Podcasts about die meistersinger

Can a young man win a wife through a singing competition?  He just might, if he's in Richard Wagner's romantic comedy (yes, you read that right, “Richard Wagner's romantic comedy,”) Die Meistersinger von Nürnberg.  Young Walter may not be trained in the masters' techniques, but ultimately his passion wins the hearts of the beautiful Eva, the singing masters, and the people of Nuremberg.  Join Pat and guest co-host Gerald Malone for an in-depth discussion of one of Wagner's most intriguing operas. Gerald Malone is the Opera Critic of ReactionLife, a UK-based online current affairs and cultural publication.

Melbourne Opera presents a very special opera at a very special location: Richard Wagner's Die Meistersinger von Nürnberg in the historic Royal Exhibition Center. We spoke to opera expert Hans Henkell about the production, the challenges and what makes Wagner's only comedy so appealing. - Melbourne Opera präsentiert eine ganz besondere Oper an einem ganz besonderen Ort: Richard Wagners Die Meistersinger von Nürnberg im historischen Royal Exhibition Center. Wir haben mit dem Opernkenner Hans Henkell über die Inszenierung gesprochen, über die Herausforderungen, die sie mit sich bringt und darüber, was den Reiz von Wagners einziger Komödie ausmacht.

This is a free preview of a paid episode. To hear more, visit www.wethefifth.comOur first post-election Second Sunday Zoom call! If you missed it, shame on you for choosing to spend time with your family or choosing not to pony up. But it's all here. All three hours of it. Yes, it's the “Die Meistersinger von Nürnberg” of election analysis. But to be clear, we also discuss Emperor Hirohito, Kentucky politics, Australians, New York …

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Tager dig både en tur til Espana og napper en stak Lytterønsker mere. Her er kig til Manuel de Falla´s uhyggelige opera La Vida Breve, et smukt mellemspil fra ham Nætter i spanske haver og her er også et lyt til La Magic Opal Suite af Isaac Albinez. Og Lytterønskerne spænder bla. fra "Che faro senza Euridice", Orfeus & Euridice, over "Mon Coeur s´ouvre a ta voix", Samson & Dahlia til "Morgenlich leuchtend in rosigem Schein", Die Meistersinger. Vært: Lotte Heise.

This week I present a Countermelody mini-series paying tribute to three great African American artists who were born in Baltimore. First up is the eclectic, versatile, and prodigiously talented Damon Evans, who introduces the latest Listeners' Favorites episode, a tribute to an idol we both treasure, the phenomenal and pathbreaking George Shirley, who on April 18 will celebrate his 90th birthday. Damon chose to do his introduction as an interview, so as a prelude to the main episode, my listeners get to hear one amazing tenor sing the praises of another one! George Shirley is one of the most versatile tenors of the second half of the twentieth century, and a pathbreaker as the first African American tenor to sing at the Metropolitan Opera. I first encountered him through his matchless portrayal of Pelléas in Debussy's Pelléas et Mélisande opposite Elisabeth Söderström. But his Mozart is equally celebrated: the podcast also features live and studio recordings of George Shirley as Tamino (opposite Judith Raskin), Don Ottavio, Ferrando (opposite Leontyne Price), as well as his extraordinary Idomeneo. Extant live performances of George Shirley including assumptions of roles as diverse as Don José (opposite Shirley Verrett), David in Die Meistersinger, Pinkerton (opposite the late Renata Scotto in an incandescent early performance of one of her greatest roles), Mephistopheles in Busoni's Doktor Faust, and even Bacchus in Ariadne auf Naxos. All of these are included in the episode, as are rare recordings of art songs and spirituals from throughout his career. Raise a glass to the great George Shirley and join me in thanking him for having shared so generously with us his extraordinary artistic gifts!

a cura di Paolo PellegriniRichard Wagner - Die Meistersinger von NürnbergHans Sachs, Bernd WeiklVeit Pogner, Manfred SchenkKunz Vogelgesang, András MolnárKonrad Nachtigall, Martin EgelSixtus Beckmesser, Hermann PreyFritz Kothner, Jef VermeerschWalther von Stolzing, Siegfried JerusalemDavid, Graham ClarkEva, Mari Anne HägganderMagdalene, Marga SchimlCoro e Orchestra del Festival di BayreuthHorst Stein, direttore

Páll Levente operaénekes (basszista) Erdélyben született és Magyarországon nőtt fel. Levente ének- és oratóriumi, valamint brácsa szakon tanult a Bécsi Zene- és Előadóművészeti Egyetemen Marjana Lipovšek és Franz Lukasovsky mellett. Később a Hamburgi Zene- és Színházi Egyetemen tanult Renate Behle-nél. Számos énekverseny győztese, 2014-ben a brüsszeli Concours Reine Elisabeth döntőse is volt. Díjai közé tartozik a római Musica Sacra énekverseny, a Petyrek Lang Alapítvány dalversenye és a bécsi isa Opera énekverseny. Megnyerte a Gut Immling Lions énekversenyt is, ahol a „Mozart-különdíjjal” is kitüntették. Levente 2010 és 2012 között a Hamburgi Állami Operaház operastúdiójának tagja volt, és 2013-ban debütált a magdeburgi Figaro házassága címszerepében. Fellépett Henrik királyként a montpellier-i Lohengrinben és első katonaként Salome-ban a londoni Covent Garden Királyi Operaházban. A Salzburgi Húsvéti Fesztivál idején Fritz Kothner pékmestert alakította a Die Meistersinger von Nurembergben és Osmint a Die Entführung aus dem Seraglio St. Gallenben és Bregenzben. A 2016/17-es szezon óta állandó tagja a Staatstheater am Gärtnerplatz együttesének. Brácsásként olyan zenekarokban játszott, mint a Bécsi Szimfonikus Zenekar. https://www.instagram.com/levente.pall.bass/ https://www.leventepallbass.com/ https://www.youtube.com/@plewyke https://crescendiartists.com/portfolio/levente-pall/ https://opernmagazin.de/tag/levente-pall/ https://www.pantareimusic.com/levante-pall https://www.youtube.com/watch?v=OPlOmD37WG8 https://open.spotify.com/intl-de/artist/5dcMgiJcVUOMhxCxd1iOqJ https://open.spotify.com/intl-de/track/0NiwZLCnE1M2IIQ3iZN4EELeventével készült a 12-es podcast: https://www.gaertnerplatztheater.de/de/seiten/der-gaertnerplatz-podcast.html Az adás témái: 0:00 Beköszönés 1:20 Erdély 10:00 Brácsa 12:00 Éneklés vagy zenélés 14:25 Bécs 16:00 Brácsa & Bécs 18:00 Első énekverseny (Róma, 2009) 22:20 Énekversenyek 28:00 Hamburgi Állami Operaház operastúdió (2010-2012) 32:20 Ügynökök 36:30 München, szerződés 42:00 Covid 50:00 Fontosabb szerepek 51:00 Don Alfonso 57:00 Sparafucule 59:00 Figaro 1:01:00 Prevenció 1:08:00 Osmine 1:09:10 Szerepálmok 1:12:00 Különleges helyek ahol fellépett 1:16:00 végszó 1:18:00 Elköszönés -----------------------------

