Podcasts about eight songs

Beim diesjährigen Opernfestival von Aix-en-Provence ist sie ein echter Hingucker: die Neuproduktion „Songs and Fragments“ von Barrie Kosky. Luis Jachmann hat sich in Südfrankreich die spannende Zusammenführung der „Eight Songs for a Mad King“ von Peter Maxwell Davies und der „Kafka-Fragmente“ von György Kurtág angeschaut.

The Beard Bet is officially locked in and we need both need eight songs from our decade by the end of the show! We took some listener calls to see which songs we should go with.

For this week's Latino USA, we're bringing you an episode from the newly released podcast series from WNYC Studios and Futuro Studios, La Brega, The Puerto Rican Experience in Eight Songs. By the end of the 1990s, merengue ruled supreme on the radio and TV in Puerto Rico, but the road to get there was long and complicated, coinciding with the growing Dominican population to the island and culminating in perhaps what was the pinnacle of its popularity and takeover in Puerto Rican music, at home and abroad: Elvis Crespo's “Suavemente.” Journalist Ezequiel Rodríguez Andino shares the story of merengue's ubiquity and how the shift from salsa to merengue brought to the surface serious class and racial tension that still remains today. You can subscribe to La Brega here.

Today, in a short teaser episode, Anna talks to Alana Casanova-Burgess, who is the co-creator and host of  La Brega, a dual-language podcast from WNYC Studios and Futuro Studios. Alana and her team of Puerto Rican journalists, producers, musicians and artists at La Brega have just released their second season, which tells the story of the Puerto Rican experience through eight different songs. You can find the newest episodes of La Brega in both English and Spanish here.

For this week's Latino USA, we're bringing you an episode from the newly released podcast series from WNYC Studios and Futuro Studios, La Brega, The Puerto Rican Experience in Eight Songs. Created by Nuyorican street kids in the mid-80s, freestyle music became the sound and story of second-generation Boricuas. Hip-hop and pop, Latin Caribbean rhythms and instruments, all came together in freestyle. The sound was ubiquitous in New York and later in Orlando, FL. Young Puerto Rican women became the face of the genre. They sang about love, heartbreak, and their sexual desires. In Lisa Lisa & Cult Jam's “I Wonder If I Take You Home” —a huge hit in the genre— a young woman sings about that on her own terms and without shame, opening up mother-daughter conversations that weren't happening. You can subscribe to La Brega here.

For this week's Latino USA, we're bringing you an episode from the newly released podcast series from WNYC Studios and Futuro Studios, La Brega, The Puerto Rican Experience in Eight Songs. Gabby Rivera was 7 when Willie Colón released “El Gran Varón” in 1989. She remembers her father playing in the Bronx. The cinematic arc of the song would stick with her: Simóne, depicted as a trans queer person, is shunned by their father and dies alone of what's assumed to be AIDS. “El Gran Varón” was first banned by some radio stations but became an international hit anyway. Many call it one of the most well-known Latin songs of all time. Its songwriter explains that it was inspired by a rumor about a real-life friend. Only years later did he realize his lyrics contained an eerie prophecy. You can subscribe to La Brega here.

Today,  we're talking to Alana Cassanova-Burgess, co-creator, host, and producer of La Brega, the critically acclaimed and pioneering dual-language podcast about Puerto Rico. She'll tell us all about Season 2 of the podcast La Brega: The Puerto Rican Experience in Eight Songs. From the lyrical boleristas of the 1930s, to the electric salseros of the '70s, to the reggaetoneros of today who have taken music from the margins and made it a global sensation, this season takes listeners on an exciting, richly-reported, cross-genre adventure that captures the ceaseless creativity, emotional resonance, and yes, la brega that are hallmarks of Puerto Rican music across eras and formats. Listen to La Brega right now wherever you get your podcasts.   Join us in person for “Self-love con Corazón” an evening of conversation, workshop, and connecting! This event is on February 23 at 6:30pm in Highland Park and details can be found here:https://www.eventbrite.com/e/self-love-con-corazon-tickets-515232162267?aff=DescriptionLink This event is by donation for as little as $1. Funds will help with event expenses and help us continue to bring great and impactful conversations.  Tamarindo is the Latinx show where hosts discuss politics, pop culture, and how to balance it all con calma, hosted by Brenda Gonzalez and Ana Sheila Victorino. Join us as we delve into discussions on race, gender, politics, representation, and life! Check out all of our upcoming events:  https://www.tamarindopodcast.com/events Brenda and Ana Sheila are executive producers of Tamarindo podcast with production support by Mitzi Hernández and Augusto Martinez, of Sonoro Media. Jeff Ricards produced our theme song. If you want to support our work, please rate and review our show here. You can get in touch with us at www.tamarindopodcast.com Contribute to the show: https://www.paypal.com/paypalme/tamarindopodcast1 Save 10% on your order of books from Latina-owned Xolo Books with the code TAMARINDO at checkout: xolobooks.com Follow Tamarindo on instagram @tamarindopodcast and on twitter at @tamarindocast  Follow Ana Sheila on instagram @la_anasheila and twitter @Shelli1228 Follow Brenda on twitter at @BrendaRicards

