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2 episodes with die zauberfl
2 episodes with die zauberfl
3 episodes with die zauberfl
2 episodes with die zauberfl
2 episodes with die zauberfl
7 episodes with die zauberfl
2 episodes with die zauberfl
2 episodes with die zauberfl
2 episodes with die zauberfl
Recorded Apr, 2024.Australian soprano Morgan Balfour made her San Francisco Symphony solo debut in 2023 with Bach's Magnificat, conducted by Dame Jane Glover. In the same year, she made her European debut with Internationale Bachakademie Stuttgart's JSB Ensemble under the baton of Hans-Christoph Rademann and received praise for her "crystal clear tone (that) conveyed a broad palette of emotional and vocal colors."During the 2024/25 season, Morgan will perform in Purcell's The Fairy Queen with Pinchgut Opera, appear as Susanna in Le nozze di Figaro with Pocket Opera, sing the soprano solo in Carmina Burana with Schola Cantorum and join Sacramento Baroque Soloists in Masterpieces from France.With a strong affinity for early music and the concert stage, Morgan has performed as a soloist with numerous companies, including Australian Brandenburg Orchestra, American Bach Soloists, Sydney Philharmonia, Canberra Symphony Orchestra and Cantata Collective. In 2022 she was a Virginia Best Adams Fellow at the Carmel Bach Festival.Some of her concert repertoire includes Vaughan William's Serenade to Music (Sydney Philharmonia), Bach's Mass in B Minor (San Francisco Bach Choir), Handel's Messiah (Chora Nova), Mozart's Requiem (Sydney University Graduate Choir), Haydn's Missa brevis (Masterworks Chorale), Bach's Missa Divi Xaverii (California Bach Society), Bach's Actus tragicus (Central Coast Chamber Choir), Whitbourn's Annalies (UC Berkeley Chamber Chorus) and numerous other Bach cantatas with Cantata Collective.Morgan has performed the role of Cephise in Rameau's Pigmalion with both Pinchgut Opera and American Bach Soloists. She also appeared as Honour in Purcell's King Arthur with the Brisbane Baroque Festival. As a Resident Artist with the Lyric Opera of Kansas City, Morgan spent the 2019 - 2020 season covering the roles of Blondchen in Die Entführung aus dem Serail, Musetta in La bohème and was scheduled to perform Mrs Grady in The Shining (covid19).Other operatic credits include Pamina in Die Zauberflöte, the titular role in Rodelinda, Frasquita in Carmen, Younger Alice in Glory Denied, Meleagro in Handel's Atalanta, Governess in The Turn of the Screw, and Annina in La traviata. Alongside her work as a soloist, Morgan is an AGMA member of the San Francisco Symphony Chorus, and has participated in numerous projects including the GRAMMY Award-winning recording of Kaija Saariaho's Adriana Mater. Morgan has also performed as a member of the San Francisco Opera Chorus and regularly appears with American Bach Soloists Cantorei. Morgan has numerous awards from appearing in the international competition circuit. She was the 2019 Handel Aria Competition First Prize Winner, 2022 Lyndon Woodside Oratorio - Solo Oratorio Competition Esther Korshin Award Winner, 2021 Colorado Bach Ensemble Second Prize Winner and 2021 Kentucky Bach Audrey Rooney Vocal Competition Encouragement Award Winner. In addition to her work as a classical vocalist, Morgan can be heard on the game soundtrack of The Lord of the Rings: Return to Moria.https://morganbalfour.com/--Hosted by Jessica Harper (soprano) & Jeremy Boulton (baritone), 'So You Think You Can Belto?' was created to empower emerging operatic practitioners across Australia and the world with access to the direct knowledge and relayed experiences of professionals.BUY JESSICA A COFFEE: https://www.paypal.com/ncp/payment/32TKWJ6EQ7G8NTWITTER: twitter.com/sytycanbeltoFACEBOOK: facebook.com/soyouthinkyoucanbeltoINSTAGRAM: instagram.com/soyouthinkyoucanbeltoHASHTAG: #SoYouThinkYouCanBeltoJESSICA: jessicaharpersoprano.comJEREMY : jeremyboulton.com.auDISCLAIMER: The views and opinions expressed are solely those of the individuals that appear on the program, not the views of the organisations that they are employed by, nor who they represent in other capacities.
ab 1:23 Min. - Jörg Baberowski: Die letzte Fahrt des Zaren | Als das alte Russland unterging | Gelesen von Omid Paul Eftekhari | 12 Std. 15 Min. | C.H. Beck Verlag || ab 10:13 Min. - Kurt Prödel: Klapper | Gelesen von Pascal Houdus | 5 Std. 47 Min. | Hörbuch Hamburg || ab 18:28 Min. - Opera re:told: Die Hochzeit des Figaro | bzw. Die Zauberflöte | Text und Erzähler: Frederic Böhle | Idee: Felix Löffler und Frederic Böhle | mit dem Ensemble Gutenberg Winds | 1 Std. 40 Min. bzw. 1:19 | Verlag Buchfunk || ab 26:38 Min. - Arne Salasse: Die Glitzer-Gang - Hörspielreihe 6 Folgen á ca. 26 Min. | Regie: Janine Lüttmann | Musik: Andreas Koslik | ab 9 Jahren | ARD-Audiothek / hr, NDR
(00:00) Die Direktion für Entwicklung und Zusammenarbeit löst in vier Jahren ihre Partnerschaften mit Schweizer Kulturinstitutionen auf. Was bedeutet das für Schweizer Kulturinstitutionen? Weitere Themen: (05:06) «Die Zauberflöte – eine Zitherpartie» rollt das Werk historisch auf. (09:42) Gestern wäre Bob Marley 80 geworden. Eine Annäherung an den beliebten Reggea-Musiker. (14:20) Laurence Kubskis Fotos im Friart zeigen Tiere und unsere Beziehungen zu ihnen – mit erstaunlicher Erkenntnis. (18:45) «Das kleinste gemeinsame Vielfache» ist der Anfang einer bewegenden Trilogie der finnischen Schriftstellerin Pirkko Saisio.
Thu, 23 Jan 2025 14:36:05 +0000 https://spielplanaudiodeskription.podigee.io/146-die-zauberflote-teil-1 93cef06f61aac800f872b26d4a0aac70 146 full Mit Audiodeskription aus der Deutschen Oper Berlin no Berliner Spielplan Audiodeskription
Ayako Ohtake, a Sydney-based Japanese soprano singer, hosts monthly music segment called VIVA! Opera for SBS Japanese. - 気持ちよく新しい年のスタートを切れますよう――。傑作「魔笛」より、清涼感あふれ、芯の強さも表現された愛に満ちた美しいシーンを取り上げました。
"Die Zauberflöte" für Kinder: Das bringt die Sarré-Musikakademie auf die Bühne - demnächst in der alten Kongresshalle am Bavariapark. Die Leiterin der Musikschule, Verena Sarré, war zu Gast im BR Klassik-Studio und hat dabei verraten, was die Lieblingsrolle der Kinder und Jugendlichen ist. Davor erklärt sie, an wen sich ihre Akademie richtet und wer bei dieser Zauberflöte mitmacht.