In the thirty-fifth year of his career, Daniel Sumegi has sung over one hundred operatic roles on many of the world's major stages – including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, Seattle Opera, as well as at Opera Australia.  He has also appeared in the opera houses of Bonn, Cologne, Frankfurt and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles and Houston among many others. Regarded also for his dynamic acting, his broad repertoire encompasses all periods of music – from Monteverdi and Mozart to Britten, Tippett and Puts.  Equally comfortable as Strauss' Baron Ochs, Mozart's Sarastro and Commendatore, Verdi's Grand Inquisitor and Sparafucile, Offenbach's Four Villains or Puccini's Scarpia, he has participated in Ring Cycles in New York, Los Angeles, San Francisco, Strasbourg, Cologne, Tokyo, Buenos Aires, Seattle, Melbourne and Adelaide, most notably as Hagen.  He has additionally performed Hunding in concert for the Hong Kong, Atlanta, Stuttgart and Melbourne Symphony Orchestras. Daniel's 2021/2022 engagements included Die Walküre (Singapore), Salome (Victorian Opera), Fidelio (Dublin) and Bluebeard's Castle, Aida and Lohengrin (Opera Australia). Among other roles, he has sung Die Meistersinger von Nürnberg (Pogner) for Opera Australia, Salome (Jochanaan) for New Israeli Opera, Der fliegende Holländer (title role) for Malmö Opera in Sweden and Carmen (Zuniga) for Seattle Opera.  He also undertook his music theatre debut, as Judge Turpin in Sondheim's Sweeney Todd, seen in Sydney and Melbourne.   Past highlights include Don Carlo and Madama Butterfly (Metropolitan Opera), Der Rosenkavalier (Scottish and Welsh National Opera), Luisa Miller (San Francisco), Billy Budd and Rigoletto (Los Angeles), Parsifal (Hamburg, Barcelona, Adelaide), Salome (Washington, Hamburg, Leeds, Hong Kong), Der fliegende Holländer, Aida, Beatrice and Benedict and Barbiere (Seattle), Manchurian Candidate (Minnesota, Austin), and more than 25 principal roles for Opera Australia. He has collaborated with noted conductors such as James Conlon, Sir Andrew Davis, Charles Dutoit, Dan Ettinger, Asher Fisch, Valery Gergiev, Nicola Luisotti, Sir Charles Mackerras, Yannick Nézet-Séguin, Renato Palumbo, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Nello Santi, Sir Jeffrey Tate, Edo de Waart, Sebastian Weigle, and Simone Young. Daniel Sumegi appears on CD in Beatrice di Tenda and Seattle Opera's acclaimed Ring Cycle, and on DVD in the San Francisco Opera Production of Capriccio, Opera Australia's Don Giovanni, and the historic condensed Ring Cycle from Teatro Colón, Buenos Aires. In December, he makes his role début as Wotan/The Wanderer in OA's new production of Der Ring des Nibelungen. 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

Friedrich Lux (1820–95) was one of those musicians who formed the fabric of musical life in nineteenth-century Germany: though he worked away from the major cities, as a conductor, teacher, organist, organizer, and composer, he was an indispensable element of the communities in which he worked. His large body of organ music, as good as unknown before now, brings together elements of the musical language of Bach, Mendelssohn, and Schumann, in works that range from the intimate to the grandiose. This second volume brings some of his many transcriptions to the fore.TracksFantasie pastorale, Concertstück, Op. 64 (publ. 1881) (15:54) I. Allegro moderato (5:50) II. Andantino – Poco più mosso – Tempo I (5:07) III. Allegretto fugato (4:57) Lied ohne Worte (publ. 1877)* (4:46) Variationen aus Kaiserquartett von Haydn (publ. 1879)* (11:27) Poco adagio (1:28) 1. Variation (1:38) 2. Variation (1:41) 3a. Variation (1:32) 3b. Variation (1:29) 4. Variation (3:39) Drei Stücke aus Händel's Messias in Form einer Sonate (publ. 1877) (11:55) No. 1 Chor: Ehre sei Gott (Allegro) (2:19) No. 2 Arie: Er weidet seine Heerde (Larghetto) (5:27) No. 3 Chor: Halleluja (Allegro moderato) (4:09) Andante über die Choralmelodie Wie schön leucht' uns der Morgenstern, Op. 60 for horn and organ (publ. 1878)* (7:12) Adagio aus einem Nocturno von Louis Spohr (publ. 1878)* (5:52) Romance de l'opéra Casilda, Op. 32 (publ. 1863)* (6:28) Die Meistersinger von Nürnberg: Einleitung zum 3. Akt von Richard Wagner (publ. 1875)* (7:45) Marche célèbre de la 1ère Suite de F. Lachner, Op. 113 (publ. 1873)* (6:08) *First RecordingsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