The Migs Report. Today is National Pearl Harbor Remembrance Day and Cotton Candy Day. A man walked out of his house with a Flamethrower when someone parked outside his house.  See omnystudio.com/listener for privacy information.

With over 230 episodes in the STAGES archive, it's time to revisit conversations featured in previous seasons. STAGES spotlights such episodes, in case you missed them first time ‘round - or so you can simply savour a second listen. Either way, you'll be accessing precious oral histories from the people who were there, on and around our stages.Kate Gaul has established herself as a distinctive and inventive director, with directing credits including plays, opera, physical theatre, devised works, and classics for theatre companies and schools in Australia. She is Artistic Director of Siren Theatre Company where her passion is for text-based drama which challenges artists and audiences to have bold imaginative experiences.She has been a considerable force in playmaking in Australia over the past 25 years. Directing premiere productions and new Australian works. Her directing folio has covered a broad repertoire of stories – The Laramie Project, The Trouble with Harry, Svetlana in Slingbacks, The Ham Funeral, Run Rabbit Run, The Moors and Good With Maps, to touch on a few.A champion of the work of Irish playwright Enda Walsh, she has directed productions of his plays Penelope, The New Electric Ballroom and Misterman – this last play receiving extensive glowing accolades and huge success at the 2017 Edinburgh Festival.Opera credits include Castor + Pollux (Pinchgut), Eight Songs for a Mad King (Verbruggen Ensemble), The Cunning Little Vixen (Sydney Chamber Opera), Hansel and Gretel (Pacific Opera), Il Matrimonio Segreto, English Eccentrics, Les Mamelles de Tiresias, Cendrillon (Sydney Conservatorium), Dialogues of the Carmelites, Die Fledermaus (WAPPA). For Opera Australia, Kate was the assistant director of Rigoletto (Opera Australia) Aida, Opera Australia's Handa Opera on Sydney Harbour and revival director for the schools' production By the Light of the Moon, and OZ Opera production of Carmen, 2007.Kate directed a gender-bending H.M.S Pinafore for Hayes Theatre and its NSW tour in 2020.During the pandemic Kate has been a saviour in lockdown, regularly recommending a vast repertoire of world theatre that periodically played online. She has her finger on the pulse of exhilarating theatre and those who make it. If it's a must-see, Kate will urge us to see it.Kate Gaul is a vital artist and one whose productions never fail to impress, to engage and to prompt discussion.sirentheatreco.comThe Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

New Zealand Opera are set to reimagine Eight Songs for a Mad King, the monodrama by Sir Peter Maxwell Davies, at Turanga in Christchurch this week. We're joined by director, Thomas de Mallet Burgess and baritone Robert Tucker in our Christchurch Studio.

Your free classical podcast this month is Eight Songs by Schubert, performed by Julien Van Mellaerts and James Baillieu.

This week on Inside the Arts, the Louis Moreau Institute's 2020 Festival premieres Sir Peter Maxwell Davies' monodrama, Eight Songs for a Mad King and other works by contemporary masters and emerging composers. Artistic director Morris Rosenzweig and bass baritone Jonathan Z. Harris join us for a chat. And, Le Petit Theatre continues its season with August Wilson's Pulitzer Prize-winning play, The Piano Lesson. Veteran actors Lance Nichols and Zeb Hollins III are here. Inside the Arts, Tuesdays at 1:00 p.m., Wednesdays at 8:30 p.m., and Thursdays at 8:45 a.m.

