Beth Chalmers, Toby Longworth and Emma Clarke. Warning: This episode contains strong language. Jeremy Sams has written and created countless successful theatre shows including Amour (Broadway), Ghetto (National Theatre and Broadway), Chitty Chitty Bang Bang (West End and Broadway), and The Wizard of Oz (West End and tour). He's translated operas and plays such as Indiscretions (Broadway), The Miser and Mary Stuart (Royal National Theatre), The Rehearsal, Don Giovanni, Figaro's Wedding, La Bohème, The Magic Flute, Wagner's Ring Cycle (ENO), Die Fledermaus and The Merry Widow (New York), and he wrote and devised The Enchanted Island for the Metropolitan Opera of New York.  His directorial credits include Die Fledermaus (Metropolitan Opera), The Wizard of Oz (West End, Toronto, US tour), The King and I (Royal Albert Hall), The Sound of Music (London Palladium, world tour), 13 The Musical (Broadway), Donkey's Years (Comedy Theatre), Little Britain Live, Noises Off (West End and Broadway), Passion (West End), Wild Oats (RNT), The Wind in the Willows (Tokyo, Old Vic) and Spend Spend Spend (Olivier-nominated - West End). As a composer, he has written, arranged and directed music for over 50 shows for theatre, TV and film, including: The Wind in the Willows, Arcadia (RNT and Lincoln Center), The Mother (BBC), Enduring Love (Pathé), for which he won the Ivor Novello Award, Hyde Park on Hudson, Le Weekend and Persuasion (BBC Films) for which he won a BAFTA. Episode show notes and more details:  https://offcutsdrawer.com/jeremy-sams Listen to us on whichever podcast app you prefer:  https://offcutsdrawer.com/insta-links/ or if you don't usually listen to podcasts you can hear all the episodes here: offcutsdrawer.com/episodes/

Soprano Kirsten C. Kunkle has been hailed as an outstanding singing actress with a voice that has been described as beautiful, ethereal, powerful, fiery, and bewitching. Among her favorite roles are Agathe in Der Freischütz, the title role in Suor Angelica, Magda and the Foreign Woman in The Consul,” Mimì in La bohème, Rosalinda in Die Fledermaus, Contessa in Le nozze di Figaro, Mother in Amahl and the Night Visitors, Iolanta and Brigitta in Iolanta, Zemfira in Aleko, Lisa in Pique Dame, Donna Elvira in Don Giovanni, Laetitia in The Old Maid and the Thief, and the Witch in Hansel and Gretel. With the Philadelphia Opera Collective, she has created leading roles in numerous world premieres, including Edith Standen in Shadow House, Annie Jump Cannon in Jump the Moon, Edgar Allan Poe in Opera Macabre: Edgar Allan Poe, and Dr. Frankenstein in By You That Made Me, Frankenstein. In 2016, she made her professional straight play debut in Machinal with EgoPo Classic Theater and her professional musical theatre debut as Domina in A Funny Thing Happened on the Way to the Forum with the Scranton Shakespeare Festival. She has an Honorable Mention for The American Prize in Voice – Professional Art Song and Oratorio Division (Women), as well as being a two-time semi-finalist for The American Prize in Opera (Women). She made her Carnegie Hall debut in 2014, as well as being the Pennsylvania District National Association of Teachers of Singing Artist Award winner that year. She won second place in the Roschel Vocal Competition in 2015. She attended Bowling Green State University and the University of Salzburg for her undergraduate studies, majoring in voice performance with minors in Italian and German. Her graduate degrees are in voice performance from the University of Michigan. A voting member of the Muscogee Nation, Dr. Kunkle commissioned and premiered sixteen original compositions, including one of her own, based upon the poetry of her ancestor and highly-acclaimed poet of the Native American Muscogee Nation, Alex Posey. She has recorded extensively through the Comic Opera Guild, specializing in the works of Victor Herbert. Her recordings are collected at the Library of Congress, the National Museum of the American Indian at the Smithsonian Institution, and the Merkel Area Museum in Merkel, Texas. Ms. Kunkle is included on the list of Classical Native American Artists and Musicians at the Smithsonian Institution's National Museum of the American Indian and on the Molto Native Music list of performers. She has been published in peer-reviewed journals and is a successful voice educator. She is the Co-Founder and Artistic Director of Wilmington Concert Opera, a grassroots women and minority led opera company in Wilmington, Delaware. Most recently, she had her solo European debut with the Sofia Philharmonic in the role of Arabella in Johann Strauss II's “Blindekuh.” She is also a NAXOS recording artist for “Blindekuh,” which was released in March of 2020 to extraordinary reviews. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