And I think it was in the middle of that process that I started to realize that like the Israelites sort of collecting their stones and piling them all together, and to what is called an Ebenezer, I think, here I raise mine every day. And so, all these things started to dawn on me that this was a thing, and I hadn't realized that these stones were related, and they needed...then they build up to something. And so, it didn't happen before, it happened during the process of becoming an opera singer. And then, as the career progressed, the talking about it I was sort of forced always to talk about faith and sort of what it meant to me. I mean, it was in a very cursory kind of way, but it was frequently brought up and then maybe that was also contributed to the fact that I realized it was more of a call than I had realized.---In this episode, listen as Ben Heppner (Canadian tenor and broadcaster) shares with Rev. Dr. Andrew Stirling (Ambassador, Canadian Bible Society) about the role of Scripture in his life. Recorded as part of a series entitled The Word for Life: When Scripture Comes Alive, Ben talks about discovering in his early years a view of the Bible as bread, not stone, that gives life, and points you to Jesus. Referring to Joshua 4:9 and 1 Samuel 7, he shares how, in retrospect, he realized that over the years, God helped him to add different elements to his toolkit, including opera. He explains how the church has been foundational in his life and acknowledges that it was in the church that he learned the ropes of being a public singer.Ben Heppner is a celebrated Canadian tenor whose career highlights include roles in some of the world's most prestigious opera houses, including the Metropolitan Opera, the Royal Opera House, and La Scala. Ben Heppner's contributions to the world of classical music extend to concert performances, recordings, and collaborations with renowned orchestras and conductors. He is a 1988 winner of the Metropolitan Opera auditions and received Grammy® Awards in 1998 for his recording of Die Meistersinger on London/Decca records and in 2001 for his recording of Les Troyens with the London Symphony Orchestra on LSO Live. Heppner hosted CBC Radio's SATURDAY AFTERNOON AT THE OPERA, featuring the finest opera productions and recordings from around the world from 2013 to 2021, and now hosts CBS Radio's BACKSTAGE, where he shares stories from behind the scenes. Ben Heppner lives in Toronto with his wife. He has three grown children and five grandchildren. Heppner loves drinking coffee on the deck and touring the countryside on his motorcycle.

In this episode, listen as Ben Heppner (Canadian tenor and broadcaster) shares with Rev. Dr. Andrew Stirling (Ambassador, Canadian Bible Society) about the role of Scripture in his life. Recorded as part of a series entitled The Word for Life: When Scripture Comes Alive, Ben talks about discovering in his early years a view of the Bible as bread, not stone, that gives life, and points you to Jesus. Referring to Joshua 4:9 and 1 Samuel 7, he shares how, in retrospect, he realized that over the years, God helped him to add different elements to his toolkit, including opera. He explains how the church has been foundational in his life and acknowledges that it was in the church that he learned the ropes of being a public singer.Ben Heppner is a celebrated Canadian tenor whose career highlights include roles in some of the world's most prestigious opera houses, including the Metropolitan Opera, the Royal Opera House, and La Scala. Ben Heppner's contributions to the world of classical music extend to concert performances, recordings, and collaborations with renowned orchestras and conductors. He is a 1988 winner of the Metropolitan Opera auditions and received Grammy® Awards in 1998 for his recording of Die Meistersinger on London/Decca records and in 2001 for his recording of Les Troyens with the London Symphony Orchestra on LSO Live. Heppner hosted CBC Radio's SATURDAY AFTERNOON AT THE OPERA, featuring the finest opera productions and recordings from around the world from 2013 to 2021, and now hosts CBS Radio's BACKSTAGE, where he shares stories from behind the scenes. Ben Heppner lives in Toronto with his wife. He has three grown children and five grandchildren. Heppner loves drinking coffee on the deck and touring the countryside on his motorcycle.---Learn more about the Canadian Bible Society: biblesociety.caConnect with us on Instagram: @canadianbiblesocietyWhether you're well-versed in Scripture or just starting out on your journey, The Bible Course offers a superb overview of the world's best-selling book.  This eight-session course will help you grow in your understanding of the Bible. Watch the first session of The Bible Course and learn more at biblecourse.ca. Help people hear God speak: biblesociety.ca/donate---Learn more about Ben Heppner thecanadianencyclopedia.ca/en/article/ben-heppner 

SynopsisThese days, when “Modern Music” is on the program, a sizeable chunk of the concert hall audience might start nervously looking for the nearest exit—but that wasn't always the case.On today's date in 1882, a 21-year old American composer and pianist named Edward MacDowell took the stage in Zurich, Switzerland, to perform his “Modern Suite” for piano at the 19th annual conference of the General Society of German Musicians, a showcase for new music whose programs were arranged by none other than Franz Liszt.Liszt had met MacDowell earlier that year, and when MacDowell sent him the music for his “Modern Suite” for solo piano, Liszt asked the young composer to play it himself at the Society's conference in Zurich.The success of his First “Modern Suite” lead to the creation of a Second, and both were published a year later by the Leipzig firm of Breitkopf & Hærtel. These two suites were the first works of MacDowell to appear in print, and launched his career as one of the major American composers of the late 19th century.Music Played in Today's ProgramEdward MacDowell (1860 - 1908) First Modern Suite, Op. 10 James Barbagallo, piano Naxos 8.559011On This DayBirths1836 - Brazilian opera composer Antonio Carlo Gomes, in CampinasDeaths1937 - American composer George Gershwin, age 38, in Hollywood, following an operation on a cystic brain tumorPremieres1882 - MacDowell: "Modern Suite" No. 1 for Piano, in Zurich, with composer as soloist1921 - Gershwin: musical revue, "George White's Scandals of 1921," at the Liberty Theater in New York City1996 - James MacMillan: "The World's Ransoming" (English horn Concerto), at the Barbican in London, by soloist Christine Pendrill with the London Symphony, Kent Nagano conducting2003 - Peter Maxwell Davies: "Naxos Quartet" No. 2, at the Pittville Pump Room, Cheltenham (UK), as part of the Cheltenham International Festival by the Maggini Quartet;Others1798 - In the nation's capital of Philadelphia, President John Adams signed an Act of Congress establishing the United States Marine Band (The original "32 drummers and fifers" assisted in recruiting and entertained residents)1885 - First concert of the Boston "Promenade" Orchestra (later dubbed the Boston "Pops") at the old Music Hall in Boston; Adolf Neuendorff conducts;1922 - Opening concert of the Hollywood Bowl, with German conductor Alfred Hertz at the podium1940 - Leonard Bernstein's first appearance as conductor of a professional orchestra, leading a performance of Wagner's Act I Prelude to "Die Meistersinger" with the Boston Pops at an open-air Esplanade Concert1998 - "The President's Own" U.S. Marine Band, America's oldest professional musical organization, marks its 200th anniversary Links and Resources On composer Edward MacDowell On the MacDowell Colony

Eva: Sena Jurinac | Magdalene: Hetty Plümacher | Walther von Stolzing: Bernd Aldenhoff | David: Gerhard Unger | Hans Sachs: Otto Wiener | Beckmesser: Benno Kusche | Pogner: Otto von Rohr | Vogelsang: Erich Majkut | Nachtigall: Hans Herbert Fiedler | Kothner: Willy Ferenz | Zorn: Renato Ercolani | Eislinger: Georg Walter | Moser: Mariano Caruso | Ortel: Leo Pudis | Schwarz: Odo Ruepp | Foltz: Dimitri Krylov | Nachtwächter: Hans Herbert Fiedler | Conductor: Fritz Rieger | Teatro San Carlo, Napoli | 12 January 1957 | Broadcast/in-house recording?