Wenn Fidelios Leonore gesanglich auf den Blechbläsern surft, die Arie der Königin der Nacht gepfiffen wird und die Puppen tanzen - dann hat Nikolaus Habjan seine Hände im Spiel. Er ist Puppenspieler, Regisseur, Kunstpfeifer - und zu Gast bei hr2-kultur. Sie hören, wie Die Zauberflöte die Opernleidenschaft in ihm geweckt hat, wie wichtig Spaß und Blödeln beim Proben ist, was Puppen besser können als Menschen und Sie hören ihn auch singen - Georg Kreisler nämlich.
Wenn Fidelios Leonore gesanglich auf den Blechbläsern surft, die Arie der Königin der Nacht gepfiffen wird und die Puppen tanzen - dann hat Nikolaus Habjan seine Hände im Spiel. Er ist Puppenspieler, Regisseur, Kunstpfeifer - und zu Gast bei hr2-kultur. Sie hören, wie Die Zauberflöte die Opernleidenschaft in ihm geweckt hat, wie wichtig Spaß und Blödeln beim Proben ist, was Puppen besser können als Menschen und Sie hören ihn auch singen - Georg Kreisler nämlich.
Die Zauberflöte (“The Magic Flute”) is, by any measure, one of the most popular, successful, and well-known operas ever written, delighting adults and children alike. Yet experiencing Mozart's The Magic Flute has left countless opera-goers reflecting contentedly on the sumptuous musical feast, but scratching their heads over the plot and characters. With the help of conductor Ben Manis, Opera for Everyone takes a close look at both Mozart's musical genius and a narrative journey into a fantastical and dreamlike world. In this realm of magic and incarnate forces, we try to discover what can be understood, and what must simply be felt and experienced. Hosted by Pat and Conductor Ben Manis
Welcome to the Instant Trivia podcast episode 1220, where we ask the best trivia on the Internet. Round 1. Category: Olde Music 1: Solo piano works by this man include 1846's Opus 60 "Barcarolle" and 17 Polish songs. (Frédéric) Chopin. 2: "Die Zauberflöte" in German, this Mozart opera premiered in 1791, just months before the composer's death. The Magic Flute. 3: Compositions by Bach include "Toccata and" this "in D minor" as well as "The Art of the" this. Fugue. 4: Handel's 5-movement orchestral suite, "Music for the Royal" these, premiered in 1749 and naturally preceded a display. Fireworks. 5: One of Gabriel Faure's most famous pieces is his pavane, a centuries-old dance that gets its name from this Italian "P" city. Padua. Round 2. Category: Anagrammed Food And Drink 1: If you're watching your carbs, eat these plain, not in cakes. crabs (from carbs). 2: Let's shop for this beer ingredient. hops. 3: We all scream for it:MICE CARE. ice cream. 4: When I'm in a slump, these purple fruits perk me up. plums (from slump). 5: I'll dine on this English custard and cake dessert, then let it filter through my body. trifle. Round 3. Category: Overcoming Obstacles 1: Diagnosed with ALS in the '60s and given a few years to live, he lived another 50+ to become one of the greatest scientific minds of all time. Hawking. 2: Joe Biden used to read poetry for hours in front of a mirror to help overcome this speech disorder. a stutter. 3: This Swedish teen activist says of her Asperger's, "I'm sometimes a bit different... and... being different is a superpower". (Greta) Thunberg. 4: Legally deaf, this Oscar-winning actress was instrumental in getting closed captioning on TV and streaming. (Marlee) Matlin. 5: Born without a right hand, he pitched with his left, playing 10 seasons for 4 different MLB teams. Jim Abbott. Round 4. Category: Not Making It To The End Of The Movie 1: Tina Fey said "Gravity" was about how this actor would rather float away and die in space than spend time with a woman his own age. George Clooney. 2: Bad puddy tat! This evil uncle admits fratricide when he whispers, "I killed Mufasa" to Simba. Scar. 3: Gwyneth Paltrow returns to the U.S. from Hong Kong, sickens and dies and this 2011 pandemic thriller is off and running. Contagion. 4: Look how they massacred my boy; James Caan wore 100-plus squibs to pay a heavy price at the tollbooth in this 1972 film. The Godfather. 5: Sometimes, you get older, adamantium in your body poisons you and a clone of your younger self up and kills you, like this 2017 guy. Logan. Round 5. Category: We Invented Stuff 1: By 1881 his Menlo Park home had been set up with a complete electric lighting system. Edison. 2: In 1814 Robert Fulton developed "Fulton the First", the first warship powered by this force. steam. 3: On Feb. 14, 1876 Elisha Gray attempted to file a patent for this invention; however, Bell beat him by hours. the telephone. 4: In 1868 Carlos Glidden and Partners patented this 1st machine that wrote faster than one could write by hand. a typewriter. 5: During WWII, this rocketry pioneer served as director of research for the U.S. Navy's Bureau of Aeronautics. Goddard. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
Conductor Constantin Trinks, who makes his Festival debut conducting Mozart's Die Zauberflöte with the OAE, joins Netty for tea and a chat. He discusses his musical influences and shows a special fondness for certain composers such as Wagner, Strauss, and especially Wagner! Constantin Trinks expresses excitement about working with a period instrument orchestra for the first time. We learn about his gradual appreciation for early music following his initial affinity for later music and his passion for opera. We also get an insight into the conductor's baton and the essential qualities of being a conductor. Catch Constantin and the OAE this summer in Glyndebourne!--Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa
Wenn Fidelios Leonore gesanglich auf den Blechbläsern surft, die Arie der Königin der Nacht gepfiffen wird und die Puppen tanzen - dann hat Nikolaus Habjan seine Hände im Spiel. Er ist Puppenspieler, Regisseur, Kunstpfeifer - und zu Gast bei hr2-kultur. Sie hören, wie Die Zauberflöte die Opernleidenschaft in ihm geweckt hat, wie wichtig Spaß und Blödeln beim Proben ist, was Puppen besser können als Menschen und Sie hören ihn auch singen - Georg Kreisler nämlich.
