Podcast appearances and mentions of Erich Leinsdorf

durée : 00:23:02 - Disques de légende du mardi 31 décembre 2024 - Erich Leinsdorf, avec un mélange de précision et d'emportement, dirige en 1966 ce " Ballo in maschra", de Verdi, avec le ténor Carlo Bergonzi au sommet de son art, ainsi que les vedettes Leontyne Price et Shirley Verrett.

durée : 00:23:02 - Disques de légende du mardi 31 décembre 2024 - Erich Leinsdorf, avec un mélange de précision et d'emportement, dirige en 1966 ce " Ballo in maschra", de Verdi, avec le ténor Carlo Bergonzi au sommet de son art, ainsi que les vedettes Leontyne Price et Shirley Verrett.

Yesterday was World AIDS Day and many of the people I admire and follow on various social media platforms made beautiful and heartfelt posts in commemoration of this day and all the many souls that have been lost over the decades to this hideous disease. I want to weigh in today with my own tribute: to the exceptional American baritone John Reardon, who died of this disease in 1988 at the age of 58. This is an expanded version of a bonus episode I published more than four years ago which constituted a deep exploration of his recorded legacy, in both live or studio recordings, of musical, opera (especially contemporary works), and art song. You'll hear guest contributions from the two Judys, (Raskin and Blegen; sorry, no Garland today), as well as Jo Sullivan, Beverly Wolff, Anja Silja, Evelyn Lear, and James McCracken, conducted by Leonard Bernstein, Thomas Beecham, Sarah Caldwell, Erich Leinsdorf, Frederic Waldman, Lehman Engel, Jorge Mester, as well as that great stage director Bliss Hebert doing a guest turn tickling the ivories in two song cycles. If you listen extra closely, you may even hear a line or two from Beverly Sills, Robert Merrill, Cesare Siepi, and Jussi Björling! The episode also includes a birthday tribute to Maria Callas and, as a memorial to all who have succumbed to AIDS, “When Angels Cry,” a song by Janis Ian. 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.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

durée : 01:58:10 - Chefs oubliés III : Georges Sebastian, Maurice Abravanel, Rudolf Kempe, Erich Leinsdorf - par : Christian Merlin - Quatre chefs à qui la postérité aurait pu faire une meilleure place : Georges Sebastian, pilier hongrois de la vie musicale française, Maurice Abravanel, juif de Salonique installé chez les Mormons, Rudolf Kempe, Dresdois de grande classe, et Erich Leinsdorf, Viennois exilé aux Etats-Unis. - réalisé par : Marie Grout

durée : 00:28:17 - Chefs oubliés III : Georges Sebastian, Maurice Abravanel, Rudolf Kempe, Erich Leinsdorf (4/4) - par : Christian Merlin - Quatre chefs à qui la postérité aurait pu faire une meilleure place : Georges Sebastian, pilier hongrois de la vie musicale française, Maurice Abravanel, juif de Salonique installé chez les Mormons, Rudolf Kempe, Dresdois de grande classe, et Erich Leinsdorf, Viennois exilé aux Etats-Unis. - réalisé par : Marie Grout

durée : 00:28:42 - Chefs oubliés III : Georges Sebastian, Maurice Abravanel, Rudolf Kempe, Erich Leinsdorf (3/4) - par : Christian Merlin - Quatre chefs à qui la postérité aurait pu faire une meilleure place : Georges Sebastian, pilier hongrois de la vie musicale française, Maurice Abravanel, juif de Salonique installé chez les Mormons, Rudolf Kempe, Dresdois de grande classe, et Erich Leinsdorf, Viennois exilé aux Etats-Unis. - réalisé par : Marie Grout

durée : 00:28:38 - Chefs oubliés III : Georges Sebastian, Maurice Abravanel, Rudolf Kempe, Erich Leinsdorf (2/4) - par : Christian Merlin - Quatre chefs à qui la postérité aurait pu faire une meilleure place : Georges Sebastian, pilier hongrois de la vie musicale française, Maurice Abravanel, juif de Salonique installé chez les Mormons, Rudolf Kempe, Dresdois de grande classe, et Erich Leinsdorf, Viennois exilé aux Etats-Unis. - réalisé par : Marie Grout

durée : 00:28:25 - Chefs oubliés III : Georges Sebastian, Maurice Abravanel, Rudolf Kempe, Erich Leinsdorf (1/4) - par : Christian Merlin - Quatre chefs à qui la postérité aurait pu faire une meilleure place : Georges Sebastian, pilier hongrois de la vie musicale française, Maurice Abravanel, juif de Salonique installé chez les Mormons, Rudolf Kempe, Dresdois de grande classe, et Erich Leinsdorf, Viennois exilé aux Etats-Unis. - réalisé par : Marie Grout

This Countermelody episode is the last in my miniseries featuring artists from Baltimore. It is also the last in my new episodes for Black History Month 2024 featuring “Forgotten Divas.” Today I offer to you the absolutely divine soprano of Veronica Tyler (1939-2020), who fits all three categories. In the 1960s, Veronica Tyler was a name on everyone's lips: she appeared on three different episodes of Leonard Bernstein's Young People's Concerts, she was the second prize winner of the International Tchaikovsky Competition in Moscow in 1966, the first time this venerable contest had featured singers, she was a featured artist at the New York City Opera, where, in their first season at Lincoln Center, she sang a Pamina in The Magic Flute of such humanity and transcendent vocal beauty that audiences were transported into another world. She sang under conductors Leopold Stokowski, Erich Leinsdorf, Zubin Mehta, Eugene Ormandy, Carlo Maria Giulini, Robert Shaw, and Stanislaw Skrowaczewski. Later on she made a belated Met debut in 1985 as Serena in their premiere production of Porgy and Bess, but gradually her high profile appearances became fewer and fewer and eventually she disappeared from view. Her death on 21 March 2020 was only announced three months later, and with little fanfare. But during her heyday, Veronica Tyler was among the most elegant, compelling, and ingratiating lyric sopranos in the business. I have scoured the archives to bring to light some of the artist's most beautiful performances, some of them virtually unheard for decades, including a 1980 album of spirituals that ranks among the best of this repertoire ever committed to disc. What inexpressible joy it brings me to present to you the unforgettable Veronica Tyler! 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.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Am Sonntag (10. September) gedenkt man im Rahmen einer Matinee im Bezirksmuseum Josefstadt des Dirigenten Erich Leinsdorf. Künftig erinnert eine Gedenktafel an dessen Geburtshaus in der Kochgasse an den Wiener, den Arturo Toscanini einst als Wagner-Dirigenten an die New Yorker Met empfahl. Leinsdorf wurde zu einem der bedeutendsten Dirigenten seiner Zeit. Im „Musiksalon“ präsentiert Wilhelm Sinkovicz zum 30. Todestag des Maestros einige seiner herausragenden Aufnahmen.