"Kinder, schafft Neues!" - Mit diesem Zitat aus einem Brief Richard Wagners feiert das Musiktheater Linz sein zehnjähriges Jubiläum. Gewählt wurden dafür "Die Meistersinger von Nürnberg". Regisseur Paul-Georg Dittrich will hier auch wirklich Neues schaffen und erzählt Wagners Oper bei der Premiere am 8. April ganz aus weiblicher Perspektive.

On today's episode of The Metropolitan Opera Guild Podcast, we have the second of two episodes exploring the mythos and myths of Wagner's male characters, featuring Guild lecturer Desiree Mays. In this second episode, she will continue to explore the ideas of myth and mythos and how they are presented in Die Meistersinger von Nürnberg and Lohengrin.

Synopsis Many music lovers will confess they prefer to hear symphonies or operas in the comfort of their own home rather than live in person at a concert hall or theater. On today's date in 1911, the famous French novelist, hypochondriac, and notorious homebody Marcel Proust wrote to his friend, the composer Reynaldo Hahn, that he had just listened to a live afternoon performance of the whole first act of Wagner's opera Die Meistersinger tucked up in bed and planned to hear Debussy's still-new opera Pelléas and Mélisande later that same evening, once again snugly secure in his Parisian apartment. Now, these days with radio, TV, and multiple live-streaming devices, this would be no big deal – but in 1911 how could that be possible? Well, for 60 francs a month -- a small fortune in 1911 -- wealthy Parisians could hear live performances of operas and plays relayed by a special phone line to a home receiver called the “théâtrophone.” First demonstrated in Paris in 1881, by 1890, the “théâtrophone was commercialized and the service continued 1932. Of course, even an enthusiastic subscriber like Proust had to admit the phone line sound quality was “très mal” (“really bad” in plain English) and hardly the same as being there in person. Music Played in Today's Program Claude Debussy (1862-1918) Pelléas et Mélisande Symphonie Suite (arr. Marius Constant) Orchestre National de Lyon; Jun Märkl, conductor. Naxos 8.570993 On This Day Births 1801 - Czech composer Johann Wenzel Kalliwoda, in Prague; 1836 - French composer Léo Delibes, in St. Germain du Val, Sarthe; 1844 - French composer and organist Charles Marie Widor, in Lyons; Deaths 1996 - American composer and conductor Morton Gould, age 82, in Orlando, Fla. Premieres 1727 - Bach: Sacred Cantata No. 52 ("Ich habe genug") performed on the Feast of the Purification as part of Bach's third annual Sacred Cantata cycle in Leipzig (1725/27); 1744 - Handel: oratorio “Semele,” in London (Julian date: Feb. 10); 1749 - Handel: oratorio “Susanna” in London (Julian date: Feb. 10); 1886 - Mussorgsky (arr. Rimsky-Korsakov): opera “Khovanschchina,” posthumously, in St. Petersburg (Julian date: Feb. 9); 1907 - Delius: opera, "A Village Romeo and Juliet," in Berlin; 1909 - Liadov: “Enchanted Lake” for orchestra, in St. Petersburg (Julian date: Feb. 8); 1917 - Rachmaninoff: “Etudes-tableaux,” Op. 39 (Gregorian date: March 6); 1920 - Milhaud: ballet "Le Boeuf sur la toît," in Paris; 1929 - Respighi: orchestral suite, "Roman Festivals," by the New York Philharmonic, Toscanini conducting; 1946 - Roy Harris: "Memories of a Child's Sunday," by the New York Philharmonic with the composer conducting; 1948 - Cowell: Suite for Woodwind Quintet, by an ensemble at the McMillan Theater of Columbia University in New York City; This work was written in 1933 for the French flutist Georges Barrère, but the score and parts remained lost until 1947. Links and Resources On Debussy On the Théâtrophone

Die Begeisterung des Publikums war groß und andauernd. Keith Warner wird, wie man dem Kurier entnehmen kann, in der nächsten Zeit einige kleinere deutsche Städte beglücken. Der große Wurf war seine Regie nicht, sie hat nicht einmal die vereinzelten Buhs verdient. Wertnote: 8,6/10 Punkten

As Great Britain endured the Blitz in 1943, the 71-year-old Vaughan Williams produced his Fifth Symphony. To celebrate 150 years since the composer's birth, Edward Gardner conducts this work of warmth and gentle contemplation. Christian Tetzlaff, “a meticulous and refined virtuoso” (The New York Times), presents Bartók's rhapsodic Second Violin Concerto. Wagner's serene and somber prelude to Act 3 of Die Meistersinger von Nürnberg opens the program. Ticket holders are invited to a free preconcert conversation featuring Steve Rings in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Classic Encounter Thursday, November 3: Preconcert lecture hosted by Chicago's favorite radio DJ, WXRT's Terri Hemmert, with co-host and CSO viola Max Raimi. You will have the opportunity to add Classic Encounter to your order after selecting your seats for the concert. Learn more: cso.org/performances/22-23/cso-classical/wagner-bartok-and-vaughan-williams

Wagner Ouvertures1.Der Fliegende Hollander 2.Tannhauser3.Die Walkure4.Die Meistersinger von Nurnberg5.Parsifal6.Rienzi 7.Das Liebesverbot Artisti vari

Die Meistersinger in Nürnberg: Eine Oper von Richard Wagner, aber auch ein Gesangswettbewerb in Nürnberg. Nach zwei Jahren Corona-Pause findet er in diesem Jahr (2022) zum dritten Mal statt. Eleonore Birkenstock hat sich ins Halbfinale gesetzt.