Percussionist Cameron Leach and I have a great show for you today!  In addition to some great practice tips, Cameron elaborates on some very important topics, including how to clearly communicate to our audience through intentional and empathetic performing, why students must take ownership of their own learning experience, and why musicians need to be great friends to each other! I love Cameron's perspective on those topics, and I hope you enjoy our discussion! Cameron elaborates on: His journey to a solo career – starting in drumcor, doing a music education degree, and transitioning to performance after a chance encounter How he organizes his practice – having to handle so many instruments Why he likes to practice hungry What it is like to have to learn a wide variety of percussion instruments Ho he transfers the sound concepts from one instrument to the next Different practice modes in practice: Learning mode “Emoting” mode Why he thinks it's important to consider how you are sending your musical message and how it is received by your listeners Clear emotional communication How documenting his practice on video helped him release stress and was a creative outlet Why it's important to keep the sound of the hall in mind when we practice How recording ourselves helps us narrow our focus on specific elements in our practice His 3 key words – inquisitive, intentional, empathetic How students must take ownership of their learning experience (SCHOOLS CAN'T TECH YOU EVERYTHING!) during their degree and remain inquisitive AFTER they've graduated (Pssst! We're all lifelong learners!!!!)     More about Cameron: Website: www.cleachmusic.com YouTube channel: https://www.youtube.com/channel/UCVIL-V9LiebwHS_XbuRbTsw Facebook page: https://www.facebook.com/cleachmusic/ Instagram: https://www.instagram.com/cleachmusic/   Beyond Talent: Creating a Successful Career in Music by Angela Myles Beeching The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield   BIOGRAPHY American percussionist Cameron Leach is a bold, high-energy performer acclaimed for his expressive virtuosity, musical athleticism, and daring interpretations. An engaging and thoughtful soloist, Leach has concertized across the United States, Canada, and Europe. He frequently appears as a guest artist at some of the world's finest institutions, including the Royal Danish Academy of Music, Royal Northern College of Music, Estonian Academy of Music and Theatre, and Norwegian Academy of Music. Leach recently won both the Percussive Arts Society International Solo Artist Competition and Yamaha Young Performing Artist Competition, in addition to receiving the prestigious Performer's Certificate from the Eastman School of Music. Along with his active touring schedule, he regularly performs with the Columbus Symphony Orchestra, and serves on the faculty of Kent State University. Leach is endorsed by Black Swamp Percussion, Beetle Percussion, Sabian Cymbals, and Malletech. Highlights from the 2017-2018 season include the debut of his new electroacoustic solo show ELISION, a European Tour as Co-Principal of the World Percussion Group, the world premiere of Paul Lansky's Metal Light for the Percussive Arts Society, and a performance of Jennifer Higdon's Percussion Concerto with the Eastman Wind Ensemble. Additionally, he performed Peter Maxwell Davies' seminal Eight Songs for a Mad King with Ensemble id, a Rochester, NY-based chamber collective. His latest project, the Leach | Peters Percussion Duo, debuted on the Eastman Summer Concert Series in July 2018. Leach's 2018-2019 season is marked by a diverse array of solo appearances, guest artist engagements, and world premieres. Kicking off with a performance at the National Centre for the Performing Arts in Beijing, China, Leach then embarks on recital and clinic tours of California, Florida, and the Midwest, featuring newly commissioned solo works by David Skidmore and Matt Curlee. In March 2019, Leach will give the world premiere of Dave Maric's Percussion Concerto, commissioned for him by the Capital University Conservatory of Music. To close out the season, Leach will serve on faculty at the MalletLab Summer Intensive in West Palm Beach, FL, and will spend a week in residence as the featured artist for the Space City New Music Festival in Houston, TX. Devoted to the creation and performance of new music, Leach continues to commission diverse works for solo percussion, with a focus on the inclusion of electronics. During his time at the Eastman School of Music, the institution supported his vision through the Eastman/ArtistShare Partnership, allowing Leach to organize a commissioning consortium for Decay No. 2, a massive electroacoustic solo work by Matt Curlee. Other premieres include pieces by composers Michael Burritt, Paul Lansky, Jeff Tyzik, Alejandro Viñao, Annie Gosfield, Tim Feeney, Jon Lin Chua, and Frédéric Chiasson. Leach makes regular appearances at the Percussive Arts Society International Convention, having performed with the Eastman Percussion Ensemble and on the Competition Winner's Showcase Concert in 2017, on the Focus Day Series and as a member of the All-Star International Percussion Ensemble in 2015, and with the Rhythm X Indoor Percussion Ensemble in 2011. In addition to his work as a concert artist, Leach also has a strong background in marching percussion, having won world titles with the Blue Devils Drum & Bugle Corps and Rhythm X.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Matthew Thomas's performance of Eight Songs for a Mad King (Peter Maxwell Davies) on the inaugural Melbourne Festival was "astoundingly effective" wrote ArtsHub in a review. The piece calls for "a realisation of [a] deranged royal... demanding a range of three octaves, a raft of extended vocal technique (some extreme), and fine acting skills."  Thomas talks with RBF Australia's co-director Jane Sheldon about the evening.