Jenifer Lary ist 32 Jahr alt und Sopranistin mit einer klassischen Gesangsausbildung. Sie begann bereits in jungen Jahren in einem Knabenchor zu singen und verliebte sich dadurch in den klassischen Gesang. Aktuell spielt sie die Rolle der Pamina in der Zauberflöte in Bautzen und kennt daher die vielen Veränderungen die in den alten Stücken vorgenommen werden. Die Zauberflöte ist eines der meistgespielten und beliebtesten Opern der Welt, und trotzdem sind einige Passagen aus heutiger Sicht problematisch. Wir sprechen über die Problematisierung der Klassik und warum Lary nicht damit einverstanden ist, alte Stücke an die Moralvorstellungen von heute anzupassen. 00:00 Intro + Vorstellung 09:40 Jenifers politische Prägung 16:00 Coronamaßnahmen im Theater 21:23 Der Kulturkampf in der Oper 27:18 Das Problem mit der Zauberflöte 45:00 Der politische Einfluss auf die Oper 53:22 Die Zukunft der Oper
Papageno, die Königin der Nacht, Pamina, Tamino – das sind alles bekannte Figuren aus der Oper "Die Zauberflöte" von Wolfgang Amadeus Mozart und seinem Librettisten Emanuel Schikaneder. In Berlin haben derzeit gleich zwei Opernhäuser das Singspiel auf dem Spielplan. Jede Menge Mythen und Geheimnisse ranken sich um das Werk und vor allem seine Deutung. Mit einem neuen Buch ist jetzt eine weitere Deutung hinzugekommen: "Die Zauberflöte – Mozart und der Abschied von der Aufklärung" heißt das Buch. Der Züricher Musikwissenschaftler Laurenz Lütteken hat es geschrieben. Jan Ritterstaedt stellt das Buch vor.
‘Classical opera has a racism problem' ran a headline in the New York Times in 2019, one of many articles in recent years to discuss the subject. Racism is high on the list of issues the opera world is looking to tackle, and in this episode we're joined by two artists from different sides of the Atlantic, exploring how they are striving to create an opera and classical music culture that better reflects the communities they serve. View the OperaVision website here Watch now on Opera Vision Oper Frankfurt From Studio to Stage Il Viaggio a Reims (Rossini), Rossini Opera Festival Accademia Rossiniana Masterclass with Sarah Connolly Music extracts Introduction and closing from Die Entführung aus dem Serail (Mozart): Overture Verdi ‘Dance of the young Moorish slaves' from Aida at Opera di Roma view flashback here Mozart ‘Alles fühlt der Liebe Freuden' from Die Zauberflöte at the Royal College of Music with tenor Dafydd Jones Verdi ‘D'un uom che geme sotto il tuo disdegno' from Otello at Poznań Opera with soprano Iwona Sobotka and tenor Gwyn Hughes Jones view performance here Loki Karuna https://www.lokikaruna.com/ Pegasus Opera https://pegasusoperacompany.org/
Mozarts "Die Zauberflöte" gilt als die "Freimaurer-Oper", als das offene Bekenntnis des Komponisten zum Freimaurertum. In der "Zauberflöte" soll Mozartmit Hilfe des Musiktheaters die Ideale der Freimaurer und den inneren Aufbau einer Loge nachgezeichnet haben. Aber was hat das mit Freibier zu tun?
Die Historikerin über ihr Buch "Gewalt und Gedächtnis". Außerdem: Ernst Barlach-Ausstellung in Neumarkt / Neues Album von Laufey / "Die Zauberflöte" am Münchner Gärtnerplatztheater
The story of how Mozart fell in love with the young singer Aloysia Weber, was dumped and then married her younger sister Constanze is well known. The fact that a third sister, Josepha, figured in Mozart's career (and that the youngest sister, Sophia, remembered Mozart from her childhood) is less commonly appreciated. French soprano Sabine Devieilhe steps into the roles of Aloysia, Constanze, and Josepha here, making clear that all three must have been among the strongest sopranos of their time. She doesn't really try to differentiate among the voices of the three (which are at any rate unknowable), but all of them got powerhouse arias. None is bigger than "Der Hölle Räche" from Die Zauberflöte, K. 620 (track 11), which is worth sampling on its own: it combines power and dramatic clarity in a way that few other recordings of this startling aria have done, and the chromatic crunch of the opening chord is typical of the sharp support Devieilhe gets from the historical-instrument group Pygmalion under Raphaël Pichon. The most unusual aspect of the album is that there are pieces not directly associated with the Weber sisters at all: instead, they set the scene for the stages in Mozart's career at which he encountered the sisters. This is quite effective in the case of the solfeggio exercise (which has its own Köchel listing, K. 393) Mozart wrote for Constanze in preparation for the big arias of the Mass in C minor, K. 427. At the end of the program, Devieilhe nails the "Incarnatus" from that Mass.Help 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
Jede Arie dieser Oper ist ein Hit geworden. Es ist die letzte und die berühmteste Oper Mozarts. Das Stück verdankt seine Popularität einer Mischung aus Gedanken der Aufklärung und des Freimaurertums serviert in einem orientalischen Setting. Blind verkostet von Christine Lemke-Matwey, Kai Luehrs-Kaiser und Andreas Göbel. Moderiert von Christian Detig.
Luke Owen and Dan Layton talk about June's biggest movie releases at Cineworld Cinemas!JUNE RELEASES:Spider-Man: Across The Spider-Verse (June 1) - https://www.cineworld.co.uk/films/spider-man-across-the-spider-verseThe Boogeyman (June 2) - https://www.cineworld.co.uk/films/the-boogeymanTransformers: Rise Of The Beasts (June 8) - https://www.cineworld.co.uk/films/transformers-rise-of-the-beastsChevalier (June 9) - https://www.cineworld.co.uk/films/chevalier-2023The Flash (June 14) - https://www.cineworld.co.uk/films/the-flashNo Hard Feelings (June 21) - https://www.cineworld.co.uk/films/no-hard-feelingsAsteroid City (June 23) - https://www.cineworld.co.uk/films/asteroid-cityIndiana Jones and the Dial of Destiny (June 28) - https://www.cineworld.co.uk/films/indiana-jones-and-the-dial-of-destinyRuby Gillman, Teenage Kraken (June 30) - https://www.cineworld.co.uk/films/ruby-gillman-teenage-krakenUNLIMITED SCREENINGS:War Pony (June 6) - https://www.cineworld.co.uk/films/war-pony-unlimited-screeningNo Hard Feelings (June 19) - https://www.cineworld.co.uk/films/no-hard-feelings-unlimited-screeningEVENT CINEMA/SPECIAL SCREENINGS/RE-RELEASES:Thelma & Louise (4K Restoration) (June 7) - https://www.cineworld.co.uk/films/thelma-louise-4k-restorationThe Big Lebowski (25th Anniversary) (June 14) - https://www.cineworld.co.uk/films/the-big-lebowski-25th-anniversaryThe Wicker Man: 50th Anniversary Release (June 21) - https://www.cineworld.co.uk/films/the-wicker-man-50th-anniversary-releaseSTAGE ON THE BIG SCREEN (at select Cineworld Cinemas)MET Opera Live in HD 2023 : Die Zauberflöte (June 3) - https://www.cineworld.co.uk/films/met-opera-live-in-hd-2023-die-zauberfloteROH 2023 Live Opera : Il Trovatore (June 13) - https://www.cineworld.co.uk/films/roh-2023-live-opera-il-trovatoreNational Theatre Live: Fleabag (2023 Re-Release) (June 15) - https://www.cineworld.co.uk/films/national-theatre-live-fleabag-2023-re-releaseMatthew Bourne's Sleeping Beauty (June 28) - https://www.cineworld.co.uk/films/matthew-bournes-sleeping-beautyOTHER SPECIAL SCREENINGS:Autism Friendly Screening : The Little Mermaid (June 4) - https://www.cineworld.co.uk/films/autism-friendly-screening-the-little-mermaidGreatest Days Premiere Live Event (June 15) - https://www.cineworld.co.uk/films/greatest-days-premiere-live-eventj-hope IN THE BOX (June 17) - https://www.cineworld.co.uk/films/j-hope-in-the-boxSUGA: Road to D-DAY (June 17) - https://www.cineworld.co.uk/films/suga-road-to-d-dayDon't be anti-social!TwitterFacebookInstagramWeb Hosted on Acast. See acast.com/privacy for more information.