WAGNER: Was duftet doch der flieder (Die Meistersinger, Acto 2) (6.32) Wahn! Wahn! Überall Wahn (Die Meistersinger, Acto 3) (7.22). D. Fischer-Dieskau (bar.), Orq. de la Ópera del Estado de Berlín. Dir.: E. Jochum. HÄNDEL: Aria de Gobrias “O memory still bitter to my soul” (Belshazzar) (6.02). D. Fischer-Dieskau (bar.), Orq. de Cámara de Munich. Dir.: H. Stadlmair. SCHUBERT: Gute Nacht. Der Leiermann (Winterreise D 911) (8.56). D. Fischer-Dieskau (bar.), G. Moore (p.). MAHLER: Ich atmet’ einen linden duft, Blicke mir nicht in die Lieder (Rückert-Lieder) (4.39). D. Fischer-Dieskau (bar.), Orq. Fil. de Berlín. Dir.: K. Böhm. Escuchar audio

“What is the tension between this ugly ideology, the beauty of the music, and the agony of the man producing it?” The final podcast of our trilogy focusing on Wagner's epic last opera is a wide-ranging, unflinching discussion between the journalist, writer and filmmaker https://www.paulmason.org/ (Paul Mason) and Professor https://ahc.leeds.ac.uk/languages/staff/46/professor-frank-finlay (Frank Finlay) of the University of Leeds. Paul traces the composer's changing philosophical viewpoints, from his early identification with the Young Hegelians and Ludwig Feuerbach, to the later influence of Arthur Schopenhauer and Buddhism on the themes of suffering and enlightenment through compassion in Parsifal, as well as the more baneful influence of the racial theorist Arthur de Gobineau. Wagner's antisemitism is discussed in the context of his works and the problems it presents for their audiences. Another tension – between the composer's anti-modernist, proto-fascist sympathies, and the radicalism in his music – is identified. Parsifal is put in the context of Wagner's oeuvre as a whole, in particular the Ring cycle and Die Meistersinger, illuminated throughout by Paul and Frank's deep but complex engagement with the works. Excerpts of the cast, Chorus and Orchestra of Opera North in rehearsals for the 2022 https://www.operanorth.co.uk/news/parsifal-your-reaction/ (concert staging) of Parsifal are heard throughout. Thinking with Opera is produced by the DARE partnership between Opera North and the University of Leeds.

In the second of three episodes focusing on Wagner's epic final opera, New Yorker critic and author of https://www.therestisnoise.com/wagnerism/ (Wagnerism) and The https://www.theguardian.com/books/2008/mar/15/music (Rest is Noise) https://www.therestisnoise.com/ (Alex Ross) and https://www.york.ac.uk/music/staff/academic/aine-sheil/ (Dr. Áine Sheil) of the University of York discuss gender, sexuality and ritual in Parsifal, and in Richard Wagner's work as a whole. The multi-faceted character of Kundry – ‘Wandering Jew', mother, seductress – is unpicked, and ambiguous readings of the brotherhood of the Grail Knights are offered. Parsifal's enduring mystery and power is seen through the disparate audiences for its early performances – from American debutantes sent to Bayreuth for their self-improvement, to gay men and women attracted by an atmosphere of acceptance unknown in the wider society of the time. Finally, there are close readings of the music itself: an echo from Wagner's 1868 opera Die Meistersinger von Nürnberg, the ‘androgyny' of his scoring for orchestra, his experiments with instrumentation and tonality, and the astonishing ‘music of collapse' in the Grail Procession in Act III. Excerpts from Parsifal recorded at the dress rehearsal for Opera North's 2022 https://www.operanorth.co.uk/news/parsifal-your-reaction/ (concert staging) are featured throughout. Introduced and chaired by Professor Frank Finlay of the University of Leeds. Thinking with Opera is produced by the DARE partnership between Opera North and the University of Leeds.

Instead of all of the mythological figures we are used to seeing in Wagner's operas, the story of Die Meistersinger is set in a community of artisans. The main character, Hans Sachs is even based on a real life historical figure. On today's episode of The Metropolitan Opera Guild's podcast, we welcome back Guild lecturer Desiree Mays for the second part of our discussion on Die Meistersinger.

Nelson Freire, who passed away this month, said that pianists ought to play with joy. He did. There is a lot of joy in this episode, and sublimity, ethereality, and other qualities to savor. From Wagner to Errol Garner. Trad., arr. Schindler, “Jasmine Flower” Puccini, “Signore, ascolta,” from “Turandot” Wagner, “Selig, wie die Sonne meines Glückes lacht,” from “Die Meistersinger von Nürnberg” Albéniz-Godowsky, Tango in D major Kern-Garner, “The Way You Look Tonight”

Nelson Freire, who passed away this month, said that pianists ought to play with joy. He did. There is a lot of joy in this episode, and sublimity, ethereality, and other qualities to savor. From Wagner to Errol Garner. Trad., arr. Schindler, “Jasmine Flower” Puccini, “Signore, ascolta,” from “Turandot” Wagner, “Selig, wie die Sonne meines Glückes lacht,” from “Die Meistersinger von Nürnberg” Albéniz-Godowsky, Tango in D major Kern-Garner, “The Way You Look Tonight”

Though thought of as Wagner's only comic opera, Die Meistersinger can also be seen as an artistic manifesto. With a six-hour running time, Die Meistersinger is the longest opera in the Met's repertory. On today's episode of The Metropolitan Opera Guild podcast, we welcome Guild lecturer Desiree Mays for the first of two episodes on Die Meistersinger.

Autor: Friedrich, Uwe Sendung: Fazit Hören bis: 19.01.2038 04:14

Donald Macleod follows Wagner's journey towards building the Bayreuth Festival. This week, Donald Macleod follows Wagner on his decades-long journey to realise his dream of building his own music theatre, and establishing a festival there dedicated to his music. We see how Wagner's revolutionary ideas and vaulting ambition struggled against the reality of securing supporters, raising finances, and inspiring audiences. Music Featured: Das Rheingold, Scene 1: “Lugt, Schwestern! Die Weckerin lach in den Grund” Prelude to Die Meistersinger von Nürnberg Tannhäuser: Act 3 Scene 1: “Allmächt'ge Jungfrau, hör mein Flehen!” and Scene 2 “O du, mein holder, Abendstern” Lohengrin: Prelude to Act III Tristan and Isolde: Prelude and Liebestod Das Rheingold: End of Scene 3 “Ohe! Ohe! Schreckliche Schlange…“ Die Walküre: Act 2, “Hinweg! Hinweg! Flieh die Entwihte!...” Tannhauser: Act 2 Finale Lohengrin: Act 3, “In fernem Land” Das Rheingold, Scene 4, Finale (Entry of the Gods into Valhalla) Lohengrin: Act 3, “Treulich geführt ziehet dahin” (Bridal March) Tristan and Isolde: Act 2, “O sink hernieder, Nacht der Liebe…” (Love duet) Die Walküre, Act 3 opening (The Ride of the Valkyries) Siegfried: Act 3, “Mit zerfochtner Waffe wich mir der Feige” Gotterdämmerung: Prologue, Sunrise and Siegfried's Rhine Journey Siegfried: Act 3, “Heil dir, Sonne! Heil dir, Licht!” (Brünhilde's awakening) Die Walküre: Act III, Wotan's Farewell and Magic Fire Music Götterdämmerung: Siegfried's Funeral March Götterdämmerung: "Starke Scheite schichtet mir dort“ (Brunhilde's Immolation Scene) Die Meistersinger von Nürnberg: Act 3, Scene 5 “Morgenlich Leuchtend” (Walther's Prize Song) Parsifal: Prelude to Act 1 Parsifal: Act 1, Entry to the knight's castle Meistersinger: Act 3, Scene 4, “Selig wie die Sonne” (Quintet) Parsifal: Act 2, Scene 2 (Klingsor's magic garden) Parsifal – Good Friday Music Presented by Donald Macleod Produced by Chris Taylor, for BBC Cymru Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Richard Wagner (1813-1883) https://www.bbc.co.uk/programmes/m0010040 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Wagner, Ouvertures1.Der Fliegende Hollander 2.Tannhauser3.Die Walkure4.Die Meistersinger von Nurnberg5.Parsifal6.Rienzi 7.Das Liebesverbot Artisti vari

