Podcast appearances and mentions of Eugene Onegin

Hedern var en förutsättning att en bonde eller adelsman skulle vara en del av samhället i gamla tider. Om en adelsmans heder hade kränkts av illvilligt förtal, en förolämpning eller kanske en knuff var duellen det kraftfullaste sättet att upprätta hedern.Trots att dueller med dödlig utgång var relativt sällsynta i Sverige under 1600-talet och tidigt 1700-tal utfärdade kungamakten strikta förbud mot dueller med drakoniska straff. Dödsstraff och begravning utan kyrkliga ceremonier gällde för dueller med dödlig utgång, även om dödsstraffen inte verkställdes. Utmaningar och ärekränkningar bestraffades med höga böter, flerårigt fängelsestraff och med förlust av tjänst.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med Hugo Nordland, historiker och förlagsredaktör, om dueller under tidigmodern tid.I det medeltida och tidigmoderna samhället var begreppen heder och ära av yttersta vikt, särskilt inom de högre samhällsskikten. För en man innebar hedern mod och ära, medan det för en kvinna handlade om trohet och kyskhet. Denna hederskodex var särskilt sträng inom officerskåren och bland adelsmän. I de högre samhällsskikten försvarades familjens och kvinnans heder med vapen, men det var männen som duellerade och riskerade sina liv.Den enväldige Karl XI:s duellplakat från 1682 visar kungamaktens ambition att tämja adeln till att leva kristligt, att sätta statsnyttan före egennyttan och att tvingas till att använda domstolen för upprättelse av äran i stället för att söka privat hämnd. I Sverige frodades duellerna under stormaktstiden, främst bland officerare i armén. Även under den gustavianska tiden förekom dueller.Gustav II Adolf engagerade sig personligen i att förhindra dueller. Ett känt fall är när han ingrep för att stoppa en duell mellan två av sina höga officerare. Han förklarade för dem att den överlevande omedelbart skulle avrättas enligt lag, vilket effektivt avskräckte dem från att genomföra duellen.Kyrkan var kritisk till dueller och betraktade den som en synd. År 1562 tog den katolska kyrkan ett avgörande steg genom att officiellt förbjuda duellerandet. Kyrkan föreskrev att både duellanter och deras sekundanter skulle bannlysas, och att den som dog i en duell inte skulle erhålla någon kyrklig begravning.Duellernas natur, där de inblandade ofta var från samhällets övre skikt, gjorde det komplicerat att verkställa straffen. Dessutom fanns det en social acceptans för dueller inom vissa kretsar, vilket ytterligare försvårade genomdrivandet av lagarna.Den senaste duellen i Sverige skedde den 29 maj 1816 i Lockerudsskogen ett par kilometer väster om Vänersborg mellan kaptenen Zacharias Sabelfeldt och kaptenen Gustaf von Köhler. Vapnet var slaglåspistoler. Efter att båda missade vid en första skjutning träffades den utmanade von Köhler i bröstet vid andra duelleringen. Han avled drygt åtta timmar senare. Samtidigt var kapten Sabelfeldt på väg ut ur landet. Sekundanterna skulle senare dömas till fängelse, senare benådas och få ersättning för sina umbäranden.Källor:Collstedt, Christopher (2007). Duellanten och rättvisan: duellbrott och synen på manlighet i stormaktsväldets slutskede. Diss. Lund : Lunds universitet, 2007Bild: Den fiktiva pistolduellen mellan Eugene Onegin och Vladimir Lensky. Akvarell av Ilya Repin (1899) Wikipedia, Public Domain.Musik: Liveinspelning av Tjastakovij - Eugene Onegin, 2008-08-20 19:40:26 Inspelad av Ron Keefe, Internet Archive, Public DomainKlippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Tchaikovsky's Eugene Onegin - Toni O'Rourke - Album Reviews

Previously, on Silo When I Was Young, Mabel met Shiloh Grenier, a ten-year-old hospital patient, who asked Mabel to help find her missing sister, Addison. Mabel decoded a secret message from Addison that said “Three oclock on Sunday.” But which Sunday, and where?Music from Isabella Stewart Gardner Museum, Boston, www.gardnermuseum.orgPhyllis Chen: Three Lullabies. Performed by Phyllis Chen with A Far Cry Chamber Orchestra. |  Albert Zabel: Fantasy on Gounod's Faust, performed by Emmanuel Ceysson. | Johann Sebastian Bach: Andante from Italian Concerto, performed by Catrin Finch. |  Ekaterina Walter-Küne: Fantasy on Tchaikovsky's 'Eugene Onegin', performed by Emmanuel Ceysson.from Rag & Bone Puppet Theatre. Story by Kathy MacLellan, read by Kathy. Production by John Nolan.Visit our website to read about all our activities.

