Podcasts about euridice

Umberto Curi"Miti d'amore"Filosofia dell'erosCastelvecchi Editorewww.castelvecchieditore.comAmore e Psiche, Orfeo ed Euridice, Eco e Narciso, Romeo e Giulietta, Tristano e Isotta: sono tanti i miti che narrano le vicende d'amore, le sue inquietudini, il desiderio di fare Uno, la necessità della separazione. Passione cieca, itinerario di redenzione o strumento di conoscenza, Umberto Curi esplora i meandri segreti dell'amore attraverso le più celebri rappresentazioni mitiche che ne sono state date nel corso della storia. Dalla Grecia antica all'epoca moderna, dal racconto platonico dell'androgino a Don Giovanni, si ricostrui-sce qui un percorso filosofico-letterario che svela la natura complessa e sfuggente dell'amore: l'attrazione irresistibile che lo suscita, la caduta che ogni incontro con Eros produce, la dimensione tragica della sua impossibilità. Da Platone a Nietzsche, emerge così una visione dell'amore come forza ambivalente, capace di generare gioia e dolore, appagamento e insoddisfazione, unione e irriducibile distanza. Un mistero che continua ancor oggi a interrogare ogni essere umano, «al tempo stesso così familiare e così indecifrabile, così universale e così peculiarmente individuale».Umberto Curi, professore emerito di Storia della Filosofia all'Università di Padova. Già visiting professor alla University of California, Los Angeles e alla Boston University, ha tenuto lezioni e conferenze in numerose città europee e americane. Giornalista pubblicista, ha collaborato con il «Corriere del Veneto» e «La Lettura» del «Corriere della Sera». È autore di una quarantina di volumi, tra cui segnaliamo il più recente Parlare con Dio. Un'indagine fra filosofia e teologia (Bollati Boringhieri, 2024). Castelvecchi ha già pubblicato I figli di Ares. Guerra infinita e terrorismo (2016) ed è di prossima uscita Padre e re. Filosofia della guerra.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

In this episode, we talk about how how Jane Austen tells us about the feelings of Anne and Captain Wentworth, and how the narrator captures Anne's emotions; the building up of the relationship between Charles and Mary, and their reaction to Little Charles' accident; Mrs Musgrove's feelings about her son; and Mrs Croft's travels.The character we discuss is Captain Wentworth. In the historical section, Harriet's partner Michael talks about the Navy, and for popular culture both Harriet and Michael discuss 1995 BBC film adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Character discussion:First Impressions podcast, ‘Ep 17: Persuading Kristin to Like Persuasion‘, 22 January 2017.Historical discussion:Security to Merchant Ships Act 1707 (6 Ann. c. 65), generally known as the Cruisers and Convoys Act 1708Distribution of prize money: see table on our websitePopular culture discussion:BBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsWatch on YouTubeStairs on the Cobb (photo)Louisa's fall (this YouTube video shows the same scene from four different adaptations of Persuasion)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

In this episode, we talk about how the backstory of Anne and Wentworth is presented without comedy, and yet is absolutely enjoyable. We then move on to the introduction of Mary, and why she is the way she is, the generational change we see in the Musgrove family, and the very unsympathetic portrayal of Dick Musgrove.The character we discuss is Lady Russell. In the historical section, Ellen talks about social precedence, and for popular culture Harriet has watched the 1972 Spanish television adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)George Eliot, Middlemarch(1872)Maria Edgeworth, The Good French Governess (1801)Charlotte M. Yonge, The Daisy Chain (1856)Ethel Turner, Seven Little Australians(1894)Historical discussion:Anthony Powell, The Acceptance World (1955)The Right Hon. the Countess of *******, Mixing in Society: A Complete Manual of Manners (1870)Debrett's Tables of PrecedencePopular culture discussion:TVE, Novela: Persuasión (1972) – starring Maite Blasco and Juan DiegoWatch on YouTube: PlaylistCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