After an unscheduled break, Anna and Krista are back with more Wagner nonsense in the form of his longest opera, Die Meistersinger von Nürnberg. Hey, there's a fight in this one!

Barrie Koskys Inszenierung von Richard Wagners Oper "Die Meistersinger von Nürnberg" läuft seit 2017 bei den Bayreuther Festspielen. Am Montagabend hatte die Wiederaufnahme Premiere. Kann sie auch nach vier Jahren noch überzeugen?

Synopsis On today's date in 1901, the English composer Edward Elgar conducted the first performance of his cheery, upbeat, and slightly rowdy “Cockaigne” Overture, a commission from the Royal Philharmonic Society dedicated to his many friends in British Orchestras. Now “Cockaigne” does NOT refer to the schedule 2 narcotic, but rather to an old nickname for the City of London, originating in a very old poem about a utopian land where rivers flow with wine and houses are made of cake and barley sugar. Elgar said he wanted to come up with something “cheerful and London-y, stout and steak ...honest, healthy, humorous and strong, but not vulgar." The new overture proved an instant hit, and critics of the day compared it favorably to the festive prelude to  Act I of  Wagner's opera “Die Meistersinger.”  Elgar made two recordings of the work, conducting the Royal Albert Hall Orchestra in 1926 and the BBC Symphony in 1933. By chance during that 1933 recording session, as a back-up some takes were cut simultaneously to two separate wax master recording machines from two separate microphones, enabling engineers many decades later to blend the two simultaneous “takes” into an “accidental stereo” version of the old mono recording. Music Played in Today's Program Edward Elgar (1857 – 1934): Cockaigne Overture (BBC Symphony; Edward Elgar, cond (1933 “accidental stereo”)) Naxos 8.111022

Synopsis On today's date in 1901, the English composer Edward Elgar conducted the first performance of his cheery, upbeat, and slightly rowdy “Cockaigne” Overture, a commission from the Royal Philharmonic Society dedicated to his many friends in British Orchestras. Now “Cockaigne” does NOT refer to the schedule 2 narcotic, but rather to an old nickname for the City of London, originating in a very old poem about a utopian land where rivers flow with wine and houses are made of cake and barley sugar. Elgar said he wanted to come up with something “cheerful and London-y, stout and steak ...honest, healthy, humorous and strong, but not vulgar." The new overture proved an instant hit, and critics of the day compared it favorably to the festive prelude to  Act I of  Wagner's opera “Die Meistersinger.”  Elgar made two recordings of the work, conducting the Royal Albert Hall Orchestra in 1926 and the BBC Symphony in 1933. By chance during that 1933 recording session, as a back-up some takes were cut simultaneously to two separate wax master recording machines from two separate microphones, enabling engineers many decades later to blend the two simultaneous “takes” into an “accidental stereo” version of the old mono recording. Music Played in Today's Program Edward Elgar (1857 – 1934): Cockaigne Overture (BBC Symphony; Edward Elgar, cond (1933 “accidental stereo”)) Naxos 8.111022

The Australian tenor, Gregory Dempsey, was born in Melbourne in1931. He originally trained as a baritone but made his debut as Don Ottavio in Don Giovanni in 1954 with National Opera of Victoria, also appearing as Turiddu in Cavalleria Rusticana and Pedro in d’Albert’s Tiefland. In 1955 he won the £1,000 Lever Award (a commercial radio award) and in 1956 was a grand finalist in the Mobil Quest.When the Elizabethan Trust Opera was formed in 1956 he took part in its season of four operas. The following season, he appeared in their productions of Tosca, La bohème and The Tales of Hoffmann, and in the 1958 season sang principal roles in Carmen, The Barber of Seville and Fidelio. He became a permanent member of the chorus for the Channel 9 television singers. 1960 found him singing Monostatos in The Magic Flute, the First Jew in Salome, Goro in Madama Butterfly and Rinuccio in Gianni Schicchi. During this season, Gregory Dempsey sang a matinee of Goro in Madama Butterfly, followed by Luigi in Il tabarro (replacing another tenor) followed by Rinuccio in Gianni Schicchi. Three roles, quite different roles, in one day!In Perth, he sang in both opera in a double-bill as Mundit – an aborigine – in the 1962 premiere of the Australian opera, Dalgerie and followed with Beppe in Pagliacci after interval. Gregory Dempsey joined Sadler’s Wells Opera in London in 1962 and this was his main UK base for the next fifteen years. His roles there and the Coliseum included Tom Rakewell, Peter Grimes, Jimmy Mahoney, Albert Gregor, Skuratov, Don José, Erik, David, Mime (Das Rhinegold and Siegfried) and the Shepherd in King Roger. He created the role of Boconnion in Richard Rodney Bennet’s The Mines of Sulphur after which one critic wrote “an heroic-villainous part of formidable challenge.” Dempsey appeared as Dionysus in the British premiere of Henze’s The Bassarids and the title role in the first British staging of The Adventures of Mr Brouček. Gregory Dempsey worked frequently with Scottish Opera, in roles including Britten’s Albert Herring, Quint and Lysander, as well as Florestan, Aeneas in The Trojans, David and Števa. Later, with Scottish Opera, he created the role of Bothwell in Musgrave’s Mary, Queen of Scots in 1977. He made his Covent Garden debut in 1972 as Števa, returning as the Drum Major in Wozzeck. In the USA he appeared in San Francisco from 1966, as Albert Gregor and Tom Rakewell.He returned to Sydney to become a member of Opera Australia singing David in Die Meistersinger von Nürnberg, Herman in Queen of Spades, Dimitri in Boris Godunov, Jimmy in The Rise and Fall of the City of Mahagonny, Mime in both Das Rheingold and Siegfried, Trin in La fanciulla del West, Valzacchi in Der Rosenkavalier and Bob Boles in Peter Grimes. With Victoria State Opera he sang Nero in L’incoronazione di Poppea, Il ritorno d’Ulisse in patria, The Magician in The Consul, Monostatos in The Magic Flute, Benoît and Alcindoro in La bohème, Incredible in Andrea Chenier, Prince Populescu in Countess Maritza, Ajax l in La belle Hélène, Jamie in My Fair Lady and Borsa in Rigoletto. With the Adelaide Festival, he was seen as Nero in L’incoronazione di Poppea, Mark in The Midsummer Marriage, Gregor in The Makropulos Case, Zinoviy Borisovich Izmailov in Lady Macbeth of Mtsensk and The Adventures of Mr. Brouček. His clear, perfectly tuned tenor voice was suited to a plethora of different repertoire and styles. From Monteverdi to the most difficult contemporary compositions, Gregory Dempsey made them relevant to every audience. His charm and ever-ready humour made him loved by every colleague.(Text: Brian Castles-Onion)The STAGES podcast is available from Apple podcast, Whooshkaa, Spotify and where you find your favourite podcasts. www.stagespodcast.com.au