One of the leading sopranos of her generation, Ekaterina Siurina enjoys an international career that takes her to the top opera houses in Europe and America. She made her professional debut as Gilda in Rigoletto, singing opposite the world-renowned baritone Dmitri Hvorostovsky. Commenting on her recent performance as Violetta in La bohème, Parterre Box called her singing “deeply touching, with arching beams of tone.” Siurina's thrilling renditions of famous arias on this recording bring new life to operatic favorites such as “Un bel di, vedremo” from Madama Butterfly, “In quelle trine morbide” from Manon Lescaut and “Tatiana's Letter Scene” from Eugene Onegin. One critic, describing Siurina's singing on her first album for Delos, Amour éternel, declared that she “impresses with an accomplished performance, by turns assertive, vulnerable, passionate, sensitive, and tormented,” Siurina is accompanied by “the singer's dream collaborator,” four-time GRAMMY® nominated conductor Constantine Orbelian, and the Kaunas City Symphony Orchestra. Orbelian and the Kaunas ensemble were recently presented the Golden Disc Award for high artistic level and intensive concert activity.TracksAntonín Dvořák Rusalka: “Mesicku na nebi hlubokén” (6:34)Giacomo Puccini Manon Lescaut: “In quelle trine morbide” (2:41) Suor Angelica: “Senza Mamma” (4:41) Madama Butterfly: “Un bel di, vedremo” (4:44) Madama Butterfly: “Tu? Tu? Piccolo iddio!” (2:36) Francesco Cilea Adriana Lecouvreur: “Io son l'umile ancella” (3:49)Arrigo Boito Mefistofele: “L'altra notte in fondo al mare” (5:00)Giuseppe Verdi Simon Boccanegra: “Come in quest'ora” (5:55)Pyotr Ilyich Tchaikovsky Iolanta: “Iolanta's Arioso” (2:53) Eugene Onegin: “Tatiana's Letter Scene” (13:57)

Recorded September 19th, 2023. *Please note that this discussion contains topics of sexual violence and graphic descriptions of war. Please listen at your own discretion. ‘Women and War' is the theme of the 2023 Wexford Festival Opera (24 Oct-5 Nov). Developed by Wexford's Artistic Director, Rosetta Cucchi, this year's programme uses the medium of opera to explore how war is experienced, endured, and articulated by women. The three main stage operas at Wexford will be: Zoraida di Granata (1822) by Gaetano Donizetti; L'Aube Rouge (1911) by Camille Erlanger; and La Ciociara (Two Women) (2015) by Marco Tutino, based on the novel by Alberto Moravia. In anticipation of this innovative programme, the Trinity Long Room Hub is hosting a special discussion to explore the representation of ‘Women and War' in literature, theatre, music, and visual art. The Festival's acclaimed Artistic Director Rosetta Cucchi will join the celebrated Irish Times foreign correspondent Lara Marlowe and the Trinity Long Room Hub Director, Eve Patten, for a wide-ranging conversation on the themes and vision behind this year's Wexford Festival Opera. This unique collaboration event, which will include both film and music excerpts from the opera programme itself, is open to all and not to be missed. Speakers: Rosetta Cucchi is the Artistic Director of the Wexford Festival Opera and an experienced director in many of the world's greatest opera houses. She is also a pianist, and has a master's degree in Theatre Studies from the University of Bologna. From 2006 to 2018, she was the Artistic Director of Fondazione and Symphonic Orchestra Arturo Toscanini, Parma. Her most recent and future directing projects include Tutino's La Ciociara, Wexford Festival, Figaro and La Bohème, Boston Lyric Opera, Adriana Lecouvreur, Teatro Comunale di Bologna, Rossini's Otello, Rossini Festival Pesaro, Eugene Onegin, Opera Omaha, USA, and L'Amico Fritz, Teatro del Maggio Musical Fiorentino. Lara Marlowe became a foreign correspondent for The Irish Times in 1996. Since her official retirement in April 2023 she has continued to contribute regularly to the Irish Times and radio stations in France, Ireland and the UK. She has worked extensively in France, the Middle East and the US, and reported on the war in Ukraine in 2022. Before the Irish Times, she wrote for Time Magazine, the Financial Times and the International Herald Tribune, covering many major world events and conflicts. Lara has received four press awards for her work for The Irish Times and was also awarded a Chevalier de la Légion d'Honneur for her contribution to Franco-Irish relations. In 2020, she published the best-selling memoir Love in a Time of War, My Years with Robert Fisk. Eve Patten is Director of the Trinity Long Room Hub Arts and Humanities Research Institute and Professor of English at Trinity College, Dublin. She lectures and writes in the area of nineteenth and twentieth-century British and Irish literary history and has a special interest in the literature of war. Her most recent book is Ireland, Revolution, and the English Modernist Imagination (2022), and previous publications include Imperial Refugee: Olivia Manning's Fictions of War (2012), and, as co-editor with Richard Pine, Literatures of War (2008).

For An Englishman Downunder , Fiona Watson interviews Ballarat based Tenor Jason Wasley, a principle performer for the Enduring Classics concert 'A touch of Spring. Held at Ballarat Anglican Catherdal, 2:30pm on Saturday 9 September. Australian tenor Jason Wasley received a scholarship in 1991 to attend the Victorian College of the Arts Opera Studio in Melbourne.  In 1993, Jason won the Herald-Sun Aria, which enabled him to further his studies in Europe.  The following year he represented Australia in the finals of the Placido Domingo World Operalia Competition in Vienna.  Jason then worked as an apprentice soloist with the Victorian State Opera, undertaking the roles of Sciarrone and The Gaoler in Tosca, Juan in Don Quichotte, Tarquinius in The Rape of Lucretia and Robin Oakapple in Ruddigore. After study at Bertrand Russell Institute of Languages in Italy, Jason moved to London where he was accepted into the National Opera Studio. There, he studied and performed in the roles of Figaro in The Barber of Seville, Silvio in Pagliacci, the title role in Billy Budd, Prince Tarquinius in The Rape of Lucretia, Sid in Albert Herring, Count Almaviva in The Marriage of Figaro, the title role in Eugene Onegin, Schaunard in La bohème and Belcore in L'Elisir d'Amore.  He worked for the Glyndebourne Festival and Touring opera companies performing in the chorus and covering the roles of the Second Prisoner in Fidelio, Patrocle in Iphigénie en Aulide, Morales in Carmen, the title roles in Eugene Onegin, Le Nozze di Figaro and Don Giovanni.  Jason has also worked with the Welsh National Opera's education programme, which included performing Don Giovanni and Escamillio from Carmen. He sang the Boatswain in H.M.S. Pinafore for D'Oyly Carte Opera, Figaro in The Barber of Seville for British Youth Opera, Peter in Hansel and Gretel for Clonter Opera and Belcore in L'elisir d'amore for Pegasus Opera Company.  He also sang Kullervo in the British premiere of Aulis Sallinen's Kullervo.  For Melbourne Opera, he has performed Papageno in The Magic Flute and Marullo in Rigoletto. For OzOpera, he sang Marcello in La bohème and Dancairo in Carmen. For Promac Productions he performed the roles of Pooh-Bah in The Mikado, The Pirate King in The Pirates of Penzance and Captain Corcoran in H.M.S. Pinafore.  In 2006, he moved from baritone to tenor and sang the tenor solos in Verdi's Requiem for the Melbourne Chorale, the roles of Don José in Carmen and Cavaradossi in Tosca for Melbourne Opera, the title role in Stravinsky's Oedipus Rex for Victorian Opera and Pinkerton in Madama Butterfly for OzOpera's national tour. Most recently, Jason Wasley has sung Alfredo in Opera Australia's touring production of La traviata, the tenor solos in Beethoven's Symphony No. 9 with Sydney Philharmonia, Florestan in Fidelio, Max in Der Freicschütz and the title role in Rienzi for Melbourne Opera, Verdi's Requiem with Sydney University Chamber Choir and Rodrigo in Otello for State Opera of South Australia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/kevin-harper1/message