Synopsis On this day in 1934, an excited crowd of locals and visitors had gathered in Hartford, Connecticut, for the premiere performance of a new opera entitled Four Saints in Three Acts. The fact that the opera featured 16 saints, not 4, and was divided into 4 acts, not 3, was taken by the audience in stride, as the libretto was by the expatriate American writer, Gertrude Stein, notorious for her surreal poetry and prose. The music, performed by players from the Philadelphia Orchestra and sung by an all-black cast, was by the 37-year old American composer, Virgil Thomson, who matched Stein's surreal sentences with witty musical allusions to hymn tunes and parodies of solemn, resolutely tonal music. Among the locals in attendance was the full-time insurance executive and part-time poet, Wallace Stevens, who called the new opera (quote): "An elaborate bit of perversity in every respect: text, settings, choreography, [but] Most agreeable musically… If one excludes aesthetic self-consciousness, the opera immediately becomes a delicate and joyous work all around." The opera was a smashing success, and soon opened on Broadway, where everyone from Toscanini and Gershwin to Dorothy Parker and the Rockefellers paid a whopping $3.30 for the best seats—a lot of money during one of the worst winters of the Great Depression. Music Played in Today's Program Virgil Thomson (1896-1989) Four Saints in Three Acts Orchestra of Our Time; Joel Thome, conductor. Nonesuch 79035 On This Day Births 1741 - Belgian-born French composer André Grétry, in Liège; 1932 - American composer and conductor John Williams, in New York City; Deaths 1709 - Italian composer Giuseppe Torelli, age 50, in Bologna; 1909 - Polish composer Mieczyslaw Karlowicz, age 32, near Zakopane, Tatra Mountains; Premieres 1874 - Mussorgsky: opera “Boris Godunov”, at the Mariinsky Theatre in St. Petersburg, with bass Ivan Melnikov in the title role, and Eduard Napravnik conducting; This was the composer's own revised, nine-scene version of the opera, which originally consisted of just seven scenes (Julian date: Jan.27); 1897 - Kalinnikov: Symphony No. 1 (Gregorian date: Feb. 20); 1904 - Sibelius: Violin Concerto (first version), in Helsinki, by the Helsingsfors Philharmonic conducted by the composer, with Victor Novácek as soloist; The revised and final version of this concerto premiered in Berlin on October 19, 1905, conducted by Richard Strauss and with Karl Halir the soloist; 1907 - Schoenberg: Chamber Symphony No. 1 in Vienna, with the Rosé Quartet and members of the Vienna Philharmonic; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg, with the composer conducting (Julian date: Jan. 26); 1909 - Liadov: “Enchanted Lake” (Gregorian date: Feb. 21); 1910 - Webern: Five Movements, Op. 5, for string quartet, in Vienna; 1925 - Cowell: "Ensemble" (original version for strings and 3 "thunder-sticks"), at a concert sponsored by the International Composers' Guild at Aeolian Hall in New York, by an ensemble led by Vladimir Shavitch that featured the composer and two colleagues on "thunder-sticks" (an American Indian instrument also known as the "bull-roarer"); Also on program was the premiere of William Grant Still's "From the Land of Dreams" for three voices and chamber orchestra (his first concert work, now lost, dedicated to his teacher, Edgard Varèse); 1925 - Miaskovsky: Symphonies Nos. 4 and 7, in Moscow; 1934 - Virgil Thomson: opera "Four Saints in Three Acts" (libretto by Gertrude Stein), in Hartford, Conn.; 1942 - Stravinsky: "Danses concertantes," by the Werner Janssen Orchestra of Los Angeles, with the composer conducting; 1946 - Bartók: Piano Concerto No. 3 (completed by Tibor Serly after the composer's death), by the Philadelphia Orchestra, Eugene Ormandy conducting and György Sándor as the soloist; 1959 - Elie Siegmeister: Symphony No. 3, in Oklahoma City; 1963 - Benjamin Lees: Violin Concerto, by the Boston Symphony, with Erich Leinsdorf conducting and Henryk Szeryng the soloist; 1966 - Lou Harrison: "Symphony on G" (revised version), at the Cabrillo Music Festival by the Oakland Symphony, Gerhard Samuel condicting; 1973 - Crumb: "Makrokosmos I" for amplified piano, in New York; 1985 - Earle Brown: "Tracer," for six instruments and four-track tape, in Berlin; 1986 - Daniel Pinkham: Symphony No. 3, by the Plymouth (Mass.) Philharmonic, Rudolf Schlegel conducting; 2001 - Sierra: "Concerto for Orchestra," by the Philadelphia Orchestra, Wolfgang Sawallisch conducting; Others 1875 - American composer Edward MacDowell admitted to the Paris Conservatory; 1877 - German-born (and later American) composer Charles Martin Loeffler admitted to the Paris Conservatory; 1880 - German opera composer Richard Wagner writes a letter to his American dentist, Dr. Newell Still Jenkins, stating "I do no regard it as impossible that I decide to emigrate forever to America with my latest work ["Parsifal"] and my entire family" if the Americans would subsidize him to the tune of one million dollars. Links and Resources On Virgil Thomson More on Thomson

Un día como hoy, 4 de febrero. Acontecimientos: 1939: en los Estados Unidos se estrena la película de Una noche en la ópera, de los hermanos Marx. Nace: 1688: Pierre de Marivaux, dramaturgo y novelista francés. 1912: Erich Leinsdorf, director de orquesta y músico austriaco. Fallece: 1590: Gioseffo Zarlino, compositor italiano. 1968: Neal Cassady, escritor estadounidense. 1995: Patricia Highsmith, novelista estadounidense . 2001: Iannis Xenakis, compositor y arquitecto francés de origen rumano. Conducido por Joel Almaguer Una producción de Sala Prisma Podcast. 2023

Synopsis The American composer Ned Rorem liked to classify music as being either French or German – by “French” Rorem meant music that is sensuous, economical, and unabashedly superficial; by “German” Rorem meant music that strives to be brainy, complex, and impenetrably deep. On today's date the Boston Symphony gave the premiere performances of two important 20th century piano concertos. The first, by Francis Poulenc, had its premiere under the baton of Charles Munch in 1950, with the composer at the piano. Poulenc's Concerto is a light, entertaining with no pretension to profundity. It is quintessentially “French” according to Rorem's classification. The second Piano Concerto, by the American composer Elliott Carter, had its Boston premiere in 1967, conducted by Erich Leinsdorf, with soloist Jacob Lateiner. Carter's Concerto was written in Berlin in the mid-1960s when the Wall dividing that city was still new. Carter said he composed it in a studio near an American target range, and one commentator hears the sounds of machine guns in the work's second movement. Carter himself compared woodwind solos in the same movement to the advice given by three friends of the long-suffering Job in the Bible. Needless to say, Rorem would emphatically classify Carter's Concerto as “German” to the max! Music Played in Today's Program Francis Poulenc (1899 –1963) Piano Concerto Pascal Roge, piano; Philharmonia Orchestra; Charles Dutoit, conductor. London 436 546 Elliot Carter (b. 1908) Piano Concerto Ursula Oppens, piano; SWF Symphony; Michael Gielen, conductor. Arte Nova 27773

Imagine if you were a student of Leonardo da Vinci during the height of the Renaissance? What would you learn? All the secrets of oil painting, the hidden proportions of human anatomy, Leonardo's philosophy on life...Let's find out. On this episode, we explore Leonardo da Vinci's Treatise On Painting through three lectures on Proportion, Anatomy, and Color. We stumble onto the invention of 'orange'. And finally, we uncover unlock the secrets of The Vitruvian Man. Join me for this special two part series, as we dive into the thoughts, artwork, and paradoxes of Leonardo da Vinci's mind. A mind whose brilliance is exteriorized for us on the pages of these manuscripts. Visit the companion gallery for this episode here: https://mjdorian.com/notebooks/ --------- Research & Resources: • The Notebooks of Leonardo da Vinci, edited by Edward MacCurdy (Definitive Edition in One Volume). (Digital version, Volume I: https://archive.org/details/in.ernet.dli.2015.283547 ) • Treatise On Painting, by Leonardo da Vinci (Digital version: https://archive.org/details/cu31924008661476 ) • Leonardo: The Complete Drawings, published by Taschen. • The Lives of the Most Excellent Painters, Sculptors, and Architects, by Giorgio Vasari • Leonardo da Vinci, by Walter Isaacson. --------- Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian --------- Listen to episode 2 of Creative Codex for more about Leonardo da Vinci's personal life. Available in the main podcast feed, titled: '2: Leonardo da Vinci's Secret'. --------- Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Angela Ramseyer, Anna Wolff, Aranea Push, Barak Talker, Carmella Cole, Corey, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Deborah Meyers, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian --------- All music written & produced by MJDorian. With one exception: Amadeus Mozart's Lacrymosa from Mozart's Requiem plays from 8:50-11:30. Performed by the Boston Symphony Orchestra, conducted by Erich Leinsdorf. Creative Codex is written & produced by MJDorian. All rights reserved.