Music offers one of the most potent spiritual metaphors that exists, and Patrick Summers, the artistic and music director of the Houston Grand Opera, has plenty to say about the subject of spirituality and music. He positions the operatic voice as the expression of a unique sonic vocal print that vibrates atoms between the singer and the listener's ears. In his book, The Spirit of This Place: How Music Illuminates the Human Spirit, he writes, “But precisely because music is both an intellectual and an aesthetic pursuit, it is the perfect metaphor for how I believe one must live: with vast respect for provable knowledge and genuine expertise, but never at the expense of the deep joy and wonder of that knowledge, using what can be learned to marvel at what can never be explained” (2018, p. 147). The science and theory of music notes that an E flat played anywhere at any time in the world is still an E flat, but the infinite ways in which this note can be contextualized and performed open the notes, timbre, rhythm, beat, and melody to communicate that which cannot be reduced to the former collection of sounds and spaces. Patrick is a champion for struggling against the dominance of our culture's tendency to force art and aesthetic practices into a transactional container. As it would appear that the only justification for an arts program today is the capacity to measure the ways in which art increases math skills, which it does; but I would argue that nobody brought to tears listening to a piece of music or by reading a beautiful poem considers the utility of the quadratic formula in that moment. We discuss the fact that while the arts in education may not teach a person how to get a job, they may, and often do, help a person discover who they are and how to be in the world. Summers graduated from the Jacobs School of Music of Indiana University with a bachelor's degree in music in 1986. Upon graduation, he participated in the San Francisco Opera's Merola Opera Program as an apprentice coach in 1986 and 1987, and won the Otto Guth Memorial Award for excellence in vocal coaching both years. Summers' first professional engagement, with San Francisco Opera's Western Opera Theater, was conducting La bohème in their 1986/87 season. In 1989, Summers began his tenure as the music director of the San Francisco Opera Center, a training program for young singers; his first mainstage production, Die Fledermaus, was in 1990. In 1998, Summers was made Music Director of Houston Grand Opera, a position he has held since. 1998 also saw Summers' Metropolitan Opera conducting debut in Johann Strauss's Die Fledermaus. As Music Director of Houston Grand Opera, Summers oversaw the foundation and development of the HGO Orchestra. Prior to the orchestra's foundation, HGO hired outside orchestras for its productions. Since 1998, Summers has conducted over 50 productions at Houston Grand Opera, including seven world premieres (notably Carlisle Floyd's Cold Sassy Tree in 2000). In 2011, following Anthony Freud's move to Chicago Lyric Opera, Summers was named Houston Grand Opera's Artistic and Music Director. In 2002, he won a Grammy Award for his audio recording Bel Canto, with soprano Renée Fleming and the Orchestra of St. Luke's. Summers's book The Spirit of This Place: How Music Illuminates the Human Spirit released in 2018 from University of Chicago Press. https://www.houstongrandopera.org Theme music provided by: http://www.modernnationsmusic.com Band of the Week: Renee Fleming and Patrick Summers, Bel Canto Music Page: https://music.apple.com/us/album/ren%C3%A9e-fleming-bel-canto-scenes/1452542018 Learn more about this project at: http://www.thesacredspeaks.com Instagram: https://www.instagram.com/thesacredspeaks/ Twitter: https://twitter.com/thesacredspeaks Facebook: https://www.facebook.com/thesacredspeaks/

Welcome back for another episode with The Happy Singer Podcast!  This weeks guest, Kathleen Bell, is a total gem of a person, singer, and teacher. Listen to her musical journey as well as her expertise knowledge on Acid Reflux in singers and afterwards be sure to come join our "The Happy Singer Dicussion Group" on Facebook with all your questions!  --------------------------------------------------------------------------------------------------------------------------------- Soprano Kathleen Bell has traveled extensively, performing voice recitals of classical voice and musical theatre repertoire in Denmark, Germany, Austria, Australia and Italy. Her stage performance credits include the La Contessa in “Le Nozze di Figaro,” Adele in “Die Fledermaus,” Miss Warbelwell in “The Impresario” and Mother Superior in “The Sound of Music.” Bell has been a featured soloist with the Miami Symphony, the Miami Civic Chorale, the Miami Oratorio Society, the Hispanic Lyric Theatre, the Middle Saxony Orchestra in Germany, the Amalfi Coast Music Festival in Maiori, Italy, and the Rome Festival Orchestra. Bell has been teaching for over 25 years privately and at the high school and college level. While maintaining a private studio, Bell is currently a voice instructor at Shenandoah Conservatory Arts Academy, a visiting artist instructor in musical theatre at the Barbara Ingram School for the Arts and adjunct voice instructor at Mary Baldwin University. Kathleen Bell holds bachelor's and master's degrees in voice performance and is a certified teacher in levels I, II and III of Somatic Voicework™, the LoVetri Method and a National Center for Voice and Speech Certified Vocologist. She is currently a doctoral candidate in voice pedagogy at Shenandoah University with specializations in vocal health and contemporary commercial music styles. Bell's research interests include voice habilitation, collaboration with various body modalities and the effects of acid reflux on the voice. She has been a faculty and workshop presenter at Virginia National Association of Teachers of Singing (NATS), the Pan-American Vocology Association Conferences in Toronto and Seattle, Mary Baldwin University and at the International Symposium of the Voice Foundation in Philadelphia. Her former students are currently singing in national musical tours, on Broadway and in A-level opera houses, as well as teaching in secondary and collegiate settings. --------------------------------------------------------------------------------------------------------------------------------- Thank you so much for listening! If you feel so inclined, please, rate and review! Bless UP!  Kristy :)