Either/Or, Elif Batuman's sequel to Pulitzer Prize finalist The Idiot, is the humorous and relatable ongoing story of a Turkish American surviving college in the 90s. Batuman joins us to talk about her approach to writing fiction, how her own life influences her work, analyzing literature and more with Miwa Messer, host of Poured Over.  This episode of Poured Over was hosted by Executive Producer Miwa Messer and mixed by Harry Liang. Follow us here for new episodes Tuesdays and Thursdays (with occasional Saturdays).  Featured Books (Episode): The Idiot by Elif Batuman  Either/Or by Elif Batuman  Anna Karenina by Leo Tolstoy   Eugene Onegin by Alexander Pushkin  Madame Bovary by Gustave Flaubert  The Possessed by Elif Batuman  In Search of Lost Time by Marcel Proust 

Donald Macleod explores Tchaikovsky's music with Sir Matthew Bourne and Dame Monica Mason Tchaikovsky is responsible for some of the world's best loved and best known ballets. His music for Swan Lake, The Sleeping Beauty and The Nutcracker has become so popular and ubiquitous that we're as likely to hear it in the concert hall, or accompanying a TV ad, as in the theatre. But this week, Donald Macleod is on a mission to take Tchaikovsky back to his dancing roots, in the company of two of British ballet's brightest stars. Dame Monica Mason joined the Royal Ballet as the age of sixteen, becoming the youngest dancer in the company at that time. She went on to dance many principal roles, eventually becoming Director of the Royal Ballet in 2002, before her retirement in 2012. Sir Matthew Bourne has been hailed as the most popular and successful British choreographer and dancer, with a string of awards for his many productions, not least his ground-breaking production of Tchaikovsky's Swan Lake. Both guests bring their expertise, sharing with Donald Macleod their views on Tchaikovsky, and their experience of performing and choreographing his works. Music Featured: Swan Lake, Op 20 (Act 2 excerpt) The Seasons, Op 37b No 6 (June: Barcarolle) No reply, no word, no greeting, Op 28 No 5 (Six Romances) String Quartet No 3, Op 30 (Allegretto vivo e scherzando) Swan Lake, Op 20 Valse sentimentale in F minor, Op 51 No 6 (excerpt) Eugene Onegin, Op 24 (Act 2: Waltz) Swan Lake, Op 20 (Act 2 excerpt) Serenade in C, Op 48 The Sleeping Beauty, Op 66 (excerpt) The Golden Cloud has Slept The Fancy Slippers (Danse des cosaques) The Enchantress (excerpt) The Sleeping Beauty, Op 66 Impromptu in A flat Serenade, Op 65 No 3 (Six Melodies) The Sleeping Beauty, Op 66 The Queen of Spades, Op 68 (Act 1: Liza's Aria) Hamlet, Op 67a (Overture) Souvenir de Florence, Op 70 (Adagio cantabile e com moto) The Endellion Quartet The Nutcracker, Op 71 (Overture) Iolanta Op 69 (Act 1 Scene 5: My only beloved Mathilde I claim) Souvenir de Florence, Op 70 (Allegro vivace) The Nutcracker, Op 71 Presented by Donald Macleod Produced by Luke Whitlock For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Pyotr Il'yich Tchaikovsky (1840-1893) https://www.bbc.co.uk/programmes/m001lnz3 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

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/

What goes through the mind of the award-winning young soprano Nombulelo Yende as she steps onto the stage at Oper Frankfurt for a major role debut with just a few rehearsals? Nina Brazier chats to her before rehearsals begin, and in her dressing room during a performance. Meanwhile, internationally acclaimed alumna of the Oper Frankfurt Studio, Mezzo Soprano Paula Murrihy shares her journey as one of the first participants of the programme, and reveals the pivotal moment in her operatic career. View the OperaVision website here Watch now on Opera Vision Frankfurt Opera Studio Documentary https://operavision.eu/performance/frankfurt-opera-studio-soiree (from 03.03.23) Frankfurt Opera Studio Soirée https://operavision.eu/performance/frankfurt-opera-studio-soiree (from 09.03.23) An evening of Operetta & Zarzeuela from the Centre de Perfeccionament del Palau de les Arts (until 16.03.23) Music Extracts Introduction & closing: Die Entführung aus dem Serail (Mozart): Overture. Puccini Sì, mi chiamano Mimì from La Bohème Soprano Nombulelo Yende at the final of the Neue Stimmen competition in 2019. Tchaikovsky The letter scene from Eugene Onegin, Soprano Nombulelo Yende accompanied by Pianist Yuna Saito.  