Superstar tenor Lawrence Brownlee joins Gianna Volpe on the WLIW-FM Heart of The East End in celebration of Black Music Month and the June 2 release of “Rising” pairing commissions from up-and-coming African American composers with poetry from the Harlem Renaissance, as well as his most recent operatic role—A full circle return to his first at 19 years old—as Prince Tamino in Die Zauberflöte at the Metropolitan Opera.Listen to the playlist on Apple Music
On today's episode of The Metropolitan Opera Guild Podcast, we are delving into our archives to explore Die Zauberflöte with the late renowned music scholar Father Owen Lee. Die Zauberflöte is a sublime and magical fairytale full of mysticism, love, and humor. Listen to learn more about the opera's fantastical drama and ethereal score.
Thomas Sowell calls "Disparate Impact" ideology the "grand dogma" of our time.But what is disparate impact and why is it so important?On this episode we take a deep dive into disparate impact ideology and how it has changed America.Joining me to discuss this important subject is Heather Mac Donald.Heather is a fellow at the Manhattan Institute for Policy Research based in New York City. Much like Sowell , Heather does research into domestic policy and urban affairs and tries to figure out what's working and what's not working. She then writes articles and books sharing what she has learned.Her first book was published in 2000 and was called “The burden of bad ideas : how modern intellectuals misshape our society”Three years later she wrote a book called “Are Cops Racist?”This was followed with another book about policing in 2016 called “The War on Cops: How the New Attack on Law and Order Makes Everyone Less Safe.”I first discovered Heather Mac Donald in 2018 with the publication of her book “The Diversity Delusion: How Race and Gender Pandering Corrupt the University and Undermine Our Culture.” I loved that book and I remember finishing it then immediately starting it over and reading it a second time. Her latest book which just came out this month is called “When Race Trumps Merit, How the Pursuit of Equity Sacrifices Excellence, Destroys Beauty, and Threatens Lives.”USEFUL LINKS:• More podcast-related links here: AlanWolan.com• How to calculate the "Birthday Problem": Ted-Ed Video HERE• "Birthday Problem Khan Academy explanation HERE• You can purchase Heather Mac Donald's new book HERE• Photos of the CalTech Turtle Pond HERE• Jerry MacGuire "Show Me the Money" scene HERE• Heather Mac Donald Wikipedia page HERE• Classical Music featured in this episode:"Cello Suite No 1" by Bach, "Für Elise" by Beethoven, "Canon in D" by Pachelbel, "Humoresque" by Dvorak, "Caprice No. 24" by Paganini, "Symphony No. 5" by Beethoven, "Die Zauberflöte" by Mozart, "Eine Kleine Nachtmusik" by Mozart, "Theme from Schindler's List" by John Williams, "Hungarian Dance No. 5" by Brahms, "Gymnopedie No. 1" by Satie, and "Ode to Joy" by Beethoven. THERE ARE 3 WAYS TO SUPPORT THE PODCAST:1) Support the show financially by subscribing with a monthly contribution on Patreon: www.Patreon.com/SowellGeniusThe money raised through Patreon supports our efforts to popularize the books and ideas of Thomas Sowell.----------------------------------------------2) Rate and review the podcast on Apple Podcasts. This helps a lot by nudging the show to the top of Google searches. I really appreciate the many positive reviews, especially this one by Jonsby: "This is one of the few podcasts that I actually slow down so I can savor it!"----------------------------------------------3) Purchase our Thomas Sowell Post It Note pads: You can find all 100 digital images of the post it notes HERE, feel free to download them and use them however you like.To purchase pads o
The excitement is brewing! Opera Omaha is ending this season with The Marriage of Figaro, and we had a lovely conversation with Michael Adams and Mary Feminear, who play the Count and the Countess in this beloved opera. Mary and Michael are married in real life as well as their characters onstage, and it made for a great interview. Our conversation was cut short because of technical problems, and we hope to talk with them again in the future. Both of these Creatives are immensely experienced and talented and it was an honor to talk with them. Don't miss this famous and timeless opera, which is Directed by Dean Anthony and Conducted by Steven White. Performances are March 31st and April 2nd and ticket prices begin at $19. You can get your tickets to this beloved opera, The Marriage of Figaro at ticketomaha.com. Opera Omaha also offers their Opera in Conversation, The Art of Comedy: "Comedic Tropes at Types" which will be held at the Blackstone Theatre March 21st at 6PM. And for a talkback after the opera, Opera in Conversation: "After The Curtain Call" on April 4th at the Benson Theatre at 6PM. These events are free of charge. OPERA OMAHA CONTACT INFO: For Tickets: ticketomaha.com Website: www.operaomaha.org Facebook:https://www.facebook.com/operaomaha/ Instagram:https://www.instagram.com/operaomaha/ Twitter:https://twitter.com/operaomaha You Tube: https://www.youtube.com/user/operaomaha Soprano Mary Feminear returns to Opera Omaha after last performing in Opera Under the Stars. This season Ms. Feminear will also perform the title role of Carlisle Floyd's Susannah with Wichita Grand Opera and Alice Ford in Verdi's Falstaff with Maryland Lyric Opera. Her previous performances include the Countess Almaviva with Maryland Lyric Opera, Micaëla in Bizet's Carmen and Zerlina in Mozart's Don Giovanni at the Grand Théâtre de Genève, where she was also a member of the Troupe des Jeunes Solistes, Ginevra in a workshop of Handel's Ariodante at the Opera Omaha One Festival, the soprano soloist in Mariana Sadovska's The Wreck at the Opera Omaha ONE Festival, and Amore in Cavalli's Il Giasone at the Château de Versailles. Other opera credits include the title role in Handel's Semele at Opera Omaha and Seattle Opera, Pamina in Mozart's Die Zauberflöte with Pacific MusicWorks, Proserpine in Charpentier's La Descente d'Orphee aux Enfers with Gotham Chamber Opera, and Polissena in Handel's Radamisto at Juilliard. Baritone Michael Adams returns to Opera Omaha after last performing in Opera Under the Stars. This season, Mr. Adams will also sing the Count in Le nozze di Figaro with Madison Opera, Castro in La fanciulla del West with the Cleveland Orchestra, Figaro in Il barbiere di Siviglia with Opera Idaho, and Eugene Onegin with Vallejo Festival Orchestra. Last season, he made two company and role debuts: Sharpless in Madama Butterfly with Dallas Opera and Count in Le nozze di Figaro with Austin Opera. He also returned to the Deutsche Oper Berlin as the Count and Herald in Der Schatzgräber and Utah Opera for Figaro in Il barbiere di Siviglia. Other recent performances include Les pêcheurs de perles with Gran Teatre del Liceu; Eugene Onegin, Così fan tutte, and L'elisir d'amore with Seattle Opera; La bohème, Alcina, and Don Giovanni with Grand Théâtre de Genève; Die Zauberflöte, Silent Night, Alcina and The Little Prince with Washington National Opera; Manon with Des Moines Metro Opera, Pagliacci, Il barbiere di Siviglia, and La bohème with Utah Opera; and Show Boat at Glimmerglass Festival. ***** HOW TO LISTEN TO THE PLATTE RIVER BARD PODCAST Listen at https://platteriverbard.podbean.com or anywhere you get your podcasts. We are on Apple, Google, Pandora, Spotify, iHeart Radio, Podbean, Overcast, Listen Now, Castbox and anywhere you get your podcasts. You may also find us by just asking Alexa. Listen on your computer or any device on our website: https://www.platteriverbard.com. Find us on YouTube: https://youtube.com/channel/UCPDzMz8kHvsLcJRV-myurvA. Please find us and Subscribe! Music provided by musopen.com: Public Domain Mark 1.0 Le Nozze di Figaro - No. 11 Cavatina 'Porgi, Amor' Overture to The marriage of Figaro, K. 492 https://creativecommons.org/publicdomain/mark/1.0/
Na sowas! Die Zauberflöte ist verschwunden. Hat sie wer gemopst? Oder wurde sie nur verlegt? Verdächtige gibt es genug. Zentaur Remus und Gnomin Oda gehen der Sache nach und lösen ihren ersten gemeinsamen Rätselfall. Ratet mit!