La Paeria de Balaguer aprova dues mocions de solidaritat amb el País Valencià i els afectats per la dana. També relacionat amb el País Valencià, el ple ha donat llum verda a la donació de les aportacions als grups municipals (uns 4.300 euros) corresponents als mesos d’octubre i novembre a la Fundació Horta Sud D’altra banda, la sessió plenària d’aquest dijous també ha aprovat la moció d’ERC, també presentada amb caràcter d’urgència, per proposar millores per a la connexió ferroviària amb Barcelona La Diputació de Lleida dona llum verda al Pla de Salut per a les anualitats 2024-2026 per un valor de 21,6 M€ destinats a ens locals, EMD i consells comarcals Marc Solanes i Roca, reelegit com a president comarcal de Junts a la Noguera. La nova executiva es marca com a repte guanyar les properes eleccions municipals a la comarca L’audiència de Lleida condemna a 2 anys de presó l’acusat de deixar cec d’un ull un home a Balaguer. També haurà d’indemnitzar la víctima amb 53.677 euros Demanen mantenir a la presó als 3 investigats per explotació sexual a Balaguer. Es tracta dels detinguts a l’octubre quan la policia va alliberar vuit dones prostituïdes en un club i un pis de la ciutat Ferrocarrils de la Generalitat habilitarà un servei d’autobús substitutori entre Balaguer i Lleida els dies 30 de novembre i 1 de desembre en motiu de les obres de construcció del nou pas inferior al baixador de Térmens Les alumnes de La Xemeneia Espai de Dansa seran el cos de ball de l’òpera ‘Orfeo ed Euridice’, sota la direcció i coreografies d’Albert Bonet Balaguer dona aquest divendres ,a 2/4 de 7 de la tarda, el tret de sortida a les Festes de Nadal amb l’encesa de llums a la plaça del Mercadal. L’encarregada d’obrir els llums als carrers i places de la ciutat i de l’Estel d’Orient serà la Polsim L’acte comptarà amb una cantada de nadales a càrrec de l’Escola Municipal de Música, així com amb l’actuació de La Xemeneia-Espai de Dansa. Finalment, els comerciants de la ciutat rebran les bústies per poder anar recollint les cartes dels infants. L’acte acabarà amb una xocolatada popular La Societat Gastronòmica del Comtat d’Urgell inaugura aquest dissabte una exposició retrospetiva a la Sala l’Estudi 76 El Teatre Municipal de Balaguer serà escenari el diumenge d’un concert solidari en benefici de La Marató a càrrec de la soprano Charo Tris Aquest dissabte Artesa de Segre acollirà el concert benèfic “Estimem les nostres arrels”, una cita musical plena de solidaritat i cultura amb Ucraïna Vilanova de Meià celebra dissabte la Setmana de la Pedra Seca, impulsada per la Fundació Coma de Meià per divulgar i preservar aquest patrimoni arquitectònic El dissabte Àger serà l’escenari d’una jornada dedicada als recursos naturals, els espais abandonats i el desenvolupament local. L’activitat tindrà lloc a la Casa del Montsec, i diumenge torna la Fira d’Àger, amb una jornada plena d’activitats tradicionals, culturals i lúdiques per a totes les edats Camarasa celebrarà diumenge una nova edició del Ranxo dels Vaguistes, un esdeveniment que commemora la vaga de la Canadenca El primer equip del Club Futbol Balaguer juga aquest diumenge al municipal contra el Gimnàstic Manresa, un rival directe. El Juvenil visita dissabte el camp del Cerdanyola El Teixidó Associats del Club Bàsquet Balaguer rep aquest dissabte a 2/4 de 7 de la tarda al Viladecans en un partit que es jugarà al 1r d’Octubre de Balaguer. El Q2 Consultors juga a la pista de l’Espanyol El Comtat d’Urgell de futbol sala rep aquest diumenge al 1r d’Octubre al Maials. Abans del partit es farà la presentació de tots els equips del Comtat. El Comtat B juga a Vilasana i el Balaguer Vedruna rep al Llardecans. El femení del Comtat juga a CambrilsDescarregar àudio (46:53 min / 22 MB)