This week Ash + Avi met with director Emma Black. Starting out at Opera North as a choir administrator, Emma has a very unique and interesting journey to her directing career. She has loads of insights and is very involved with education outreach as well. You can now find Emma back at Opera North directing Eugene Onegin. Follow Emma Instagram | Website | Eugene Onegin @ Opera North

In this episode, Emma Black reflects on her career so far and the work she has done at Opera North over the years. She speaks about the forthcoming Youth production of Eugene Onegin and shares useful advice for aspiring artists and directors. Musical excerpt: 'Mi Chiamano Mimi' From La Boheme by Puccini

This is your Horoscope Highlight for the week of January 16-22nd, 2023 with world-class astrologer, historian, and author of The Cosmic Calendar, Christopher Renstrom.In this week's episode, Christopher describes the unique configuration between Venus, Saturn and Uranus taking place on January 22nd. Because Venus is ruling Uranus in Taurus, he describes the journey Venus has taken since Uranus stationed retrograde last August and what it means for the current energies. To illustrate this dynamic, he shares the story of the 19th century opera and ballet, Eugene Onegin.Join our 2023 Quarterly Financial Outlook series for practical advice and predictions from financial astrologer Mitchell Scott Lewis. Each quarter, you'll learn everything you need to know about the upcoming economic cycles so you can make informed choices and come out on top. With the right support, you can do anything! 

It's great to be back for a new year and we hit the ground running by going back to 1823, when Fransz Liszt gives a concert in Vienna and is personally congratulated by composer Ludwig van Beethoven, Hugh Glass gets mauled by a grizzly bear on an expedition in Missouri which inspired the Leonardo di Caprio Oscar winning film The Revenant, Russian author Alexander Pushkin begins work on the verse novel Eugene Onegin and eventually suffers a cuckolds death, the Oxford University Union debating society is founded in England, Robert Peel ensures the passage of an Act of Parliament in the United Kingdom abolishing the death penalty of hundreds of offences. Also Bobby has gone partially deaf and lost his hearing in one ear after going swimming and Red is discovering the wonders of the modern vacuum cleaner and of course Prince Harry keeps coming up in conversation.Sign up now to our Patreon for early access, bonus weekly episodes not available anywhere else, posters, cameo messages, free tickets to online shows and discounts to live shows and much more - https://www.patreon.com/theyearispodWhat obscure or significant events from the pod have we missed from 1823? Let us know your favourite historical facts from that year, or if have any suggestions for other years for us to do an episode on send us an email to theyearispodcast@gmail.com Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

I like recently published books for their utility, but for pure enjoyment and beauty it's hard for me to go past the classics.In December 2022 we upped the ante and reviewed 5 books on this channel. As usual I was all over the shop with Russian poetry, coding for kids, biographies from 2 millennia ago and Victorian England drama. I chose not to include Juan's upcoming review (didn't want to spoil it) so that will be recapped next month.Huge thanks to Petar the Slav for supporting the show, so greatly appreciated.I hope you have a fantastic day wherever you are in the world. Kyrin out!Timeline:(0:00) - I'm going live!(0:21) - Eugene Onegin: Alexander Pushkin(3:54) - Coding For Beginners Using Python: Louie Stowell(5:25) - The Age Of Alexander: Plutarch(9:54) - Tess Of The d'Urbervilles(15:53) - Stillness Is The Key: Ryan Holiday(16:30) - Boostagram Lounge(23:33) - Value For Value(25:41) - What's coming up for January 2023Connect with Mere Mortals:Website: https://www.meremortalspodcast.com/Discord: https://discord.gg/jjfq9eGReUInstagram: https://www.instagram.com/meremortalspodcast/

Best be a go-getter who doesn't whine otherwise you might not notice Juan around as much!In Episode #353 of 'Meanderings' Juan and I discuss: the irony of Juan complaining about complainers, the forgotten intricacies of duelling in the 1800's, public knowledge that gets lost over time, why I like to go to Bitcoin meetups and Juan is moving away from networking, the strange people I first met in Chile and why I personally push back against consumerism and growth for growth's sake.As always, we hope you enjoy. Mere Mortals out!Timeline:(0:00) - Ho ho ho(0:22) - Juan's going in dry(4:33) - Complainers vs non-gogetters(7:57) - Kanye West & Alex Jones(9:16) - Eugene Onegin comment(12:47) - Brendan's park archery(13:54) - Looking back upon unwritten rules(15:53) - Roosh V Forum(19:15) - Alex Gladstein on the IMF & World Bank(22:37) - Bitcoin Brisbane meetup, networking & shared values(33:26) - Anti-growth mindset(43:30) - Hateful Greenpeace girl(47:37) - We dislike consumerism (especially me)(50:39) - V4V or Juan will cut you from his lifeConnect with Mere Mortals:Website: https://www.meremortalspodcast.com/Discord: https://discord.gg/jjfq9eGReUInstagram: https://www.instagram.com/meremortalspodcast/