Die Maus zum Hören - Lach- und Sachgeschichten. Heute: mit der Maus-Musikküche, Herrn Lauderbach, Mozarts Zauberflöte, mit Nina und natürlich mit der Maus und dem Elefanten. Von Nina Heuser.
"Eine Oper voller geheimer Botschaften, schon ab dem ersten Ton": Yaltah Worlitzsch mit einer kurzen Werkeinführung zur Zauberflöten-Ouvertüre.
本期接上一期自蒙特威尔第之后，讲述歌剧艺术如何从意大利发展到整个欧洲以及引发一轮歌剧艺术改革的经过。对歌剧感兴趣的朋友一定要听哦包含曲目：0:26- Se Tu Della Mia Morte? (斯卡拉蒂：你如果要我死亡)；4:32- Die Zauberflöte - Act I: Der Vogelfänger Bin Ich Ja (魔笛：第一幕：我是一个快乐的捕鸟人)；8:16- GLUCK:Melody from Orfeo ed Euridice.
Juliano Dutra Aniceto is one of the most significant upcoming conductors of his generation, having worked in the symphonic and in the operatic fields. Currently, Juliano is developing his doctorate studies at The Peabody Institute of the Johns Hopkins University, under the mentorship of Maestro Marin Alsop, where he served as her graduate assistant. Juliano has appeared as guest conductor and music director in operatic productions in the United States and in South America, having conducted the Baltimore Symphony Orchestra, the Peabody Symphony Orchestra, the São Paulo State Youth Orchestra, São Pedro Opera House, the East Carolina University Symphony Orchestra, ECU Opera Theatre, the São Paulo University Symphony Orchestra, among others. Juliano is recognized by his versatility among genres, with 12 operatic and 3 music theater productions in his repertoire, including titles as Humperdinck's Hänsel und Gretel (North Carolina, 2019), Mozart's Die Zauberflöte (Brazil, 2017), Rossini's L'italiana in Algeri, Cimarosa's Il Matrimonio Segreto, Janáček's Katja Kabanová and Věc Makropulos, among others. In 2022, Juliano served as music director and conductor in the recording of the opera Lily, by Garth Baxter. At Peabody, Juliano is the recipient of the “Artistic Excellence Scholarship.” Juliano also serves as the Executive Assistant for the Taki Alsop Conducting Fellowship and as Hugh Hawkins Fellow researcher at The Johns Hopkins University (2021). Juliano has participated in masterclasses with Marin Alsop (his mentor), Kurt Masur, Claudio Cruz, Johannes Schlaefli, Isaac Karabtchevsky, Ernani Aguiar, Martin Schmidt, and Osvaldo Ferreira. Juliano Aniceto was born in São Paulo – Brazil, started his music education in a social program and, from an early age, his talent was recognized: reviews of his concerts, as a flute soloist, classified him as “A soloist with great future” (Invitation to the Classics, Clovis Marques). In 2022, Juliano joins the Hopkins Symphony Orchestra in the position of Assistant Conductor.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★
"Being part of an ensemble taught me to look not just at my line but at all the music. The composer gives you so much information in the orchestra that you don't get from just the vocal line. That really informs your character. It allows me to be more fun and more creative if I can focus on being part of the whole at any given time."Bass Benjamin Sieverding of Minneapolis, MN has gained notice for his “resonant, expressive bass” (StarTribune). He most recently made his Metropolitan Opera debut as one of the Offstage Voices/Jury in Brett Dean's Hamlet. In 2022, he also made his Intermountain Opera Bozeman debut as Mr. Noble (Pish-Tush) in The Montana Mikado. In 2021, he made his Tulsa Opera debut as Betto in Gianni Schicchi and his Omaha Symphony debut performing excerpts from Mozart's Requiem and Handel's Messiah. In 2020, he was slated to return to Minnesota Opera to sing the roles of Bull and Neal in the world premiere of Edward Tulane, to make his Austin Opera debut as the Mandarin in Turandot, reprise the Dough's Mate in Companionship with Virginia Arts Festival, reprise Doctor Grenvil in La traviata with Out of the Box Opera, and return to Mill City Summer Opera as Sparafucile/Ceprano in Rigoletto. Mr. Sieverding has performed several roles with Minnesota Opera including Alfred Austrian in The Fix, Prison Warden George Benton in Dead Man Walking, Colline in La bohème, Frère Laurent in Roméo et Juliette, Sacristan in Tosca, and Sarastro in Die Zauberflöte. Other recent performances include appearances with South Dakota State Symphony, Madison Opera, Glacier Symphony, Pacific Symphony, Fort Worth Opera, Opera in the Heights, Opera South Dakota, Lakes Area Music Festival, and Madison Symphony Orchestra. In the upcoming season, Mr. Sieverding returns to Minnesota Opera, The Metropolitan Opera, and Madison Opera.To get in touch with Ben, you can visit his website: www.benjaminsieverding.com.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from Pexels
Nächster Versuch: Bereits 2018 präsentierte Lydia Steier ihre "Zauberflöte" bei den Salzburger Festspielen. Mit mäßigem Erfolg. Also probiert es die Regisseurin noch einmal. Diesmal mit Dirigentin Joana Mallwitz an ihrer Seite. Und das Ergebnis kann sich sehen lassen - auch wenn es keine Begeisterungsstürme auslöst.