Toda la información en http://www.tomajazz.com/web/?p=23753. (Casi) una hora de música “sin interrupciones” (más allá de las necesarias) para escuchar Eight Songs for Nine Years (Takeo Takahashi), Vintage (Jorge Garrido Monk Trío), Illumination (Rafa Madagascar Ancestral Project), y Motion (Víctor Anton Group). Cuatro propuestas que bien merecen una escucha. Pasen y oigan. © Pachi Tapiz, 2016 HDO es un podcast editado, producido y presentaro por Pachi Tapiz.

Writer and critic Paul Driver explains why Maxwell Davies’s 8 Songs For A Mad King is so uniquely important in the development of music theatre; and the Viennese composer and chansonnier HK Gruber describes the work from the inside, as a performer who has sung the taxing part of the King many times.

Sue Lawley's castaway this week is Peter Maxwell Davies. He is one of Britain's greatest living composers. His career has seen him go from enfant terrible and champion of new music, writing pieces such as Worldes Blis and Eight Songs for a Mad King, to Sir Peter Maxwell Davies, Master of the Queen's Music. Peter Maxwell Davies was born in Salford, near Manchester, in 1934. Whilst studying at Manchester University and the Royal Manchester College of Music he formed the key friendships which were to influence his musical career - with Harrison Birtwhistle, Elgar Howarth, Alexander Goehr and John Ogdon. It was during the 60s that Peter composed some of his most influential works - including often cacophonous, expressionist pieces like Vesalii Icones, St. Thomas Wake and Worldes Blis. Music-theatre pieces like Eight Songs were groundbreaking in their use of drama, as well as music. He is fascinated by the mathematical structures and patterns that exist in nature - and tries to replicate them in his music. For more than 30 years he has lived on and been inspired by the Isles of Orkney where, he says, the sounds that surround him creep into his music almost without him knowing it. [Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Victimae Paschali Laudes by The Benedictine Monks of Silos Book: Sanskrit dictionary Alternative to Bible: Bhagavad-Gita Luxury: Copper plate engravings of Durer's Passion

Sue Lawley's castaway this week is Peter Maxwell Davies. He is one of Britain's greatest living composers. His career has seen him go from enfant terrible and champion of new music, writing pieces such as Worldes Blis and Eight Songs for a Mad King, to Sir Peter Maxwell Davies, Master of the Queen's Music. Peter Maxwell Davies was born in Salford, near Manchester, in 1934. Whilst studying at Manchester University and the Royal Manchester College of Music he formed the key friendships which were to influence his musical career - with Harrison Birtwhistle, Elgar Howarth, Alexander Goehr and John Ogdon. It was during the 60s that Peter composed some of his most influential works - including often cacophonous, expressionist pieces like Vesalii Icones, St. Thomas Wake and Worldes Blis. Music-theatre pieces like Eight Songs were groundbreaking in their use of drama, as well as music. He is fascinated by the mathematical structures and patterns that exist in nature - and tries to replicate them in his music. For more than 30 years he has lived on and been inspired by the Isles of Orkney where, he says, the sounds that surround him creep into his music almost without him knowing it. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Victimae Paschali Laudes by The Benedictine Monks of Silos Book: Sanskrit dictionary Alternative to Bible: Bhagavad-Gita Luxury: Copper plate engravings of Durer's Passion