At this moment, strewn across the world, there exist over 7,200 pages of Leonardo da Vinci's notes. These pages are not only echoes of a distant past–embodying the inquisitive spirit of the Renaissance–according to scholars and historians they represent the 'greatest record of curiosity ever created'. Join me for this special two part series, as we dive into the thoughts, artwork, and paradoxes of Leonardo da Vinci's mind. A mind whose brilliance is exteriorized for us on the pages of these manuscripts. Visit the companion gallery for this episode here: https://mjdorian.com/notebooks/ --------- Research & Resources: • The Notebooks of Leonardo da Vinci, edited by Edward MacCurdy (Definitive Edition in One Volume). • Leonardo: The Complete Drawings, published by Taschen. • The Lives of the Most Excellent Painters, Sculptors, and Architects, by Giorgio Vasari • Leonardo da Vinci, by Walter Isaacson. --------- Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian --------- Listen to episode 2 of Creative Codex for more about Leonardo da Vinci's personal life. Available in the main podcast feed, titled: '2: Leonardo da Vinci's Secret'. --------- Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Barak Talker, Carmella Cole, Corey, Clark Price, Clinton King, Dallas O'Kelly, DVM, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Jye Marchant, Kayla Dawson, Keith, Kirsten Dressler, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Owen McAteer, Rachulan, Rachel Schultz, Rebecca, Robert, Ruben Corona, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Stephanie Neal, Tim Sussss, Terry W, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian --------- All music written & produced by MJDorian. With one exception: Amadeus Mozart's Lacrymosa from Mozart's Requiem plays from 8:50-11:30. Performed by the Boston Symphony Orchestra, conducted by Erich Leinsdorf. Creative Codex is written & produced by MJDorian. All rights reserved.

Say their names: In Uvalde: Nevaeh Bravo, Jackie Cazares, Makenna Lee Elrod, Jose Flores, Eliana Garcia, Irma Garcia, Uziyah Garcia, Amerie Jo Garza, Xavier Lopez, Jayce Luevanos, Tess Marie Mata, Miranda Mathis, Eva Mireles, Alithia Ramirez, Annabell Guadalupe Rodriguez, Maite Rodriguez, Alexandria Aniyah Rubio, Layla Salazar, Jailah Nicole Silguero, Eliahana Cruz Torres, Rojelio Torres. In Buffalo: Celestine Chaney, Roberta A. Drury, Andre Mackniel, Katherine Massey, Margus D. Morrison, Heyward Patterson, Aaron Salter, Geraldine Talley, Ruth Whitfield, Pearl Young. All gunned down by young men who should have had no access to an assault weapon in the first place. I have no meaningful response to such cruel slaughter. When I am in the most profound mourning, I turn to the composers whose music directly confronts that despair. Today that composer is Gustav Mahler. Since the victims were almost exclusively people of color, today for solace I turn to the extraordinary voices of women of color singing the music of Mahler. Roberta Alexander, Marian Anderson, Carol Brice, Oralia Dominguez, Jessye Norman, Florence Quivar, Shirley Verrett, Lucretia West provide balm for the depths of despair that we are all feeling right now. They are joined on the podium by some of the greatest conductors of the twentieth century: Leonard Bernstein, Christoph von Dohnányi, Bernard Haitink, Paul Kletzki, Hans Knappertsbusch, Erich Leinsdorf, Zubin Mehta, Pierre Monteux, Fritz Reiner, and Frieder Weissmann. This episode is also offered in memory of and in gratitude for the life of the great Lucretia West, who died on 21 February 2022 at the age of 99. 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.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Synopsis The German composer Richard Wagner tried to limit performances of his final opera, “Parsifal,” to his own theater in Bayreuth, hoping it would provide a source of income for his family after his death. “Parsifal” premiered at Bayreuth in 1882, and after Wagner died the following year, his widow forbade rental of the music for performances elsewhere. Naturally, Wagner enthusiasts all over the world were eager to hear the new work. One of them was a German-born American named Walter Damrosch, who, at the tender age of 23, headed both the New York Symphony and Oratorio Society, and was a conductor at the Metropolitan Opera. While visiting London in 1885, Damrosch had bought a miniature score of “Parsifal.” The purchase gave him no right to perform the work, but he discovered the monetary fine for doing so was so small that he hired copyists to prepare orchestral parts for a concert performance in America at the old Metropolitan Opera House on today's date in 1886. Unfortunately for Damrosch, Anton Seidl, a close friend of Wagner's widow was hired as the new music director of the Met. Seidl apparently took offense at Damrosch's audacity, and so limited Damrosch to only non-Wagnerian repertory! Music Played in Today's Program Richard Wagner (1813–1883) — Parsifal (excerpt) (SW German Radio Symphony; Erich Leinsdorf, cond.) Hannsler 93.040 On This Day Births 1891 - Spanish composer Federico Moreno Torroba, in Madrid; Deaths 1768 - Italian composer Nicola Porpora, age 81, in Naples; 1824 - Italian composer and violin virtuoso Giovanni Battista Viotti, age 68, in London; 1932 - British-born German composer and pianist Eugène d'Albert, age 67, in Riga; Premieres 1793 - Haydn: Symphony No. 101 ("The Clock"), conducted by the composer, at the Hanover-Square Concert Rooms in London; 1842 - Mendelssohn: Symphony No. 3 ("Scottish"), by the Leipzig Gewandhaus Orchestra, with the composer conducting; 1853 - revised version of R. Schumann: Symphony No. 4, with the Düsseldorf Municipal Orchestra, conducted by the composer; An earlier version of this symphony premiered in Leipzig in 1841 as Schumann's Symphony "No. 2," but the composer withdrew the score and composed and premiered a new Symphony No. 2 and Symphony No. 3 before revising and reintroducing this symphony as "No. 4"; 1870 - Brahms: "Alto Rhapsody," by the singer Pauline Viardot-Garcia, in Jena, Germany; 1875 - Bizet: opera "Carmen," in Paris at the Opéra-Comique; 1893 - George Templeton Strong, Jr.: Symphony No. 2 ("Sintram"), at a public afternoon rehearsal by the New York Philharmonic at Carnegie Hall, with Anton Seidl conducting; The "official" premiere concert took place the following evening; 1899 - R. Strauss: tone-poem "Ein Heldenleben" (A Hero's Life), in Frankfurt, with Strauss conducting; 1918 - Bartók: String Quartet No. 2, Op. 17, in Budapest, by the Waldbauer Quartet; 1944 - Barber: Symphony No, 2, by the Boston Symphony, Serge Koussevitzky conducting; 1951 - Otto Luening: "Kentucky Concerto" by the Louisville Orchestra, with the composer conducting; 1959 - Cowell: Symphony No. 13 ("Madras") in Madras, India; 1963 - Menotti: television opera "Labyrinth," broadcast over the NBC network; Others 1886 - American premiere (in a concert version) of Wagner's "Parsifal" at the Old Metropolitan Opera House, by the New York Symphony and Oratorio Society conducted by the 24-year old Walter Damrosch; The soloists included soprano Marianne Brandt, who had alternated the role of Kundry with soprano Amalie Materna in the premiere staged performances of the opera in Bayreuth in July of 1882; The first fully staged presentation of "Parsifal" in the U.S. did not occur at the Met until Dec. 24, 1903; 1922 - U.S. premiere of concert version of Stravinsky's ballet score, "The Rite of Spring," in Philadelphia, with Leopold Stokowski conducting. Links and Resources On Wagner's "Parsifal" On Walter Damrosch