Den Inhalt der „Zauberflöte“ stringent zu erzählen, ist gar nicht so leicht. Emmanuel Schikaneder hat anno 1791 eine Wiener Vorstadtmischkulanz gemischt aus Märchen, exotischer Tierwelt und Freimaurerriten. Dazu die geniale Musik von Wolfgang Amadé Mozart. Die amerikanische Regisseurin Lydia Steier hat ihre Inszenierung aus 2018 kräftig überarbeitet. Am Pult der Wiener Philharmoniker stand nach der erfolgreichen „Così fan tutte“ der letzten beiden Jahre Joana Mallwitz. Die „Zauberflöte“ ist vom Großen Festspielhaus ins Haus für Mozart übersiedelt. Und das hat dieser Produktion mehr als gut getan. Die Erzählperspektive bleibt die gleiche wie vor vier Jahren: In einer wohlhabenden gutbürgerlichen Familie in einem Wiener Innenstadtpalais der Jahrhundertwende am Vorabend des Ersten Weltkrieges erzählt der Großvater seinen drei Enkelsöhnen die Geschichte der Zauberflöte. Burgschauspieler Roland Koch übernimmt diese Rolle in der Dialogfassung von Ina Karr und Lydia Steier und damit auch die meisten originalen Sprechtexte der Partitur. Die Zauberflötenfiguren entschlüpfen der häuslich gewohnten Umgebung und sind doch luzide Träume. Aus der hysterischen Mutter fährt die Königin der Nacht samt kolossalem Tischtuch mit ihrer ersten Arie förmlich in die Höhe und aus der Haut. Eine packende Szene. Tamino ist ein erwachter Zinnsoldat und der Papageno „ist doch der Sohn vom Fleischer“ rufen die Buben. Tenor Stefan Vitu rührt derweilen im Unterstock als dicke Köchin und spätere alte Papagena kräftig im Suppentopf. Eine geschickt ausgedachte Drehbühne von Katharina Schlipf erzählt die Geschichte räumlich weiter bis im zweiten Akt die geschlossene Welt der strengen Tugend Sarastros erreicht wird. Hier gibt es keinen Auf- und Einstieg ohne Prüfungen. Videoprojektionen von Momme Hinrichs werfen am Ende die Schrecken des Ersten Weltkrieges auf diese Männerwelt in Anzug und Melone inmitten von Karriertreppen und ebensolchen Türen. Hingegen dürfen bunte Schmetterlinge erscheinen, wenn es um die Liebe geht und die Kuscheltiere der drei Knaben spazieren ebenso überlebensgroß durch die zweigeteilte Bühne, mit einem Oben der Herrschaft und einem Unten der Dienstboten. Sängerisch weiß vor allem Regula Mühlemann als Pamina zu berühren. Die große Abschiedsarie „Ach ich fühl es“ in Mozart‘schem g-Moll gehört zu den musikalischen Höhepunkten des Abends. Mauro Peter als Tamino wirkt in der Höhe etwas verhalten und unsicher. Der junge Wiener Michael Nagl gab einen launig frischen Papageno, der mit Maria Nazarova schließlich auch seine Papagena findet. Tareq Nazmi als Sarastro und Brenda Rae als Königin der Nacht erfüllen ihre Aufgaben. Hervorzuheben sind unbedingt die luxuriös besetzten drei Damen, gesungen von Ilse Eerens, Sophie Rennert und Noa Beinart. Peter Tantsits als Monostatos sah furchterregender aus als er kaum hörbar sang. Die drei Knaben aus den Reihen der Wiener Sängerknaben sind ständig auf der Bühne und meistern ihre zentrale Rolle in dieser Inszenierung schauspielerisch und gesanglich bravourös und erhalten dafür vom Premieren-Publikum auch tosenden Applaus. Joana Mallwitz leitet die Wiener Philharmoniker absolut Sänger und Sängerinnen freundlich, wobei sich die berührende Schwerelosigkeit der Musik Mozarts gelegentlich etwas vermissen lässt.
DescriptionThe ‘Queen of the Night' aria, "Der Hölle Rache kocht in meinem Herzen" ("Hell's vengeance boils in my heart"), is a coloratura soprano part, in the second act of Mozart's opera The Magic Flute (Die Zauberflöte). Take a minute to get the scoop!Fun FactThe story is a mixture of fun and high ideals, of Masonic philosophy and high jinx, of brotherhood and love affairs, of melodrama and serious thought. Within this context Mozart sent his final message of personal conviction and standards of living, which had been confirmed by his membership in the Freemasons, on January 7, 1785, admitted into the Zur Wohltätigkeit Lodge in Vienna. There, he was in familiar company. Other contemporary members of this Lodge were Joseph Haydn, his patron Prince Lichnowsky, his father Leopold, Michael Puchberg and Gottfried van Swieten, two of his most important patrons, Anton Stadler (clarinetist) and Angelo Solimon, a good friend.About Steven, HostSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more. Member of the Canadian League Of Composers.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show
Die Zauberflöte stammt von? Wolfgang Amadeus Mozart, klar. Bei der Weltpremiere in Wien allerdings stand im Programmheft: "Eine Oper von Emanuel Schikaneder" - schließlich stammte von Mozart "bloß" die Musik. WDR-Kollegin Monika Buschey erzählt Marko Rösseler und Martin Herzog im Geschichtsmacher-Podcast wie es dazu kam.
Wolfgang Amadeus Mozart hat eine der berühmtesten Opern geschrieben. Sie heißt "Die Zauberflöte". Der Vogelfänger Papageno fängt mit seiner Panflöte die Vögel. Doch mit einem Glockenspiel zaubert er sich eine Freundin herbei.
Liz Kiger is our guest for a deep discussion of Art, Philosophy, film, photography, teaching, trauma and resiliency, LGBTQIA+Opera, and their new filmed opera - a gorgeous, modern presentation (shot in Red - Komodo - 6K) of ORFEO. ORFEO is a dazzling, energetic, sensitive story that will amaze you visually and sonically. Its release is simultaneous to this podcast episode. Find ORFEO here https://youtu.be/rOeT_PFyEtA Liz Kiger is a Turkish-American non-binary soprano vocalist, violinist, and opera director specializing in Baroque performance practice. They are the founder and director of the Brooklyn Telemann Chamber Society. They hold their MM in Classical Vocal Performance and a post graduate degree in Vocal Pedagogy from NYU. They have most recently performed as the title role in Monteverdi's Poppea, Papagena (Mozart's Die Zauberflöte), Ottavia (Monteverdi: L'incoronazione di Poppea) at Scorca Hall (National Opera Center), & Susanna (Mozart: Le Nozze di Figaro) at Carnegie Hall's Weill Recital Hall. Liz is a proud advocate for singers with incurable vocal pathologies like themself. Mentions: @sydneysheaphotography @alexandrapawlus @alexandrapaw_ @matthewkylelevine
Wagner's revolutionary masterpiece, often considered the most Romantic opera ever written, returns to Seattle Opera in October 2022. Seattle Opera Dramaturg Jonathan Dean introduces Tristan und Isolde, with musical examples from Seattle Opera's 1998 (starring Jane Eaglen, Ben Heppner, and Michelle DeYoung, conducted by Armin Jordan) and 2010 (conducted by Asher Fisch, with Simeon Esper as the Shepherd and the English Horn solo played by Stefan Farkas) productions, plus 2011 Die Zauberflöte (conducted by Gary Thor Wedow and starring Philip Cutlip).