Los maestros cantores de Núremberg (título original en alemán, Die Meistersinger von Nürnberg) es una ópera en tres actos con música y libreto en alemán de Richard Wagner. Es una de las óperas más largas, aproximadamente alrededor de cuatro horas y media.

Today I finally get to pay tribute to one of the singers who was a formative influence on me as a budding opera and vocal aficionado. George Shirley, born on April 18, 1934 in Indianapolis, Indiana, was one of the most versatile tenors of the second half of the twentieth century, and a pathbreaker as the first African American tenor to sing at the Metropolitan Opera. I first encountered him through his matchless portrayal of Pelléas in Debussy’s Pelléas et Mélisande opposite Elisabeth Söderström. But his Mozart is equally celebrated: the podcast also features live and studio recordings of George Shirley as Tamino (opposite Judith Raskin), Don Ottavio, Ferrando (opposite Leontyne Price),  as well as his extraordinary Idomeneo. Extant live performances of George Shirley including assumptions of roles as diverse as Don José (opposite Shirley Verrett), David in Die Meistersinger, Pinkerton (opposite an incandescent young Renata Scotto), Mephistopheles in Busoni’s Doktor Faust, and even Bacchus in Ariadne auf Naxos. All of these are included in the episode, as are rare song recordings from throughout his career. Raise a glass to the great George Shirley, and join me in thanking him for having shared his extraordinary artistic gift with us for all these years! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

Boisterous timpani joined by blazing brass set the scene for the riotous fifth movement. The long, arduous first movement, after three shorter movements developmental in mood, is finally equalled by a substantial ‘daylight' finale. The movement is a rondo combined with a set of eight variations, capped off by a dramatic coda. There are parodies of Richard Wagner (1813-1883) – Die Meistersinger von Nürnberg and Franz Lehar (1870-1948) – The Merry Widow.---A listening guide of Symphony No. 7 - 5th Movement with Lew Smoley.

Quinto episódio de Scherzo | Richard Wagner (1813-1883) | Produzido pela: @meatopodcasts | Recomendação: | Episódio 2 da série "Deus Cérebro": https://www.rtp.pt/play/p8309/e518506/deus-cerebro | Música: |Tannhäuser (Abertura): https://www.youtube.com/watch?v=nW5lTeA5xDM | Das Liebeverbot (Abertura): https://www.youtube.com/watch?v=Dh1dle0NnUc | Rienzi (Abertura): https://www.youtube.com/watch?v=zFQ2MJ6b8Xs | Der fliegende Holländer (Abertura): https://www.youtube.com/watch?v=Ezqen5-UxlQ | Tannhäuser (Coro dos peregrinos): https://www.youtube.com/watch?v=Xwkzg0bGh30 | Lohengrin (Prelúdio 3º Ato): https://www.youtube.com/watch?v=Gf9Oo6v5wHk | Lohengrin (Marcha Nupcial): https://www.youtube.com/watch?v=HUpineaywOI | Tristan und Isolde (Prelúdio): https://www.youtube.com/watch?v=5NvUyCdKAxM&t=261s | Die Meistersinger von Nürnberg (Coro do 3º Ato): https://www.youtube.com/watch?v=t_bMNYBD0I4 | Die Walküre: https://www.youtube.com/watch?v=yL5lItkeo8g&t=108s | Der Ring des Nibelungen (arr. De Vlieger): https://www.youtube.com/watch?v=1PBhlPeTJ_g&t=491s

Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg), WWV 96, is a music drama (or opera) in three acts, written and composed by Richard Wagner. It is among the longest operas commonly performed, usually taking around four and a half hours. It was first performed at the National Theatre Munich, today the home of the Bavarian State Opera, in Munich, on 21 June 1868. The conductor at the premiere was Hans von Bülow. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p1106/Wagner%3A_Die_Meistersinger_von_N%C3%BCrnberg_%28The_Master-Singers_of_Nuremberg%29%2C_WWV_96.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Something a little different today: Wagner sung in a variety of languages, none of them German. Throughout much of the 20th Century, it was not at all unusual for Wagner’s operas to be performed in the vernacular. I have chosen to present this phenomenon in recordings and live performances over nearly six decades (1903-1962) and in four different languages (French, Italian, Swedish, and Russian). We examine how the language being sung influences phrasing and expression, even characterization. Operas represented include Tannhäuser, Lohengrin, Die Walküre, Siegfried, Die Meistersinger von Nürnberg, Tristan und Isolde, and Parsifal. Singers include Germaine Lubin, Maria Callas, Birgit Nilsson, Elisabeth Söderström, Mafalda Favero, Marjorie Lawrence, Ninon Vallin, Marcella Pobbe, Karin Branzell, Aureliano Pertile, Georges Thill, Leonid Sobinov, Miguel Fleta, Paul Franz, Ivan Ershov, Sergei Lemeshev, César Vezzani, Set Svanholm, Martial Singher, Bernhard Sönnerstedt, Rolando Panerai, Sigurd Björling, Boris Christoff, and Mark Reizen. Hop aboard the Wagner Express for a most unusual journey! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available, including a new extra episode further exploring today’s topic.