Conversación con el Maestro Urs Leonhardt Steiner Esta semana hablamos con el Maestro Urs Leonhardt Steiner sobre la Orquesta Sinfonica Golden Gate Symphony Orchestra and Chorus. El Maestro Steiner es reconocido internacionalmente como director, guitarrista, educador y compositor, en 1994 el Maestro Steiner fundó la orquesta que se convertiría en la Orquesta Sinfónica y Coro Golden Gate. El maestro Urs Leonhardt Steiner Originario de Chur, Suiza, estudió en la Universidad de Tubinga y se graduó en el Conservatorio de Música de San Francisco. Realizó estudios avanzados de dirección con James Wimer y Gustav Meier, además de participar en clases magistrales con Andre Previn, Erich Leinsdorf, Leonhard Bernstein y Herbert von Karajan, las composiciones del maestro Steiner incluyen las óperas “Il Secondo Settenio” y “Return of the Phantoms”, que se han representado con gran éxito de crítica en Suiza y Estados Unidos. Además de liderar la Sinfónica Golden Gate en proyectos locales e internacionales, es un director invitado frecuente con orquestas y conjuntos en Europa, Estados Unidos y América Central . La Orquesta sinfonia del Golden gate en San Francisco utiliza la música clásica para construir una comunidad e inspirar una apreciación más profunda de la música al brindar acceso a [...]

Hoy tenemos una conversacion rapida inicial con el Maestro Urs Leonhardt Steiner. El es reconocido internacionalmente como director, guitarrista, educador y compositor, y en 1994 fundó la orquesta que se convertiría en la Golden Gate Symphony Orchestra & Chorus. Originario de Chur, Suiza, Maestro Steiner estudió en la Universidad de Tubinga y se graduó en el Conservatorio de Música de San Francisco. Realizó estudios avanzados de dirección con James Wimer y Gustav Meier, además de participar en clases magistrales con Andre Previn, Erich Leinsdorf, Leonhard Bernstein y Herbert von Karajan. Las composiciones del maestro Steiner incluyen las óperas “Il Secondo Settenio” y “Return of the Phantoms” que se han interpretado con gran éxito de crítica en Suiza y los Estados Unidos. Además de dirigir la Golden Gate Symphony en esfuerzos locales e internacionales, es un director invitado frecuente con orquestas y conjuntos en Europa, Estados Unidos y América Central. La Orquesta Sinfónica y Coro Golden Gate está entrando en su tercera década de presentar actuaciones musicales de alta calidad y programas dinámicos de educación musical a las comunidades en el área de la Bahía de San Francisco. Estos programas altamente exitosos le han ganado a la organización una reputación nacional [...]

Synopsis Today we have a tale of jealousy to tell — the tale of Claude and Mary and Maurice and Georgette—related to the premiere, on today’s date in 1902, of “Pelléas et Mélisande.” This new opera by Claude Debussy was based on a play about jealousy by the Belgian playwright Maurice Maeterlinck. Debussy had worked on his opera for years with no objection from Maeterlinck until late in 1901, when Debussy announced that the Scottish soprano Mary Garden would sing the role of Mélisande. Suddenly, two weeks before the premiere, Maeterlinck began saying the opera was “alien” to him, that he had lost artistic control over his own work, that he hoped the opera would flop. Well, that accounts for Claude and Mary and Maurice, but what about Georgette? Turns out SHE was the real reason behind Maeterlinck’s objections. Georgette was a soprano–and Maeterlinck’s mistress. When Debussy refused to even consider her for the lead role in his new opera, Maeterlinck’s smear campaign began. He was not alone—the eminent French composer Camille Saint-Saëns, jealous as any character in Debussy’s opera, delayed his customary vacation abroad to stay in Paris, and, as he put it, “To speak ill of Pelléas.” Music Played in Today's Program Claude Debussy (1862 - 1918) Pelléas et Mélisande Cleveland Orchestra; Erich Leinsdorf, cond. Cleveland 9375 On This Day Births 1870 - Hungarian-born Austrian composer Franz Léhar, in Komorn; 1939 - American composer Ellen Taaffe Zwilich, in Miami, Fla.; She was the first female composer to win the Pulitzer Prize for Music (in 1983 for her Symphony No. 1); Premieres 1728 - Handel: opera "Tolomeo, re d'Egitto" (Ptolomy, King of Egypt), in London at the King's Theater in the Haymarket (Gregorian date: May 11); 1855 - Berlioz: "Te Deum," at the church of St. Eustache in Paris; 1902 - Debussy: opera "Pelléas and Mélisande," in Paris at the Opéra-Comique; 1925 - Hindemith: "Kammermusik" No. 3, Op. 36, no. 2, in Bochum, Germany, conducted by the composer with Rudolf Hindemith the cello soloist; 1934 - Stravinsky: opera "Persephone," at the Paris Opéra, with Ida Rubinsetin in the principal role (spoken part) and the composer conducting; 1973 - Lou Harrison: Concerto for Organ, at San Jose State University, with organist Philip Simpson; 1991 - Ellen Taaffe Zwilich: Bass Trombone Concerto, by soloist Charles Vernon with the Chicago Symphony, Daniel Barenboim conducting; 1994 - John Harbison: String Quartet No. 3, at Brandeis University in Waltham, Mass., by the Lydian String Quartet; Others 1932 - Opening of the first "Yaddo" Festival of Contemporary Music at Saratoga Springs, N.Y. Links and Resources On Debussy On Debussy's "Pelléas et Mélisande"

Synopsis Today we have a tale of jealousy to tell — the tale of Claude and Mary and Maurice and Georgette—related to the premiere, on today’s date in 1902, of “Pelléas et Mélisande.” This new opera by Claude Debussy was based on a play about jealousy by the Belgian playwright Maurice Maeterlinck. Debussy had worked on his opera for years with no objection from Maeterlinck until late in 1901, when Debussy announced that the Scottish soprano Mary Garden would sing the role of Mélisande. Suddenly, two weeks before the premiere, Maeterlinck began saying the opera was “alien” to him, that he had lost artistic control over his own work, that he hoped the opera would flop. Well, that accounts for Claude and Mary and Maurice, but what about Georgette? Turns out SHE was the real reason behind Maeterlinck’s objections. Georgette was a soprano–and Maeterlinck’s mistress. When Debussy refused to even consider her for the lead role in his new opera, Maeterlinck’s smear campaign began. He was not alone—the eminent French composer Camille Saint-Saëns, jealous as any character in Debussy’s opera, delayed his customary vacation abroad to stay in Paris, and, as he put it, “To speak ill of Pelléas.” Music Played in Today's Program Claude Debussy (1862 - 1918) Pelléas et Mélisande Cleveland Orchestra; Erich Leinsdorf, cond. Cleveland 9375 On This Day Births 1870 - Hungarian-born Austrian composer Franz Léhar, in Komorn; 1939 - American composer Ellen Taaffe Zwilich, in Miami, Fla.; She was the first female composer to win the Pulitzer Prize for Music (in 1983 for her Symphony No. 1); Premieres 1728 - Handel: opera "Tolomeo, re d'Egitto" (Ptolomy, King of Egypt), in London at the King's Theater in the Haymarket (Gregorian date: May 11); 1855 - Berlioz: "Te Deum," at the church of St. Eustache in Paris; 1902 - Debussy: opera "Pelléas and Mélisande," in Paris at the Opéra-Comique; 1925 - Hindemith: "Kammermusik" No. 3, Op. 36, no. 2, in Bochum, Germany, conducted by the composer with Rudolf Hindemith the cello soloist; 1934 - Stravinsky: opera "Persephone," at the Paris Opéra, with Ida Rubinsetin in the principal role (spoken part) and the composer conducting; 1973 - Lou Harrison: Concerto for Organ, at San Jose State University, with organist Philip Simpson; 1991 - Ellen Taaffe Zwilich: Bass Trombone Concerto, by soloist Charles Vernon with the Chicago Symphony, Daniel Barenboim conducting; 1994 - John Harbison: String Quartet No. 3, at Brandeis University in Waltham, Mass., by the Lydian String Quartet; Others 1932 - Opening of the first "Yaddo" Festival of Contemporary Music at Saratoga Springs, N.Y. Links and Resources On Debussy On Debussy's "Pelléas et Mélisande"