Cerys Matthews and Jeffrey Boakye are joined by composer Howard Goodall and pianist and music director Yshani Perinpanayagam to add five more tracks to the playlist. In this week's adventure they explore the enormity of variety the keyboard offers, a journey that takes us to the cathedral, to outer space and, closer to home, Peru! Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald The five tracks in this week's playlist: Toccata and Fugue in D Minor by J S Bach No Time for Caution by Hans Zimmer Malambo No.1 by Yma Sumac Big Eater by The Bad Plus Blockbuster by Sweet Other music in this episode: Lost in Music by Sister Sledge Blue Pepper (Far East of the Blues) by Duke Ellington Chariots of Fire by Vangelis Queen of the Night from Die Zauberflöte by W A Mozart Chuncho by Yma Sumac Smells Like Teen Spirit by The Bad Plus I'm a Man by Bo Diddley The Jean Genie by David Bowie
Gstaad Menuhin Festival Podcast - Die Geschichten hinter den Meisterwerken der klassischen Musik
Konstanze berichtet, dass Mozart im Herbst 1791, in den letzten Tagen seines Lebens, jede Aufführung der Zauberflöte, die sein Freund (und Logenbruder) Emanuel Schikaneder im Theater auf der Wieden veranstaltete, vom Bett aus mit einer Uhr in der Hand verfolgte und dabei die Melodien summte … Gibt es einen schöneren Beweis für seine Liebe zu dieser Partitur, mit der er nach der sehr aristokratischen (und italienischen) «Da Ponte-Trilogie» wieder an das Genre des Volkstheaters anknüpft, das die kindliche Märchenwelt (verkörpert durch Papageno und Papagena) so wirkungsvoll mit dem Streben (Taminos und Paminas) nach spiritueller Vervollkommnung verbindet? Auf die Bühne gebracht wird das Werk von einem der versiertesten Kenner der historischen Aufführungspraxis, Christophe Rousset, der die Talens Lyriques und das Ensemble Vocal de Lausanne dirigiert. An der Spitze des Sängeraufgebots steht Sandrine Piau – eine Traumbesetzung für die Rolle der Pamina.
Seine Inszenierungen führten den Regisseur Georg Schütky schon an die Staatsoper sowie an die Philharmonie in Berlin, an die Oper Leipzig oder das Staatstheater Mainz. Alle zwei Jahre kehrt der Allerheiligener aber auch in seine Mürztaler Heimat zurück, um gemeinsam mit den Schüler:innen vom Borg Kindberg an ihrem Musicalprojekt zu arbeiten. In diesem Jahr wagt sich das Team rund um den erfolgreichen Jungregisseur an die meistgespielte Oper der Welt - die Zauberflöte.
Jennifer Kloetzel's lifelong journey with Beethoven began early: she was eight years old when her teacher placed the composer's second cello sonata on her music stand, opening the door to an odyssey of intrigue and, ultimately, obsession with the composer's music. Since then, rarely has a day passed without Beethoven being a part of Jennifer's life. She has studied and performed all of the composer's duos and trios. As founding cellist of the Cypress String Quartet, she spent 20 years rehearsing, performing and recording the string quartets. Jennifer now arrives at a career milestone with this recording of Beethoven's Complete Works for Cello and Piano.TRACKLIST:LUDWIG VAN BEETHOVEN (1770–1827) 12 Variations WoO 45 for cello and piano 13.09on “See, the Conqu'ring Hero Comes” from Handel's Judas Maccabaeus Sonata for Piano and Cello No.1 in F, Op. 5, No. 1I. Adagio sostenuto – Allegro 18.37II. Rondo: Allegro vivace 7.21 Sonata for Piano and Cello No.2 in G minor, Op. 5, No. 2I. Adagio sostenuto ed espressivo – Allegro molto più tosto presto 20.44II. Rondo: Allegro 9.23 12 Variations for cello and piano, Op. 66 11.14on “Ein Mädchen oder Weibchen” from Mozart's Die Zauberflöte Sonata for Piano with Horn or Cello in F, Op.17I. Allegro moderato 8.36II. Poco adagio 1.33III. Rondo: Allegro moto 5.02 7 Variations WoO 46 for cello and piano 10.10on “Bei Männern, welche Liebe fühlen” from Mozart's Die Zauberflöte Sonata for Piano and Cello No.3 in A, Op.69I. Allegro ma non tanto 13.43II. Scherzo: Allegro molto 5.54III. Adagio cantabile – Allegro vivace 9.15 Sonata for Piano and Cello No.4 in C, Op.102, No. 1I. Andante – Allegro vivace 7.59II. Adagio – Tempo d'Andante – Allegro vivace 7.38 Sonata for Piano and Cello No.5 in D, Op.102, No. 2I. Allegro con brio 7.26II. Adagio con molto sentimento d'affetto 9.39III. Allegro – Allegro fugato 4.48Purchase the music (without talk) at:Beethoven: The Conquering Hero - Complete Works for Cello & Piano (classicalsavings.com)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 This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).