Il melodramma nel Barocco Giulio Caccini (1551-1618) - EuridiceOpera in un prologo ed un attoLibretto: Ottavio Rinuccini (1562-1621)Pubblicata nel dicembre del 1600 (Giorgio Marescotti, Firenze)Prima rappresentazione: 5 dicembre 1602 a Firenze (Palazzo Pitti) Euridice, Tragedia: Silvia Frigato , sopranoOrfeo: Furio Zanasi , baritonoDafne, Proserpina: Sara Mingardo , contraltoVenere: Monica Piccinini , sopranoArcetro: Giampaolo Fagotto , tenorePlutone: Antonio Abete , bassoAminta, Tirsi: Luca Dordolo , tenoreCaronte: Mauro Borgioni , baritonoRadamonto: Matteo Bellotto , bassoConcerto ItalianoRinaldo Alessandrini , conductor

Die Star-Mezzosopranistin Cecilia Bartoli gastiert am 24. November im Festspielhaus Baden-Baden mit Christoph Willibald Glucks Oper „Orfeo ed Euridice“. Im Gespräch erzählt sie, was sie an ihrer Orfeo-Rolle fasziniert.

Regine Müller spricht mit Cecilia Bartoli kurz vor der Aufführung von Christoph Willibald Glucks »Orfeo ed Euridice« in der Philharmonie Essen. Die Rolle des Orfeo singt die Mezzosopranistin auch in der Kölner Philharmonie am 22. November. Ein Podcast Spezial über Cecilia Bartolis Werdegang, Repertoire, Stimmpflege und die Anspannung kurz vor dem Auftritt. https://www.koelner-philharmonie.de/de/programm/gluck-orfeo-ed-euridice/4172 https://www.ceciliabartoli.com Foto ©OMC/Fabrice Demessence

Canciones de Antonio Carlos Jobim que grabaron en Río de Janeiro, entre 1954 y 1961, João Gilberto ('Desafinado'), Roberto Paiva y Luiz Bonfá ('Se todos fossem iguais a você', 'Lamento no morro', 'Mulher, sempre mulher'), Sylvia Telles ('Fotografia', 'Dindi'), Elizete Cardoso ('Outra vez'), João Gilberto ('Chega de saudade'), Agostinho dos Santos ('A felicidade'), 'Oscar Castro-Neves ('Meditação'), João Gilberto ('Insensatez', 'O amor em paz'), Luiz Bonfá ('Euridice'), Sylvia Telles ('Sucedeu assim', 'Corcovado', 'Discussão'), Maysa ('Meditação'), Walter Wanderley ('Samba de uma nota só'), Astor Silva con Luiz Eça ('Eu preciso de você'), Dick Farney y Lucio Alves ('Teresa da praia'), Trio Nagô ('Chega de saudade') y Sergio Mendes ('Outra vez').Escuchar audio