Would you have the honour to behave like a coward?'Eugene Onegin' by Alexander Pushkin is a novel in verse of an unhappy Russian dandy. Onegin lacks meaning from a city life and struggles to find it in the countryside, with the same superficial  gossip, flirtatious women and rash young men. The poetry is renowned for it's unique rhyme scheme known as the 'Pushkin Sonnet' or 'Onegin Stanza'.I summarised the book as follows. "It's easily my most favourite poetry that I've read. Not only does the style roll of the tongue but the characters, scenery, plot and narration all kept me highly engaged. My one gripe is that I don't know Russian so couldn't read this in the Russian original, although the English translation is still outstanding!"I hope you have a fantastic day wherever you are in the world. Kyrin out!Timeline:(0:00) - Intro(0:37) - Synopsis(3:53) -  Duelling: A deadly code of honour(14:31) - Observations/Takeaways(21:07) - SummaryConnect with Mere Mortals:Website: https://www.meremortalspodcast.com/Discord: https://discord.gg/jjfq9eGReUInstagram: https://www.instagram.com/meremortalspodcast/

Opera Now Magazine in their article, “Written in the Stars” profiled Hilary Ginther in May 2016 as one of ten young American singers intent on taking the opera world by storm, calling attention to her “substantial and richly colored instrument”. This was followed by her Philadelphia Orchestra debut in Bernstein's MASS under the baton of Yannick Nézet-Séguin, which was recorded by Deutsche Grammophon and released in March 2018, in commemoration of the composer's centenary. Most recent engagements include Olga in Eugene Onegin for Opera Omaha, Rosina in Il Barbiere di Siviglia for Opera on the James, Adalgisa in Norma for Musica Viva Hong Kong, and Beethoven's Ninth Symphony in Santa Fe. My gratitude goes out to Hannah Boissonneault who edits our Masterclass episodes and to Juanitos and Scott Holmes for the music featured in this episode. You can help support the creation of these episodes when you join the Sybaritic Camerata on Patreon. Get started at patreon.com/mezzoihnen. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Hilary Ginther.

It's August, and the ladies have taken a couple of weekends off to recharge. In the meantime, they take you back to December 2020, when Anna did her best Drunj Nemorino during their review of Tchaikovsky's Eugene Onegin. And who can blame her, because her former and current opera husbands were opposite each other!

"O agente do correio" é um conto do escritor russo Alexander Pushkin (1799-1837), publicado pela primeira vez em 1830. Considerado por muitos como talvez o melhor conto do “pai da literatura russa”, a história reúne seu estilo narrativo: drama, romance e sátira, na trágica história de um humilde agente do correio e de sua bela filha, Dounia. No conto, um narrador inominado expõe a calúnia, vexame e subordinação que trabalhadores, como os agentes do correio, sofrem e pede compaixão, diante da história que passa a narrar, a partir de uma viagem que realizou em maio de 1816 até àquela agência do correio que tinha como decoração quadros sacros do filho pródigo e o agente que detinha a filha adolescente que parecia ser uma “menina com experiência no mundo”. “O agente do correio” é considerado influente por seu estilo conciso e simples, uma marca registrada da escrita de Pushkin. Seu livro mais famoso é um romance em versos: Eugene Onegin (1825-1832), que inspirou diversas outras produções interartes: ópera, balé, dança contemporânea, música, filme e até mesmo um livro em espanhol. Aos russos, Pushkin representa o que Shakespeare é para a Inglaterra. Boa leitura! Apoie pela chave PIX: leituradeouvido@gmail.com Apoie pelo financiamento coletivo: https://apoia.se/leituradeouvido Entre em contato: leituradeouvido@gmail.com Instagram e Facebook: @leituradeouvido Direção e narração: @daianapasquim Direção, edição, trilha de abertura e arte de capa: @lucaspiaceski Uma produção @rockastudios #alexanderpushkin #pushkin #literaturarussa #oagentedocorreio #contorusso #paidaliteraturarussa #podcastliterario #leituradeouvido

Shownotes: This week, Matt and Cameron wrap up part 3 of Eugene Onegin with the help of the Gothic (in research focus) Dr. Katherine Bowers. Not only will we be wrapping up Parts 7 and 8 of this novel in verse, Dr. Bowers will also be covering Tatyana's dream from our previous episode. The topics will be wide-ranging and the education, constant. Be sure to tune in and have as much as we did recording this. Major themes: Onegin is a simp, All Gothic All the Way Down, Buy Dr. Bower's Book 02:45 - Writing Fear: Russian Realism and the Gothic by Dr. Katherine Bowers 04:19 - William Morris 13:32 - Revealing too much familiarity with the folkways of fanfiction.net, perhaps. 27:40 “Unpacking Viazemskii's Khalat: The Technologies of Dilettantism in Early Nineteenth-Century Russian Literary Culture” by Dr. Katherine Bowers. (Access Post Print version here) 30:37 - Unfortunately, I was unable to track down the article I was speaking about! 36:16 - “Ghost Writers: Radcliffiana and the Russian Gothic Wave” by Dr. Katherine Bowers 42:32 - Writing Fear: Russian Realism and the Gothic by Dr. Katherine Bowers 49:21 - “Pushkin's Tatiana” by Caryl Emerson The music used in this episode was “Unpacking Viazemskii's Khalat: THe Technologies of Dilettantism in Early Nineteenth-Century Russian Literary Culturesoviet march,” by Toasted Tomatoes. You can find more of their work on Bandcamp and Youtube. Follow us on Instagram, check out our website, if you're so inclined, check out our Patreon!

Shownotes: This week, Matt and Cameron dive into one of the greatest duels in all of Russian literature* in Part 2 of Aleksandr Pushkin's Eugene Onegin. We'll be examining the particulars of dueling etiquette of the era as well as Pushkin's relationship to his contemporary poets - it's always exciting in the 19th Century, babey. Grab your finest winter-time wine and tune in! * According to Matt, anyway. Major themes: Pushkin teaches us PUA, Dueling etiquette, “Russian to the core” 06:54 - *200 years ago 40:17 - Vasily Zhukovsky 44:47 - Writing Fear: Russian Realism and the Gothic by Dr. Katherine Bowers The music used in this episode was “soviet march,” by Toasted Tomatoes. You can find more of their work on Bandcamp and Youtube. Follow us on Instagram, check out our website, if you're so inclined, check out our Patreon!