Anthony Rudel is the General manager of WCRB Boston and the son of conductor Julius Rudel who led the New York City Opera to greatness in a career that stretched over a half century and a total of nearly 70 years before the public. Rudel escaped the nazi Germany tension in 1938 to continue music making in America. He took over the people's opera folowing Erich Leinsdorf and insisted on inexpensive tickets at NYCO even as the company moved to Lincoln Center. Rudel made over 100 recordings and appeared in Pittsburgh with the Pittsburgh Symphony on at least three occasions as well as conducting Rossini at Pittsburgh Opera and Kurt Weill's Lost in the Stars for Jonathan Eaton at Opera Theater Pittsburgh. Anthony Rudel chooses his favorite recordings by his Dad and recalls career highlights as well as the singers he championed such as Beverly Sills and Jose Carerras. Anthony Rudel having worked in the arts in many roles including nearly a decade at WQXR is the author of Hello Everybody The Dawn of Radio in America and he has family ties to Pittsburgh through his niece Dr. Rachel Berger, a pediatrician at Children's Hospital.

Un día como hoy, 4 de febrero. Acontecimientos: 1939: en los Estados Unidos se estrena la película de Una noche en la ópera, de los hermanos Marx. Nace: 1688: Pierre de Marivaux, dramaturgo y novelista francés. 1912: Erich Leinsdorf, director de orquesta y músico austriaco. Fallece: 1590: Gioseffo Zarlino, compositor italiano. 1968: Neal Cassady, escritor estadounidense. 1995: Patricia Highsmith, novelista estadounidense . 2001: Iannis Xenakis, compositor y arquitecto francés de origen rumano. Una producción de Sala Prisma Podcast. 2021

Phebe Berkowitz-Tanners grew up in the Central City Opera House. Her family made a second home in our magical, old western town during the summers of 1953-1963 when her father, Metropolitan Opera violist David Berkowitz, played the Festival season with the Central City Opera Orchestra. Now a dedicated supporter of the company, Phebe reminisces with CCO Director of Development Katie Nicholson about mounting backyard opera productions with other children of the Festival company (attended by famous singers and actors of the main stage!), experiencing the world premiere of The Ballad of Baby Doe from behind the scenes and the expansive and international Central City Opera community that she found throughout her career as an opera stage director and production professional. Guest host Katherine (Katie) Nicholson was recently featured on the Central City Opera blog, take a read get to know her better! Those of you watching the video version of this interview will notice the poster for Central City Opera’s Voice Your Dreams Endowment Campaign behind Katie. If you want to learn more and/or contribute to the Campaign to help our company endure long into the future, contact Katie at knicholson@centralcityopera.org or 303-331-7015! Special thanks to Central City Opera Office Administrator Wanda M. Larson who’s helped us keep in close contact with our guest, Phebe, throughout the years and continues to show her passion for unforgettable Central City Opera experiences and community. You’ll probably recognize her if you’ve been up to the summer Festival, she’s the Gift Shop Admin/Buyer, too! Historical preservation is a pillar of Central City Opera’s mission. Learn about the dozens of historic properties we own and maintain. Explore more Central City history, and even schedule a tour at www.gilpinhistory.org. “The famous ghost town” of Nevadaville is just up the street from Central City. Learn more about it at www.uncovercolorado.com. Like many patrons and visitors, Phebe mentions paranormal experiences in and around our properties. Have you encountered something ghostly in Central City? Phebe talks about many exciting moments and incredible figures from Central City Opera, including: Phebe spent her first summer at Central City Opera in 1953, the production was Bizet’s Carmen. She was 7 and her sister was 9. They fell in love with the music, sitting in on every rehearsal, and they began the tradition of performing their own versions of the season’s operas in their backyard with the other children of the Festival company. They’d string up a sheet to make a stage curtain, and star actors and singers would even come to see their shows! According to Phebe, these “parodies” and performances went on to inspire the tradition of our famous singing ushers. You’ll hear the famous Risë Stevens recording of Carmen that Phebe and her sister loved so much as background music during this podcast. Wonderful performers Phebe recalls knowing as a child—some of whom attended her backyard productions—were Julie Harris, Tammy Grimes, Shirley Booth, Arlene Saunders. One of Phebe’s favorite memories of Central City Opera was the world premiere of The Ballad of Baby Doe in 1956. She was 10 years old at the time, and she remembers all the excitement and artistry of composer Douglas Moore, librettist John La Touche, director and renowned choreographer Hanya Holm, director Edwin Levy and starring sopranos Dolores Wilson and Leyna Gabriele, all working together on this brand new opera. Read more about Baby Doe Tabor as a historical figure and the opera based on her life on the Central City Opera blog! Cyril Richard—perhaps best remembered as Captain Hook in the Mary Martin musical production of Peter Pan—played Don Andres in La Perichole at Central City Opera in 1958. Phebe talks about how he kindly reassured her little brother, who had made a loud mistake on stage while playing a non-singing role in the production. Over her summers at Central City Opera, Phebe memorized 17 operas along with the other children. “It was incredible musical education,” she says, “it was all about the music.” Phebe points out, “in those days all the operas [in Central City] were performed in English.” Throughout history it’s been common practice for operas to be adapted to the vernacular of the place they’re being performed. In recent years—especially in the United States—operas are more commonly performed in their original language. Wonder where the performance trends in this 400-year-old artform will take us next! Since various opera companies and orchestras perform during different times of the year, many musicians play in multiple ensembles like Phebe’s dad. For instance many orchestra members at Central City Opera also played with the Metropolitan Opera, and today our orchestra shares many musicians with the Colorado Symphony. The Berkowitz family stayed in a historic house that, during those years, was named after Gypsy Rose Lee (1911-1970). Famous for her burlesque act, Lee was also an actor, author, playwright and all-around fascinating figure that inspired and captured the kids’ imagination. As an adult, Phebe went on to build a career as an opera director and production professional, herself. Learn more about some of the figures and references she makes in this interview: She snagged a job as an intern in makeup and costumes with Hamburg State Opera as a young woman. As she was such a keen observer during rehearsals, Gian Carlo Menotti—the composer of the world-premiere production of Help, Help, the Globolinks! they were producing—asked her to call the light cues. Even with her very limited German vocabulary, she was up to the task! After that, Hamburg State Opera Artistic Director Rolf Liebermann hired her on as lighting stage manager. Later, he took Phebe with him as a stage director when he joined Paris Opera as Artistic Director. Phebe enjoyed many years as a part of the Metropolitan Opera Company, as an assistant stage director, director for revivals and Executive Stage Director (1974-2016). Her time with the Met Opera began when August Everding brought her along as his personal assistant for Tristan und Isolde (1971), which was Rudolf Bing’s last new production. Central City Opera Artistic Director Emeritus John Moriarty is also a close friend and mentor to Phebe. While they didn’t cross paths at CCO, he taught her to stage manage at Lake George Opera—now Opera Saratoga—where they worked together for three years. Read Phebe’s general bio at centralcityopera.org/opera-central Join Phebe in supporting the community and artistry of Central City Opera for many years to come. Find all kinds of ways to donate at centralcityopera.org/support-us Thanks for listening! Musical excerpts featured in this podcast: Carmen by Georges Bizet. Mezzo-soprano Risë Stevens (1913-2013) sings the Act 1 “Habanera.” Recording with the Metropolitan Opera Orchestra in approximately 1948 and conducted by Erich Leinsdorf. The Ballad of Baby Doe by Douglas Moore, Act 1, Scene 2 “Willow Song.” Recorded in 1959 at the New York City Opera Company with soprano Beverly Sills (1929 – 2007) as Baby Doe and Walter Cassel (1910-2000) as Horace Tabor. Conducted by Emerson Buckley (1916-1989). (Cassel and Buckley were part of the original 1956 production at Central City Opera in these same roles.) The Girl of the Golden West by Giacomo Puccini, Act 1 with soprano Eva-Maria Westbroek as Minnie and tenor Yusif Eyvazov as Dick Johnson. Recorded at the Metropolitan Opera and featured on PBS’s Great Performances.