DescriptionEchoes of Love: The Enduring Opera of Orpheus and Euridice in 60 Seconds. Take a minute to get the scoop!Fun FactThe first performance of Gluck's "Orfeo ed Euridice" took place on October 5, 1762, at the Burgtheater in Vienna. This opera marked a revolutionary shift in the genre, emphasizing simplicity and dramatic expression over elaborate arias. Gluck sought to reform opera, focusing on seamless storytelling, cohesive music, and emotional impact, influencing future composers significantly.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Maurizio Bettini"Per un punto Orfeo perse la cappa"Dieci lezioni di antropologia del mondo anticoEdizioni del Mulinowww.mulino.itFestival del Mondo AnticoRiminiGiovedì 24 ottobre 2024Maurizio Bettini e Aglaia McClintockPer un punto Orfeo perse la cappa e altre storieBiblioteca Civica GambalungaPer un punto Martin perse la cappa. Così suona il detto popolare che indica coloro che, per un nonnulla, falliscono in un'impresa importante. Come il monaco Martino perse la cappa, che lo avrebbe promosso a canonico, perché aveva dimenticato di mettere un punto nel testo che stava scrivendo, allo stesso modo Orfeo, per un fuggevole sguardo rivolto a Euridice uscendo dall'Ade, la perse per sempre. Perché Orfeo si voltò a un passo dal portare a compimento la sua impresa? L'antropologia del mondo antico ci spiega il significato del fallimento di Orfeo, come di tanti altri aspetti della classicità che ci appaiono bizzarrie, ma che grazie al loro contesto di riferimento illuminano i meandri di una cultura e di una struttura sociale lontane dalla nostra. Questo libro è un percorso in dieci lezioni che vanno dal ruolo del silenzio al valore vincolante degli incantamenti e della magia, dalla giustizia popolare alla fluida identità delle divinità e alla biologia selvaggia. Per rispondere alle domande poste dai testi e dalle tradizioni classiche senza pregiudizi, uscendo dai nostri quadri mentali.Maurizio Bettini, classicista e scrittore, dirige il Centro Antropologia e Mondo Antico dell'Università di Siena. Tra i suoi libri recenti ricordiamo «Roma, città della parola» (2022), «Chi ha paura dei Greci e dei Romani?» (2023) e con il Mulino «Il grande racconto dei miti classici» (nuova ed. 2018), «Dai Romani a noi» (con F. Prescendi e D. Morresi, 2019), «Hai sbagliato foresta. Il furore dell'identità» (2020), «Radici» (nuova ed. 2022) e «Romolo. La città, la legge, l'inclusione» (2022).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Die Oper folgt der antiken Dichtung nur bedingt, statt einem tragischen Ende gibt es ein Happy End, wo Amor die Liebenden Orpheus und Eurydike vereint.

[@ 2 min] We go Inside the Huddle with Ricky Ian Gordon. The prolific American composer of operas such as "A Coffin in Egypt," "The Grapes of Wrath," and "Orpheus and Euridice" has another credit to add: author! Ricky will share anecdotes from his new memoir, Seeing Through: A Chronicle of Sex, Drugs, and Opera. [@ 35 min] And then…a field report from an advanced screening of Maria Callas biopic from the New York Film Festival. Will it be opera gloved thumbs down or opera gloved thumbs up? [@ 40 min] Dresden's rolling in cash, Berlin's broke, and Apple Classical has taken another tiny step towards world domination… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Donald Macleod showcases the life and music of Christoph Willibald Gluck Christoph Willibald Gluck (1714-1787) arguably did more to transform opera than any composer of his generation: thinking deeply about how text and music should work together, and trying to strip away fripperies to ensure it was urgent, powerful and arresting. His radical approaches made him one of the most influential composers in history - and yet today, he's known in the concert hall almost exclusively for one work: his masterpiece “Orpheus and Eurydice”. This week, Donald Macleod puts that right: showcasing Gluck's dazzling and enchanting music from across his life - whilst also showing off his most famous work.Music Featured: Dance of the Blessed Spirits (Orfeo ed Eurydice) Non hai cor per un'impresa (Ipermestra, Wq 7) Sperai vicino il lido (Demofoonte, Wq 3) Se in campo armato (La Sofonisba, Wq 5) Nobil onda (La Sofonisba, Wq 5) Orfeo ed Euridice (excerpts) M'opprime, m'affanna (La Sofonisba, Wq 5) Qual ira intempestiva … Oggi per me non sudi; Oggi per me sudi (La Contesa de'numi, Wq 14) Trio Sonata no I in C Major (1st mvt) Ciascun siegua il suo stile...Maggior follia non v'e (La Semiramide riconosciuta, Wq 13) Misera, dove son…; Ah! non son io (Ezio, Wq 15) Dance of the Furies (Orphee et Eurydice: Act 2, Scene 1) Tremo fra dubbi miei (La Clemenza di Tito, Wq 16) (Act 3) Son lungi e non mi brami (Le Cinesi, Wq 18) Berenice che fai (Antigono, Wq 21) Don Juan (selection) Divinités du Styx (Alceste, Wq 37) O Del Mio Dolce Ardor; Le Belle Immagini (Paride ed Elena, Wq 39) Vous essayez en vain - Par la crainte; Adieu, conservez dans votre âme (Iphigénie en Aulide, Wq 40) Gluck (arr Schubert) Rien de la nature (Echo et Narcisse) Armide (Act 5 opening) Iphigenie en Tauride, Wq 46 (excerpts) De Profundis Orphee et Eurydice (1774 Paris edition): Act 3 (finale)Presented by Donald Macleod Produced by Steven Rajam for BBC Audio Wales & WestFor 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 Christoph Willibald Gluck (1714-1787) https://www.bbc.co.uk/programmes/m0022znr 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