Audiodeskriptive Einführung zur Oper "Die Zauberflöte" von Wolfgang Amadeus Mozart an der Deutschen Oper Berlin. Musikalische Leitung: Yi-Chen Lin. Inszenierung: Günter Krämer. "Die Zauberflöte" mit Audiodeskription wird am 25sten Februar, am 13ten März sowie am 30sten April 2022 in der Deutschen Oper Berlin gezeigt. Sprecher: Felix Koch
主播：饿总 竹子 赵天霸嘉宾：好好老师我们投错了胎，我们应该去学音乐！欢迎收听花花局外人。局外生花，祝您开心。Die Zauberflöte, K.620 ／ Act 2：Der Hölle Rache kocht in meinem Herzen (Königin der Nacht)—Herbert von Karajan,Berliner Philharmoniker,José Van DamCarmen ／ Act 1：L'amour est un oiseau rebelle(Havanaise)—Teresa BerganzaThink Of Me—Andrew Lloyd Webber,Emmy Rossum,Patrick Wilson
主播：饿总 竹子 赵天霸 嘉宾：好好老师 我们投错了胎，我们应该去学音乐！ 欢迎收听花花局外人。 局外生花，祝您开心。 Die Zauberflöte, K.620 ／ Act 2：Der Hölle Rache kocht in meinem Herzen (Königin der Nacht)—Herbert von Karajan,Berliner Philharmoniker,José Van Dam Carmen ／ Act 1：L'amour est un oiseau rebelle(Havanaise)—Teresa Berganza Think Of Me—Andrew Lloyd Webber,Emmy Rossum,Patrick Wilson
A prolific concert performer, Andrew has appeared with the Berliner and Wiener Philharmoniker, the Symphonieorchester des Bayerischen Rundfunks and the Orchestra of the Age of Enlightenment with Sir Simon Rattle; the Orchestre de Paris, Swedish Radio Symphony Orchestra and London Symphony Orchestra with Daniel Harding; the Deutsches Symphonie-Orchester Berlin and the ScottishChamber Orchestra with Robin Ticciati; the Rotterdams Philharmonisch Orkest, the Orcherstre Métropolitain and the Philadelphia Orchestra with Yannick Nézet-Séguin; the Accademia Santa Cecilia with Semyon Bychkov; and the Staatskapelle Berlin with Daniel Barenboim. Andrew made his debut at the Royal Opera House, Covent Garden as Jacquino Fidelio, returning for Flamand Capriccio, Tamino Die Zauberflöte, Tichon Katya Kabanova and Narraboth Salome. He has also appeared at the Metropolitan Opera, the National Theatre Prague; La Monnaie Brussels; the Salzburger Festspiele; Hamburgische Staatsoper, Theater an der Wien, the Lucerne Festival and the Lyric Opera of Chicago. Staples has staged Le nozze di Figaro, Così fan tutte, Cenerentola and La bohème in London, at the Jordan Music Festiavl, Musique Cordiale in Provence and the Menton Festival. His celebrated semi-staging of Die Zauberflöte for the Lucerne Festival, conducted by Daniel Harding culminated in a full staging in Stockholm's Drottningholm Palace Theatre with the Swedish Radio Symphony Orchestra. Andrew believes firmly in the evolution of cultural content for screen. Bringing his experience on stage both as a performer and director, he has made a series of music films. Aiming to bring cinematic techniques and rigour to the pre- and post-production phase of his projects, his films aim to capture the thrill of live performance and present it to an audience on screen who desire something more than an archive or stream of the event. The potential to create and evolve in this space is huge and he enjoys the opportunity to collaborate with artists, organisations and cultural broadcasters. In 2021 he received the Royal Philharmonic Society Enterprise Fund Trailblazer Grant, presented in association with Harriet's Trust, in order to support and advance the making of such music films. As a photographer, Staples' work has been featured in the Times, The Evening Standard, Lawyer Magazine, the front cover of The Strad, the BBC Music Magazine, various CD cover images, The National Portrait Gallery's magazine and a number of artist's and ensembles photographs including Tim Mead, Mary Bevan, the Borodin Quartet, The King's Singers, The Gabrieli Consort and Players and Voces8. Follow us on Twitter and Instagram.
If someone would ask me to describe this episode, I would say two words - beauty of thought and gratefulness. On the last day of 2021, I am sharing this spiritual, but also very down to earth conversation with soprano from Barcelona Serena Sáenz. Serena is among those remarkable people who I have been lucky to meet while living and studying in Barcelona. Little did we know that in 5 years since then, Serena will be singing with the world famous conductors including Daniel Barenboim and that during her first season as a member of the Staatsoper Berlin International Opera Studio, Serena will be asked to jump in as Pamina for the opening night of Yuval Sharon's production of Die Zauberflöte (The Magic Flute). I am so thrilled to be able to bring you this conversation which, I believe, is the best fit to positively end this year and gracefully start the new year. Enjoy and Happy New Year!About Serena SáenzSerena's IGAbout the spiritual practice Serena mentioned.Be part of openARTed - patreon.com/monikamasanauskaiteEpisode music - M. Ravel - "Ondine" performed by M.MašanauskaitėLucia di Lammermoor's, Mad scene “Il dolce suono” performed by Serena Sáenz and pianist Ricardo EstradaCheck more info about the host Monika Mašanauskaitėwww.monikapianiste.com/https://www.instagram.com/masanauskaitemonika/https://www.facebook.com/MonikaPianiste/Listen on YoutubeIf you have any comments or enquiries, drop me a line at openartedpodcast@gmail.com or monikapianiste@gmail.com
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...
Soprano Galina Averina invites you to visit Ancient Egypt, where you can follow the synopsis of Mozart's opera “Die Zauberflöte” (Magic Flute). Featuring Pamina's aria (“Ach, ich fühl's”). Let's embark on this sleepy operatic journey together. Fasten your imaginary seatbelts; the next stop is DREAMLAND! “The highest, the culminating point that beauty has attained in the sphere of music” - Pyotr Tchaikovsky about Wolfgang Amadeus Mozart
Episode 2 is finally available in Español! Please enjoy the Spanish version (with some German). More translations of this episode will be available soon. This episode features excerpts from the 2007 Deutsche Grammophon (DG) recording of W. A. MOZART Die Zauberflöte · The Magic Flute (Querschnitt · Highlights) UPC 00028947763192 with: Dorothea Röschmann · Erika Miklósa · Christoph Strehl · René Pape · Arnold Schoenberg Chor · Mahler Chamber Orchestra · Claudio AbbadoDISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use.Operina is a new opera podcast for kids, created and hosted by soprano Jessica Cambio. Each episode features children from around the world participating (in their own language) in a musical, historical, cultural, and linguistic educational adventure... with their parents' permission, of course.Opera, classical music, and linguistic studies are often neglected and/or not introduced to children at all, especially at the elementary school level. It has been scientifically proven that exposure to classical music, art, dance, culture, foreign languages, and even global travel at an early age encourages healthy brain stimulation and growth, a more peaceful upbringing, a stronger sense of community, and therefore, a better world. The Operina mission is to provide a fun, free, kid-friendly all-encompassing learning experience to enhance their musical and cultural education, expand their horizons, encourage them to think outside the box of their daily lives... all the while limiting their screen time.
Episode 2 is finally here! Please enjoy the English version (with some German). Translations of this episode will be available soon. This episode features excerpts from the 2007 Deutsche Grammophon (DG) recording of W. A. MOZART Die Zauberflöte · The Magic Flute (Querschnitt · Highlights) UPC 00028947763192 with: Dorothea Röschmann · Erika Miklósa · Christoph Strehl · René Pape · Arnold Schoenberg Chor · Mahler Chamber Orchestra · Claudio AbbadoDISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use.Operina is a new opera podcast for kids, created and hosted by soprano Jessica Cambio. Each episode features children from around the world participating (in their own language) in a musical, historical, cultural, and linguistic educational adventure... with their parents' permission, of course.Opera, classical music, and linguistic studies are often neglected and/or not introduced to children at all, especially at the elementary school level. It has been scientifically proven that exposure to classical music, art, dance, culture, foreign languages, and even global travel at an early age encourages healthy brain stimulation and growth, a more peaceful upbringing, a stronger sense of community, and therefore, a better world. The Operina mission is to provide a fun, free, kid-friendly all-encompassing learning experience to enhance their musical and cultural education, expand their horizons, encourage them to think outside the box of their daily lives... all the while limiting their screen time.
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