ABOUT THE AUTHOR  Violinist turned author ERICA MINER has had a multi-faceted career as an award-winning author, screenwriter, journalist and lecturer. A native of Detroit, she studied violin with Boston Symphony Orchestra concertmaster Joseph Silverstein at Boston University where she graduated cum laude; the New England Conservatory of Music; and the Tanglewood Music Center, summer home of the Boston Symphony, where she performed with such celebrated conductors as Leonard Bernstein and Erich Leinsdorf. Erica went on to perform with the prestigious Metropolitan Opera Company for twenty-one years, where she worked closely with renowned maestro James Levine. When injuries from a car accident spelled the end of her musical career, Erica drew upon her lifelong love of writing for inspiration and studied screenwriting in New York and Los Angeles with script gurus Linda Seger and Ken Rotcop. Erica's screenplays have won awards in a number of recognized competitions such as WinFemme, Santa Fe and the Writer's Digest. ABOUT THE BOOK - STAGED FOR MURDER Violinist Julia Kogan, having survived murderous mayhem at the Santa Fe Opera, heads to the San Francisco Opera with her significant other, former NYPD detective Larry Somers, and their five-year-old daughter Rachel. There, Julia finds that fiery artistic temperaments can still result in murder.

Why do humans need art? Hidden within the answer to that question is a profound truth about the human experience. Join me as we travel around the world to narrow down three primary reasons why humans need art. In our quest for the answer we will explore Michelangelo's Sistine Chapel, the Game of Thrones TV show, the poetry of Emily Dickinson, Carl Jung's art therapy methods, Mozart's Requiem, and the visionary art of Alex Gray. Get your thinking caps on, this one's a bonafide deep dive. ---- To become a patron of this show, and access exclusive Creativity Tip mini-episodes, please visit: https://www.patreon.com/mjdorian ---- Visit the NEW Creative Codex Subreddit, and join the conversation: https://www.reddit.com/r/CreativeCodex/ ---- All the music in this episode was written & recorded by MJDorian except: 'Lacrymosa' from Mozart's Requiem, as conducted by Erich Leinsdorf. 'Game of Thrones Theme', snippet arranged for sampled instruments. ---- Creative Codex is written & hosted by MJDorian. For more art / music / content please visit: www.mjdorian.com/ Social media: https://www.instagram.com/mjdorian/ https://twitter.com/mjdorian Contact: mjdorian@gmail.com Copyright 2020 MJDorian

durée : 00:22:36 - Disques de légende du vendredi 27 décembre 2019 - L'un des derniers représentants d'une grande lignée de chefs autrichiens établis aux États-Unis, Erich Leinsdorf livre en 1975 une version de référence du chef-d’œuvre méconnu de son compatriote Erich Wolfgang Korngold : Die Tote Stadt (la Ville Morte).

durée : 01:58:24 - Relax ! du vendredi 27 décembre 2019 - par : Lionel Esparza - Aujourd’hui dans Relax, un hommage au ténor et chef Peter Schreier, disparu ce mercredi 25 décembre à l'âge de 84 ans. Il sera suivi d'une visite de la discothèque de Maurice Ravel. Notre légende du jour est la version de la Ville Morte de Korngold enregistrée par Erich Leinsdorf en 1975. - réalisé par : Vivian Lecuivre

John #almost made it through an Introduction without being.. John...No, we're not including Peter's home address in the show notes. Nice try listeners. :)Yo-Yo Ma is not slang for something. He is a world class Cellist.We talk a lot about flow on the podcast. We loved Peter's description: "Flow is breathless, meditative, effortless, everything is bathed in light and connects everyone in an experience of community that is wondrous." - Peter McCoppin"When you're in your head, you're dead." - Tony Robbins"We are what we repeatedly do. Excellence is not an act but a habit.""When we're doing something well, we become invisible.""Why are people afraid? Because they think they may not be good enough and maybe they won't be loved.""Everything you need to know about leadership is already within you. You can't teach anyone anything they didn't already know for that would be as to give sight to blind eyes." - Plato"The image is already in the stone, I just take away the excess." Michaelangelo"Leadership is not position, it's behaviour.""Our work is to discover our work." AnonymousOur work is an agency not an entity.Every successful person has endured obstacles and experienced failures along the way. Many credit those same obstacles/failures as CRUCIAL to their eventual success."Emotion is the most powerful anchor for memory."Peter was mentored by the great Erich Leinsdorf.We love these gems by Helen Keller."Life is either an amazing adventure or nothing at all.""What could be worse than blindness? Sight without vision.""The only things we get to keep are that which we've given away."Here's the list of Peter's Phenomenal Coaching Questions:When am I at my best?What will I never do?What one word best defines me?Who am I? What do I want? Why do I want it?"To be a leader; do what you love in the service of people who love what you do." Steven FarberBefore responding, STOP - Stop, Take a Breath, Observe, Proceed.If you've never experienced Victoria's annual Symphony Splash, it needs to be your next thing! For the past 30 years, it's been delighting hundreds of thousands of people from all over the world. Peter made it happen!Peter ends this remarkable episode by echoing the great Joseph Campbell's words of advice: Follow your Bliss.If you want more Peter, check out his website! 