¿Conoces y entiendes la historia de Orfeo, Euridice y Hades, uno de los mitos griegos clásicos? ¿Sabías que es una metáfora que tiene

When an art song and opera composer writes a memoir, what does that process look like? Does mastery in one creative realm translate to another? How is an aria like a story?  I just loved this deep and passionate conversation with Ricky Ian Gordon, author of the new memoir SEEING THROUGH: A Chronicle of Sex, Drugs, and Opera.   Ricky Ian Gordon was born in Oceanside, NY and raised on Long Island. After studying piano, composition, and acting, at Carnegie Mellon University, he settled in New York City, where he quickly emerged as a leading writer of vocal music that spans art song, opera, and musical theater. Gordon's songs have been performed and recorded by Renée Fleming, Dawn Upshaw, Nathan Gunn, Judy Collins, Kelli O'Hara, Audra MacDonald, Kristin Chenoweth, and many others. His works include Dream True, Orpheus and Euridice, Green Sneakers for Baritone, String Quartet, Empty Chair, and Piano, The Grapes of Wrath, and Intimate Apparel. His memoir SEEING THROUGH: A Chronicle of Sex, Drugs, and Opera was published in July 2024. Check out the book here or follow Ricky at his website, or @rickyiangordon on X and Instagram.   Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!      

Se cumplen 65 años del estreno de la película 'Orfeo Negro' de cuya banda sonora escuchamos 'Générique', 'A felicidade', 'Manhã de carnaval' y 'Samba de Orfeu'. Basada en la obra de teatro de Vinicius de Moraes 'Orfeu da Conceição', estrenada en el Municipal de Río de Janeiro en 1956, que llevaba el mito griego de Orfeo a las favelas y el carnaval carioca, y de la que suenan las músicas de Jobim 'Ouverture', 'Lamento no morro'. y 'Se todos fossem iguais a você'. Del disco del bajista Nilson Matta 'Black Orpheus', publicado en 2013, 'Se todos fossem iguais a você' -cantada por Leny Andrade, 'Frevo de Orfeu', 'O nosso amor', 'Samba de Orfeu' y 'Valsa de Euridice' y 'Eu e o meu amor'/'Lamento no morro' -cantadas por Gretchen Parlato-. Con el mismo título, el Trio da Paz, del que forma parte Matta, grabó 'A felicidade' y 'Manhã de carnaval' -ambas en la voz de Maúcha Adnet-. Escuchar audio

El influyente guitarrista brasileño nació un 6 de agosto. Recordamos a Baden Powell de Aquino con fragmentos de un texto de Ruy Castro y grabaciones de 'Valsa de Euridice', 'Apelo', 'Chuva', 'Deixa', 'Tanto tempo'. 'Berimbau', 'Consolação', 'O astronauta', 'Deve ser amor', 'Canto de Ossanha', 'Das rosas', 'Lamentos' y 'Samba triste'.Escuchar audio