In today's podcast, James Clutton, CEO and Director of Opera at Opera Holland Park, talks to various members of the cast, crew and creative teams after the end of the Studio Run of Eugene Onegin. The Studio Run is the first time the team runs the full opera, and, as you can hear in the episode, there is a really exciting atmosphere in the room. Guests in order of appearance: Tom Atkins - Lensky Jo Meredith - Choreographer Samual Dale Johnson Anush Hovhannisyan - Tatyana Megan Bly - Deputy Stage Manager Julia Burbach - Director Lada Valešová - Conductor

Shownotes: This week, Matt and Cameron kick off a mini-series to get the mood up with Chapters 1 through 3 of Eugene Onegin! In it, we'll be following…well, some of Eugene's story as the narrator wanders back and forth between explaining our protagonist's life and the narrator's own lost loves (both in terms of people and passions). Get ready for your soirees tonight, use all 30 brushes in your cabinet, and grab a drink for this entertaining read! Major themes: Terpsichorean foot, Russian Nobility, It's Napoleon all the way down 11:48 - “Russian God” by Piotr Vyazemsky 14:53 - Strasbourg Pie 19:49 “Wholesale Failure/Day Gaunt” by Days N Daze 35:46 - “Dressing Gown Farewell” by Piotr Vyazemsky 53:29 - “Loins” lmao 43:03 - Having trouble tracking this article down, but I'll put it here when I find it. The music used in this episode was “soviet march,” by Toasted Tomatoes. You can find more of their work on Bandcamp and Youtube. Follow us on Instagram, check out our website, if you're so inclined, check out our Patreon!

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It's been a while since I've done a speed dating bonus episode, and this one is all about Russian novels for the Reading Envy Russia novel quarter. I discuss books I tried, what I think of them, and books I read previously. We might be moving on to non-fiction officially, but that doesn't mean we have to leave Russian literature behind forever. Download or listen via this link: Reading Envy 243: Russian Novel Speed Date Subscribe to the podcast via this link: FeedburnerOr subscribe via Apple Podcasts by clicking: SubscribeOr listen through TuneIn Or listen on Google Play Or listen via StitcherOr listen through Spotify Or listen through Google Podcasts Books discussed:An Evening with Claire by Gaito Gazdanov, translated by Bryan KaretnykThe Sentence by Louise ErdrichFirst Love by Ivan Turgenev, translated by Richard FreebornEugene Onegin by Alexander Pushkin, translated by Leo TolstoyOblomov by Ivan Goncherov, translated by Stephen PearlLolita by Vladimir NabokovZuleikha by Guzel Yakhina, translated by Lisa C. HaydenThe Time of Women by Elena Chizhova, translated by Simon Patterson and Nina ChordasUntraceable by Sergei Lebedev, translated by Antonina W. BouisOblivion by Sergei Lebedev, translated by Antonina W. BouisBrisbane by Eugene Vodolazkin, translated by Marian SchwartzLaurus by Eugene Vodolazkin, translated by Lisa C. HaydenAnna K.: A Love Story by Jenny LeeAnna Karenina by Leo Tolstoy, translated by Constance GarrettThe Brothers Karamazov by Fyodor Dostoyevsky, translated by David McDuffThe Master and Margarita by Mikhail Bulgakov, translated by Richard Pevear and Larissa VolokhonskyA Constellation of Vital Phenomena by Anthony MarraThe Tsar of Love and Techno by Anthony MarraCity of Thieves by David BenioffA Gentleman in Moscow by Amor TowlesThe Bookworm by Mitch SilverA Terrible Country by Keith GessenFardwor, Russia! by Oleg Kashin, translated by Will EvansRelated episodes:  Episode 228 - Full of Secrets with Audrey Episode 135 - Speed Dating 2018, Round 5Episode 113 - Speed Dating 2018, round 1Episode 117 - Speed Dating 2018, round 2Episode 120 - Summer Reading; Speed Dating 2018, round 3   Episode 128 - Poetry and Whale Guts (Bonus episode; Speed Dating 2018, round 4)Episode 063 - Desolation Road (book speed dating and books on grief)Episode 059 - Are you Inspired Yet? bonus book speed datingEpisode 047 - Sex with Elvis: Bonus Book Speed Dating EpisodeEpisode 035 - Speed Dating Books   Stalk us online:Jenny at GoodreadsJenny on TwitterJenny is @readingenvy on Instagram and Litsy All links to books are through Bookshop.org, where I am an affiliate. I wanted more money to go to the actual publishers and authors. I link to Amazon when a book is not listed with Bookshop.

Support this free daily podcast with a ☕️ at BuyMeACoffee.com/WadeSellers Cya tomorrow!!! Cheers! ♥️ --- Support this podcast: https://anchor.fm/wadesellers/support