Musikrevyn hänförs av en gastkramande Poulenc-sonat, hör feminism i medeltida kyrkomusik av Hildegard av Bingen och diskuterar Nina Stemmes väldiga röst och Sergej Prokofjevs brutala avantgardism. Veckans skivor: DEUX Musik av Béla Bartók, Francis Poulenc, Ernst von Dohnányi och Maurice Ravel Patricia Kopatchinskaja, violin Polina Leschenko, piano Alpha Classics, Alpha 387 EGO SUM HOMO Musik av Hildegard av Bingen Ensemblen Tiburtina Barbora Kabátková, konstnärlig ledning Ricercar RIC 383 NINA STEMME Musik av Richard Wagner Statsoperan i Wien och Wienoperans kör Dirigent: Franz Welser-Möst Orfeo C937171B SERGEJ PROKOFJEV Symfonier nr 2 och 3 Svetlanov-orkestern i Moskva Vladimir Jurowski, dirigent Pentatone PTC 5186 624 Referensen: Prokofjevs tredje symfoni Panelen jämför två inspelningar. Svetlanovorkestern i Moskva dirigerad av Vladimir Jurowski 2017 vs Bostons symfoniorkester dirigerad av Erich Leinsdorf 1966. Sofia möter: Renaud Capucon Den franske stjärnviolinisten Renaud Capucon gästade nyligen för första gången Kungliga filharmonikerna i Stockholms konserthus som solist i bland annat Pascal Dusapins Aufgang. Musikrevyn träffade honom. Andra i programmet nämnda eller rekommenderade inspelningar: Nina Stemme och Placido Domingo i Tristan och Isolde med Covent Garden-operans kör och orkester i London under ledning av Antonio Pappano. EMI, 2005. The Complete Symphonies. Prokofjevs symfonier med skotska nationalorkestern under ledning av Neeme Järvi. Chandos, 2008. Prokofjevs symfonier med Sao Paolos symfoniorkester, dirigent Marin Alsop. Utgiven på Naxos. Prokofjevs symfonier med Bournemouth symfoniorkester, dirigent Krill Karabits. Utgiven på Onyx.

I programmet diskuteras Xavier de Maistres harpospel, Nelson Freire som spelar Bach på piano samt Wagners Valkyrian i Jaap van Zwedens tolkning. Måns Tengnér väljer ur tung renässansbox I panelen Bodil Asketorp, Boel Adler och Per Lindqvist som tillsammans med programledaren Johan Korssell betygsätter följande skivor: JOHANN SEBASTIAN BACH Klavermusik Nelson Freire, piano Decca 478 8449 RICHARD WAGNER Valkyrian Stuart Skelton, Heidi Melton, Matthias Goerne, Petra Lang m.fl. Hong Kongs filharmoniska orkester Jaap van Zweden, dirigent Naxos 8.660394-97 Referensen Johan refererar och jämför med en favoritinspelning av Valkyrian, nämligen den där Erich Leinsdorf leder Londons symfoniorkester. En ung Birgit Nilsson sjunger Brünnhildes parti och Jon Vickers, Siegmund. Inspelningen gjordes 1961 på Decca.   LA HARPE REINE Musik av J-B Krumpholtz, Joseph Haydn, J D Hermann samt Chr. W Gluck Xavier de Maistre, harpa Les Arts Florissants William Christie, dirigent Harmonia Mundi HAF 8902276 Måns val Måns Tengnér spelar valda delar ur en box (50 CD) med medeltids- och renässansmusik utgivet i Florilegium-serien med Deccas återutgivningar på märket Oiseau-Lyre. Andra i programmet nämnda eller rekommenderade inspelningar: Nicolai Gedda har gått ur tiden 91 år gammal och Musikrevyn minns honom med ett framförande av Werthers aria ur tredje akten av Massenets opera Werther, där han ackompanjeras av Paris-orkestern med dirigent Georges Pretre. Inspelningen gjordes 1969 på skivmärke EMI. J S Bachs klavermusik med Glenn Gould på Sony Classical. Wagners Valkyrian med bl.a. Gundula Janowitz och Jon Vickers tillsammans med Berlins filharmoniker och Herbert von Karajan, inspelad 1967 på DG samt Georg Soltis inspelning med Wiens filharmoniker och med Régine Crespin och James King som Sieglinde resp. Siegmund på Decca. Svepet Johan sveper över och spelar ur ett album utgivet på Bis, innehållande Sibelius Kullervo och Olli Kortekangas Migrations (2014). Helsingfors-universitetets manskör, Minnesota-orkestern samt solisterna Lilli Paasikivi, mezzo-sopran och Tommi Hakala, baryton. Dirigent: Osmo Vänskä samt över en CD utgiven på Signum med violinkonserter av Roy Harris respektive John Adams. Solisten heter Tamsin Waley Cohen och det är BBCs symfoniorkester som bistår, allt under Andrew Littons ledning.

Despite its disastrous premiere in 1816 — complete with raucous heckling, a bloody nose and a stray cat scampering across the stage — Rossini’s The Barber of Seville quickly joined the ranks of the best-loved and most-performed operas in the world. Based on the first of a trilogy of plays by the French writer Pierre Beaumarchais (the second of which is The Marriage of Figaro), Barber is full of characters and tunes that have delighted audiences for centuries. In this episode, the He Sang/She Sang team talks with WQXR morning show host Jeff Spurgeon about why Figaro’s memorable aria “Largo al factotum” is a baritone’s “calling card” aria and how Rossini’s music has found its way into movies, TV commercials and everyone’s favorite Saturday morning cartoons. Jeff Spurgeon's YouTube pick: (Note: this podcast was recorded shortly before we learned of the death of soprano Roberta Peters. We mourn her passing and are grateful to remember her artistry in sharing this clip of her in one of her signature roles, Rosina, in Rossini's The Barber of Seville.) Merrin Lazyan's YouTube pick: Mike Shobe's YouTube pick: This episode features excerpts from the following album: Rossini: Il Barbiere di Siviglia (RCA, 1987)— Robert Merrill, baritone; Roberta Peters, soprano; Georgio Tozzi, bass; Metropolitan Opera Orchestra conducted by Erich Leinsdorf