The day begins with the “Awakening Scene” from Strauss’s The Egyptian Helen, sung by Leontyne Price. The morning continues with Die Meistersinger, The Mikado, Oklahoma!, and much more. Artists include The King’s Singers, René Kollo, Bryn Terfel, and Jonas Kaufmann. The post Morning Songs appeared first on WFMT.

Gran finale per la Rassegna di concerti che il Teatro Verdi di Trieste ha portato in scena nel corso dell'estate per il proprio pubblico, un percorso musicale che, sviluppato in 10 appuntamenti, ha offerto una carrellata di pagine fra le più celebri e diverse per stili, ispirazioni, generi e aree geografiche. Protagonisti l'Orchestra e il Coro della Fondazione, modulati in diverse formazioni. La rassegna si è aperta il 21 giugno, giorno della Festa della Musica, con un grande concerto lirico-sinfonico dedicato alla musica lirica italiana e si conclude con un appuntamento con un organico ancora più ampio e con un programma di respiro europeo. Dopo il lockdown della passata primavera, il Teatro Verdi di Trieste ha voluto riprendere l'attività artistica con il pubblico presente in sala, anche per offrire motivi di concreta speranza e ottimismo e con questo spirito il concerto si apre con l'ouverture de Die Meistersinger von Nürnberg, l'opera sicuramente più serena e gioiosa di Richard Wagner. Egli stesso descrive questo brano come la felice parata dei cantori sulle strade della città e davanti a un popolo festante che accoglie con gioia i propri poeti. L'ouverture è in effetti l'intreccio dei bellissimi temi che si sviluppano nello svolgersi dell'opera; ma è un brano che eseguito anche autonomamente, esprime una perfetta e compiuta struttura e rende appieno un senso di serenità e festa. A seguire la Suite n. 1 op. 46 del compositore norvegese Edvard Grieg. Egli scrisse le musiche di scena per l'opera teatrale di Henrik Ibsen, Peer Gynt, su richiesta dello stesso drammaturgo e il popolare successo riscosso in scena indusse in seguito Grieg a trarne due suite autonome. La prima è composta di quattro brevi pezzi, semplici e ispirati. Descrivono un'alba, una serena marcia funebre, una danza e un castello con una capacità inequivocabile di evocare un'atmosfera nordica del tutto originale, riconoscibile e naturale. Con Ma Mere l'Oye di Maurice Ravel ci immergiamo in un mondo altrettanto ingenuo ma questa volta la semplicità si risolve in magia ed eleganza. Il compositore evoca ciascuna delle fiabe cui è dedicato ognuno dei cinque brani, elaborando il materiale musicale di un balletto a sua volta tratto da una raccolta di pezzi per pianoforte: pagine bellissime che nella versione orchestrale acquistano ulteriore fascino grazie agli accostamenti armonici audaci ed al raffinato uso dei colori strumentali. Un'altra magia quella de Una notte sul Monte Calvo di Modest Musorgskij, partitura straordinaria e fra le più originali della musica russa. Il brano descrive un sabba di streghe, in un flusso continuo di suoni che in nulla si richiamano alla natura, pervaso da un senso d'inquieto e sublime che travolge l'ascoltatore e che infine si placa e rasserena misteriosamente al rintocco di una campana. Per gli ultimi due brani in programma è prevista la partecipazione anche del Coro, preparato dal M° Francesca Tosi. Con il potente coro “Patria oppressa!” tratto dal quarto atto dell'opera Macbeth di Giuseppe Verdi, le emozioni si trasferiscono su un piano più umano e sociale: le voci cantano lo sgomento di un popolo oppresso, il dolore della tirannia, il desiderio di giustizia, un brano sempre molto atteso dal pubblico. In un atmosfera epica e di vittoria ci trasportano Le danze polovesiane, la pagina più nota del compositore russo Aleksandr Borodin, dal secondo atto dell'opera Il principe Igor. Sono le danze dei barbari vittoriosi cantate dalle loro voci orientaleggianti e selvagge, ora smaglianti e vorticose, ora delicate e sognanti. Una pagina suggestiva e profondamente intrisa di un sentimento nazionale festoso e sicuro dei propri valori. Il concerto andrà in scena ancora questa sera venerdì 7 agosto alle ore 21 e si svolgerà nel rispetto di tutti i protocolli anti covid19 vigenti, per la protezione dei lavoratori e del pubblico presente in sala; le attuali disposizioni impongono l'uso della mascherina e limitano i...

Many of opera’s greatest and most overwhelming moments happen thanks to the chorus. Seattle Opera Dramaturg Jonathan Dean introduces many of the typical functions of the opera chorus, such as saluting a leader, singing in praise—or fear—of God, providing local color, intensifying the drama, and embodying the multitude. Musical excerpts from three decades of Seattle Opera productions feature the work of Seattle Opera Chorus Masters George Fiore, Beth Kirchoff, and John Keene, in Seattle Opera’s 2015 Nabucco, 2012 Turandot, 2000 Boris Godunov, 2015 Semele, 2007 Iphigénie en Tauride, 2019 Il trovatore, 2014 Tales of Hoffmann, 2013 La bohème, 2011 Porgy and Bess, 1998 Faust, 1994 Lohengrin, 1994 Norma, 2007 Flying Dutchman, 2012 Fidelio, 1989 Die Meistersinger von Nürnberg, and 1990 War and Peace, plus a Decca recording of Die Entführung aus dem Serail conducted by Sir Georg Solti, the Leipzig Radio Chorus and Staatskapelle Dresden performing the Tannhäuser Pilgrims’ Chorus conducted by Silvio Varviso, and the Decca recording of Peter Grimes conducted by Benjamin Britten.

Regisseur, Autor und Opernsänger Selcuk Cara inszeniert 2021 die Wagner-Oper "Die Meistersinger von Nürnberg" auf dem Reichsparteitagsgelände in Nürnberg. Er hat Wagners Oper kritisch bearbeitet. Und erntet massive Angriffe.

Wagnerian bass-baritone Iain Paterson on the challenge of singing Hans Sachs in Wagner's Die Meistersinger at ENO, the importance of art and getting into music by accident after a sports injury