Constantine Costi is a director, writer and the co-artistic director of Red Line Productions at the Old Fitz working across opera, film, and theatre. He was named one of the 21 hottest creatives of 2021 by The Australian.Most recently Constantine directed Handa Opera on Sydney Harbour La Traviata for Opera Australia, as well as Verdi's Requiem for Ensemble Apex and Phoenix Central Park, and is currently preparing a Kurt Weill Double Bill for The Old Fitz Theatre of Mahagonny Songspiel and The Seven Deadly Sins.In 2020 he directed the feature film A Delicate Fire for Pinchgut Opera based on the madrigals of Barbara Strozzi, wrote the libretto of a new Australian opera Cassandra for Victorian Opera by composer Simon Bruckard, directed Monochromatic; a video series of piano portraits for Phoenix Central Park, and directed an online Don Giovanni production for the Shanghai Opera with Maestro Xu Zhong.Constantine has also directed Karakorum starring David Wenham (Australian Brandenburg Orchestra); the award-winning production of Bittersweet Obsessions, and Messiah which played to standing ovations and sell-out seasons in Sydney, Melbourne and Brisbane; Puccini's Suor Angelica (Opera Projects Sydney); and Il Tabarro at Alfie's Sydney.Constantine has directed revivals of Harry Kupfer's Otello (OA), Il Viaggio a Reims (Dutch National Opera, OA and Royal Danish Opera), Sir David Mc Vicar's Vienna State Opera production of Falstaff(National Centre of Performing Arts, Beijing); and La Traviata (OA).He also assistant directed productions of Ring Cycle (Chen Shi-Zheng) and Wozzeck (Salzburg Festival, OA, Canadian Opera Company, Metropolitan Opera); Hunde Gottes (Schauspielhaus Vienna); and The Marriage of Figaro (OA). Constantine has also worked with director Chen Shi-Zheng as assistant director of Puccini's Turandot (OA, Handa Opera on Sydney Harbour), as well as co-directing Werther with director Elijah Moshinsky (OA).Other work includes directing and co-creating the world premiere of jazz musical The Overcoat (Belvoir's 25A); co-writing the immersive theatre experience Visiting Hours (Vivid Festival); and directing The Space Between the Fuel and the Fire (NIDA).Constantine is the recipient of The Berlin New Music Opera Award with The Opera Foundation for Young Australians where he worked with Komische Oper Berlin's directing team on the premiere of Tchaikovsky's Eugene Onegin directed by Barrie Kosky.Other directing credits include: The Hypochondriac, The Shewing-up of Blanco Posnet (NIDA); Young Artist's Program Showcase (Opera Australia); Thomas Arne's The Sailor's Return (Nagambie Lakes Opera Festival); The Master and Margarita after Bulgakov (Aboriginal Centre of the Performing Arts); Accidental Death of an Anarchist by Dario Fo (Zenith Theatre); and The Canterbury Tales by Chaucer (George Georgiou Inc). Constantine has previously been a member of the Belvoir Artists' Workshop and was affiliate director with Griffin Theatre.Constantine's screen credits include: music videos, I Know What You're Hiding (Hedge Fund) and Into My Arms (Bloods) for Triple J Unearthed; and the short films Ferguson & Daisy & Ursula, andDonny.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

From Tchaikovsky's Eugene Onegin.

Podcast 34: Pushkin's Hero, Tatyana Larina In this program, my aim is to introduce the hearer to the hero (now rapidly becoming a gender-neutral term) of Alexander Pushkin's world-famed novel in verse, Eugene Onegin. In many ways, she earns the laudatory title I'm giving her, and my presentation will help you get acquainted with her background, her cultural context, her family life, her mother's personality, and her strong, evolving personality and character. My “interview” technique, following each 14-line poem of Pushkin's with a commentary-sonnet of my own, was stimulated by the narrator's own habit of inserting his own comments repeatedly into the action of the highly absorbing verse novel. After reading poems 1.1 and 1.5, together with my verse “replies,” to show how my “interview” or “dialogue” book operates, in my readings about Tatyana I'll feature, first, sections 2.23-2.35 with my two poems about Shrove Tuesday (Mardi Gras) as observed in upstate New York. Then I'll recite from section 3.1 to 3.21. The action at this point will have reached a point of major suspense….

Robin Norton-Hale is an English theatre and opera director. She is the Artistic Director of OperaUpClose, having founded the company alongside Adam Spreadbury-Maher and Ben Cooper in October 2009 and an Artist in Residence at Oxford Playhouse. She studied English Literature at Hertford College, Oxford and was a Clore Cultural Leadership Fellow (2013/14).Her directing credits for OperaUpClose, all in her own new English translations, include La Bohème (Soho Theatre, Cock Tavern Theatre and King's Head Theatre), winner of the 2011 Olivier Award for Best Opera and Best Off-West End Production in the 2011 Whatsonstage.com Awards, La Traviata and Carmen (both co-productions with Belgrade Theatre, Coventry) and La Voix Humaine (Kings Place) .Other directing credits include The Little Sweep and La Traviata (Malmo Opera, Sweden), Masters Are You Mad? by Glyn Maxwell (Grosvenor Park Open Air Theatre), The Taming of the Shrew (Southwark Playhouse), the UK premiere of Martin Duberman's Visions of Kerouac (Half Moon Theatre).She has written new English versions of six operas, including Eugene Onegin and The Marriage of Figaro. Her librettos for La Bohème and Don Giovanni are published by Oberon. Her agent is Micheline Steinberg.Support the show (https://www.interactstrokesupport.org)

In this episode, Dinesh uses the case of Walkaway founder Brandon Straka, who never even went into the Capitol, to reveal the insidiousness of the January 6 prosecutions. Dinesh explores the latest twist in the Whitmer kidnapping case, throwing the FBI--if this is possible--into an even worse light. Dinesh explains the vilification of Sinema and Manchin by revealing their two great sins, as far as the Left is concerned. Dinesh concludes his discussion of Pushkin's "Eugene Onegin."  See omnystudio.com/listener for privacy information.

The deep and sonorous voice of the Bass in all its glory. Franz Josef Selig, Ivan Petrov, Boris Stokolov, Cesare Siepe, Alexander Pirogov  sing arias from Zauberfloette, La Sonambula, Nabucco, Eugene Onegin and  Modest Mussorgsky's Khovanshchina. Good Listening!