We're featuring an interview with bassist Larry Gray on this week's episode.  Larry's multi-instrumental path has taken him through performance on guitar, flute, cello, and piano in addition to bass.  Larry is in high demand as a jazz bassist in Chicago, performing regularly for decades at Joe Segal's Jazz Showcase, and he teaches at the University of Illinois at Urbana-Champaign.  Enjoy! About Larry Born on Chicago’s south side, Larry Gray is considered by many to be one of jazz music’s finest double bassists. His impressive versatility and uncommon musical curiosity keep him in demand as both a leader and sideman. Larry began his musical studies at the age of five when his father brought home an accordion and introduced him to his first teacher. Invigorated by this study, Larry added the guitar to his arsenal and studied piano seriously for many years thereafter. It was not until he was in his twenties that he decided to switch to the double bass. Larry went on to study classical music extensively, eventually adding the cello to his long list of loved instruments. His principal teachers were Joseph Guastafeste, longtime principal bassist of the Chicago Symphony Orchestra, and cellist Karl Fruh, a highly regarded soloist and teacher. Under Mr. Fruh's guidance, he received bachelors and masters degrees in cello performance from the Chicago Musical College of Roosevelt University. Throughout his long and varied career, Larry has worked with numerous exceptional artists and jazz legends, including McCoy Tyner, Jack DeJohnette, Danilo Perez, Branford Marsalis, Benny Green, Freddy Cole, Benny Golson, Steve Turre, George Coleman, Lee Konitz, Bobby Hutcherson, Sonny Fortune, Ira Sullivan, Junior Mance, David "Fathead" Newman, Willie Pickens, Ann Hampton Callaway, Charles McPherson, Antonio Hart, Jackie McLean, Sonny Stitt, Eddie "Lockjaw" Davis, Al Cohn, Randy Brecker, Nicholas Payton, Kurt Elling, Eric Alexander, Phil Woods, Jon Faddis, Roscoe Mitchell, Von Freeman, Wilbur Campbell, Eddie Harris, and Les McCann. In addition, he has collaborated with guitarists Kenny Burrell, Joe Pass, and Tal Farlow, as well trumpeters Donald Byrd, Harry "Sweets" Edison, and Tom Harrell, among others. Larry continues to tour extensively, performing at jazz festivals and clubs around the globe, including the Umbria Jazz Festival, the Havana Jazz Festival, Rio Sao Paulo Festival, North Sea Jazz Festival, the Montreal International Jazz Festival, ECM Festival in Bielsko-Biala, Poland, the Poznan Jazz Festival, Monterey Jazz Festival, the Montreaux Detroit Festival, the Chicago Jazz Festival, Carnegie Hall, Lincoln Center, the Hollywood Bowl, Village Vanguard, Blue Note (New York and Tokyo), Kennedy Center, and the Ravinia Festival, with such jazz luminaries as Marian McPartland, Clark Terry, Nancy Wilson, Frank Morgan, James Moody, Larry Coryell, Louis Bellson, Barry Harris, Dorothy Donegan, Monty Alexander, Frank Wess, Joe Williams, Doc Severinsen and the Tonight Show Band, Kenny Drew Jr., and most recently, Ramsey Lewis. As a classical musician, Larry played several seasons with the Civic Orchestra of Chicago, including a year as principal bass. He worked on many occasions with the Chicago Symphony Orchestra under master conductors Erich Leinsdorf, Rafeal Kubelik, Carlo Maria Guilini, and Sir George Solti. He also was the featured double bassist with Lyric Opera for the world premiere of the opera Amistad. Larry is an arranger and composer whose work has been widely recognized as uniquely melodic and exceptionally refined. His discography includes 1,2, 3,..., on Chicago Sessions, the solo bass record, Gravity, One Look, and Solo + Quartet, all on Graywater Records, as well as the Ramsey Lewis and Nancy Wilson collaborations Meant to Be and Simple Pleasures. He can also be heard on the Ramsey Lewis recordings Appassionata, Time Flies, and With One Voice, and the latest release, Songs From the Heart. Larry also arranged and produced the critically acclaimed CD, Django by Ferro. Furthermore, Larry has recorded with Chet Baker, Curtis Fuller, Ira Sullivan, Lin Halliday, Willie Pickens, Nicholas Payton, Randy Brecker, Bunky Green, Bob Moses, Irish flute-whistle virtuoso Laurence Nugent, pop sensations Linda Eder, Dennis DeYoung, and Peter Cetera, and songwriter Michael Smith, among others. In addition, Larry is a first-call studio musician, and his playing can be heard on many commercial radio and television jingles and studio projects as well as the PBS television series, Legends of Jazz, where he can be seen performing alongside Jim Hall, Benny Golson, Chris Potter, Phil Woods, David Sanborn, Chris Botti, Clark Terry, and Roy Hargrove. In addition, Larry's original composition for double bass and guitar, Five Movements, was commissioned and performed by the Chicago Symphony Orchestra Chamber Ensemble at Symphony Center in Chicago. Most recently, Larry has composed two commissioned works for the Jazz Institute of Chicago. Tribute to the Bass Masters Suite was premiered at the Poznan Festival in Poland in 2008 to much acclaim. A second work, String Thing, was first presented in Chicago in October 2010 as part of the Jazz Institute of Chicago Jazz in Chicago series. Larry also completed a collaborative project with bassists Rufus Reid and Joseph Guastafeste that was premiered in March of 2011 in Chicago. Larry Gray is also a dedicated teacher and is Assistant Professor of Jazz Studies at the University of Illinois at Urbana-Champaign. He also served for many years on the faculties at DePaul University and Northern Illinois University. Active as a clinician at high school and colleges and festivals thought North America, he also coaches various instrumentalists in jazz techniques as well as music theory, sight-singing, and composition. Subscribe to the podcast – follow on Twitter – Like on Facebook

Panelen har bl a lyssnat på Honeggers Jeanne dArc på bålet och Martines La Tempesta. Och så spelar Johan valda delar ur Arnold Schönbergs Gurrelieder. Veckans betygARTHUR HONEGGER - Jeanne dArc på bålet. Alpha ALPHA 709 Betyg: 5 radioapparaterJOHANN SEBASTIAN BACH - Engelska sviter nr 2 och 6, Italiensk konsert m.m. Mirare MIR 251 Betyg: 4 radioapparater SERGEJ PROKOFJEV - Symfoni nr 3, Skystisk svit, Om hösten Naxos 8.573452 Betyg: 3 radioapparater MARIANNA MARTINES - La Tempesta Deutsche Harmonia Mundi 88875026722 Betyg: 3 radioapparater Johans val Johan Korssell spelade delar ur flera inspelningar av Arnold Schönbergs Gurrelieder. Vi hör ur följande: Leopold Stokowski och Philadelphia-orkestern, utgiven på Andante 1932; Rafael Kubelik leder Bayerska radions symfoniorkester på DG; Riccardo Chailly dirigerar Berlin-radions symfoniorkester på Decca; BBC:s symfoniorkester under dirigenten Pierre Boulez på Sony samt sist men inte minst, nykomlingen, där Markus Stenz leder Gürzenich-orkestern, utgiven 2015 på skivmärket Hyperion.Andra i programmet nämnda eller rekommenderade inspelningar- Prokofjevs tredje symfoni med Londons symfoniorkester under Claudio Abbado på Decca; Erich Leinsdorf och Bostons symfoniorkester på RCA samt med Franska radions symfoniorkester ledd av Jean Martinon på Vox. - Bachs cembalomusik med cembalisten David Schrader på skivmärket Cedille. - Honeggers Giovanna dArco al rogo i Rossellinis filmatisering med Ingrid Bergman i titelrollen, inspelad på San Carlo-teatern i Naples 1953 samt med Marthe Keller som Jeanne dArc tillsammans med bl.a. Franska nationalorkestern i Paris under Seiji Ozawas ledarskap på märke DG.

The last scene of Siegfried from1972 under Erich Leinsdorf with the exciting Ursula Schroeder-Feinen and Helge Brilioth.  (38 min.)

  The miraculous Kirsten Flagstad, born July 11, 1895, is heard in her debut as Sieglinde with Paul Althouse (1935) and then in a scene from 1937 with Marjorie Lawrence as Brunnhilde in act three. Both are conducted by Arthur Bodansky. We then move to her Brunnhilde in 1940, with Lawrence as the Sieglinde, Lauritz Melchior and Julius Huehn, under Erich Leinsdorf.  (68 min.)

 A fascinating event, as the great soprano Astrid Varnay makes her Met debut as Sieglinde,replacing Lotte Lehmann, on the Dec.6 Walkure broadcast...her Met debut, (with no rehearsals) AND the first time she EVER sang on ANY stage. This must go down in opera history as one of the great events.    In the cast are Lauritz Melchior,Helen Traubel,Friedrich Schorr, and Alexander Kipnis, under Erich Leinsdorf. (68 min.)   I must also make mention of  Donald Collup,former singer and pianist, who interviewed Mme.Varnay in her later years, and produced a magnificent  documentary of her  fabulous career. Mr.Collup's fascinating home page can be found at: http://www.collup.com. I must also mention that his remarkable collection can be found at his store at: http://www.collup.com/dczcdz.html.

A most riveting performance of Elektra from 1978 under Erich Leinsdorf. Featured are Daniza Mastilovic, Eva Marton, Norman Bailey, Ragnar Ulfung, and my dear late friend Gwynne Cornell as Klytemnestra. Those of us who knew and sang with Gwynne miss her so much.She had succumbed to Leukemia at 50, a tragic loss to the opera world.     (72 min.) (In the photo she is seen in Elektra with Claire Watson)

We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra.   Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra.  Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

Roy Plomley's castaway is conductor Erich Leinsdorf. Book: Faust by Johann Wolfgang Goethe Luxury: Insect repellent