PODCAST #25 SUPPLEMENT POEMS FOR “ONEGIN” In Podcast #24 I recited the first few dialogic exchanges of sonnets between Pushkin's verse novel “Eugene Onegin,” and me, the translator and collocutor. Here I'd like to supplement our book-long con-verse-ation or interview with additional lyrics, mainly by Pushkin, which I added to clarify crucial moments in the Russian poet's text. I'll begin my sampling with an introductory lyric, “Collocutor's Preface” (26-27) that will convey my mood when beginning the innovative interview project, modeled upon my earlier exchange of sonnets with those of Shakespeare in my book “Shakespair” and with Rilke in "Rilke's Art of Metric Melody." Then I'll read Pushkin's poem of delight called “Winter Morning” (388), where the mood matches my own in the “Preface” poem. “I built myself a monument” (140), based on an ode by Horace, shows Pushkin's satisfaction with his career as inclusive poet welcoming many traditions. “Earliest memories…” (335) shows the poet in a more troubled self-presentation, written in the Dantescan terza rima to convey a solemn tone. Then we'll highlight Pushkin's talent as ballad writer in “Once there lived a simple knight” (327). The astonishing poem “Feast in Time of Plague” (322), from a minidrama of that name, shows a Shakespearean dramatic power. I'll offer a couple of strophes in Russian to show the force of the original. Lastly, I'll sample a couple of poems on mermaids, one by Pushkin's disciple Mikhail Lermontov, and one by the later Symbolist poet Konstantin Balmont, to which I'll offer a final brief reply (108-109).

Synopsis for Podcast 22 Pushkin's Onegin with Replies Alexander Pushkin (1799-1837) is Russia's most beloved poet. Eugene Onegin, called by Pushkin a “novel in verse,” is Russia's favorite narrative poem and her most influential novel. The narrative – about what was widely called a “superfluous man” – sets a context for the works by Turgenev, Dostoevsky, Tolstoy, and Chekhov that were to follow. From Lord Byron, Pushkin borrowed a clever device: the use of a casual narrator who becomes a fascinating character in the story. Tchaikovsky made Onegin into a great tragic opera, but he had to leave out the entertaining character of the narrator – plus all the delightful mood changes in the storyteller's personality. Form-faithful translator Martin Bidney has created a new genre of literature, the verse interview book. For every 14-line poem of Pushkin's, Bidney writes a Pushkin-style “reply” poem! So the book becomes a total dialogue, really two verse novels in conversation. Utterly unprecedented. The translator as collocutor.

Welcome to The Geek Bracket! Today's Contestants are: Becky Peterman - @nerdra Laura Norton - https://www.youtube.com/channel/UCiuTRRYBpjRI7uaibGGng-Q Harry Zeller - @harebear7397 Follow us online! Facebook.com/geekbracketpodcast Twitter: @geekbracketpod Website: geekbracket.libsyn.com Please, leave a review for us in your favorite podcasting app as well! Today's Categories are: A Dish Served Cold Belt It Like Bette But That's Just... Hail to the Chief It's a Cover Up! Not a Julie Taymor Film? Party Like Its 1899 Sing About Summer, Then Winter Young, but Make It OldToday's Double-Up List, in the Category of Literature: Place the following works of Russian literature in order of printing, from earliest to most recent. - Eugene Onegin by Pushkin, The Brothers Karamazov by Dostoyevski, The Cherry Orchard by Chekhov, War and Peace by Tolstoy

Pyotr Ilyich Tchaikovsky's early relationship with his wife, Antonina Milyukova, and the first stages of creating Eugene Onegin share a spot in the composers life. The two events influenced each other, and it would leave Tchaikovsky wondering where he had gone wrong. Music for today's show are by Trevor Kowalski and Franz Gordon. Late Nights in Harmony, Changing Outlook, Nocturne, The Garden's Light, Hidden Towns, and A Heart Made of Yarn Sources: Letters to His Family: An Autobiography by Pyotr Ilyich Tchaikovsky, translated by Galina von Meck and Percy M. Young Eugene Onegin by Alexander Pushkin Eugene Onegin (opera) Antonina Tchaikovskaya Become a member of stephenjtrygar.com and the podcast: https://patreon.com/thecomposerchronicles --- Send in a voice message: https://anchor.fm/thecomposerchronicles/message

Sam and Tim discuss a week of #MeToo controversy, delve into a 16th century correspondence, and marvel at Naxos's new release of Nepomuceno's Symphony in G minor. PLUS Tim meets musical Brexit protestors Simon Wallfisch and Simon Hewitt Jones outside Westminster.Music Credits: ‘Ms. Jackson', Outkast and Earthtone III, arranged by Timmy FisherTchaikovsky's Eugene Onegin, ‘Tatiana's Letter Scene' Act I Scene II, Elena Kruglikova and the Orchestra of the Bolshoi Opera under Alexander Melik-Pashayev in 1937Phillipe De Monte ‘Super flumina babylonis' and William Byrd ‘Quomodo cantabimus' from The Flowering of Genius, recorded by The Sixteen under Harry Christophers on CORO, Cat: COR16001Alberto Nepomuceno's Symphony in G minor Mov. 1, Minas Gerais Philharmonic Orchestra under Fabio Menchetti, on NAXOS, Cat: 8574067Sibelius's 5th Symphony Mov. 1, arranged by Timmy FisherFollow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/Federer's Uniqlo Piano session: https://www.youtube.com/watch?v=IW42u8kNkrMSimon Wallfisch's website: http://www.simonwallfisch.com/Simon Hewitt Jones' website: https://www.simonhewittjones.com/Buy The Flowering of Genius by Harry Christophers and The Sixteen: https://thesixteenshop.com/products/cor16001