Canciones de Antonio Carlos Jobim que grabaron en Río entre los años 1954 y 1961 João Gilberto ('Desafinado', 'Chega de saudade', 'Insensatez', 'O amor em paz'), Roberto Paiva y Luiz Bonfá ('Se todos fossem iguais a você', 'Lamento no morro', 'Mulher, sempre mulher'), Sylvia Telles ('Fotografia', 'Dindi', 'Sucedeu assim', 'Corcovado', 'Discussão'), Elizete Cardoso ('Outra vez'), Agostinho dos Santos ('A felicidade'), 'Oscar Castro-Neves ('Meditação'), Luiz Bonfá ('Euridice'), Walter Wanderley ('Samba de uma nota só'), Maysa ('Meditação'), Astor Silva con Luiz Eça ('Eu preciso de você'), Dick Farney y Lucio Alves ('Teresa da praia'), Trio Nagô ('Chega de saudade') y Marisa ('Só em teus braços'). Escuchar audio

En 1998 Eurídice llegó a Estados Unidos con una beca de estudios para especializarse en música. Su carrera ha sido brillante y muy exitosa: es oboísta principal de la Sinfónica de Waco, Texas y actúa con el Quinteto de viento y el Trío de viento de Baylor. Ha actuado en varias orquestas en Alabama, Colorado, Luisiana, Mississippi, Nueva York, Texas, Wyoming y Washington, D.C. Ha realizado giras, y presentado clases magistrales en Panamá, Honduras, Costa Rica, Tailandia. Ha sido profesora de la Universidad del Sur de Mississippi y de la Universidad del Norte de Colorado y actualmente es profesora adjunta de Oboe en la Universidad de Baylor. En nuestro podcast nos platica quién es ella, lo que ha logrado, y cómo el amor por la música la llevó no sólo a alcanzar sus sueños sino también a fundar una organización para jóvenes en su país que deseen aprender a tocar el Oboe. ▶️ No te pierdas este episodio en nuestro canal de Youtube: https://www.youtube.com/channel/UCk_-JJq-7Pv7W-IfqiyWnvg ➡️ Síguenos también en: Instagram: https://www.instagram.com/blogruta5/ Facebook: https://www.facebook.com/Ruta5.Blog/ Linkedin: https://www.linkedin.com/in/blogruta5/ Tik Tok: https://www.tiktok.com/@blogruta5 Ruta5 Podcast es una producción del Blog de Talento Latino blogrutacinco.com. Todos los Derechos Reservados. 2024.

Today's episode is with Sharon Kempton. Australian born soprano Sharon Kempton, completed a Bachelor of Music Performance and Music Therapy with honours and Master of Music Performance at the University of Melbourne, under the tuition of Kevin Casey, Bettine MacCaughan OAM and the distinguished Merlyn Quaife OAM. Sharon has been the recipient of many prestigious prizes including the German Operatic Award (2001), embarking on her European career, as a member of the Cologne Opera Studio, Germany, followed by an eleven year engagement as soloist at the Hessen State Theater in Wiesbaden. Sharon has performed with Aalto Musiktheater Essen, Köln Oper, Staatstheater Wiesbaden, Staatstheater Braunschweig, Staatstheater Kassel, Theater Ulm, Nationaltheater Mannheim, Theater Osnabrück and Saarländisches Staatstheater, in Saarbrücken. As an ensemble member of Staatstheater Wiesbaden from 2003 until 2014, Sharon performed and debuted forty operatic roles. Her extensive repertoire encompasses the genres of early Baroque Opera, performing roles such as Giunone (LaCallisto), Poppea (L'incoronazione di Poppea), Euridice (Orfeo ed Euridice), Elmira (Croesus), Armide (Armide) and Cleopatra (Julius Caesar) – for which she was nominated 'Singer of the Year' in 2007 by Opernwelt, Germany; through to Classical, Romantic and works of the modern Masters. Read more bio: https://sharonkempton.de/bio https://sharonkempton.de/ (Homepage) https://sharonkempton-coach.com/ (Coaching) -- Hosted by Jessica Harper (soprano) & Jeremy Boulton (baritone), 'So You Think You Can Belto?' was created to empower emerging operatic practitioners across Australia and the world with access to the direct knowledge and relayed experiences of professionals. It aims to help inform emerging artists by holding a mirror to the opera system so that artists can make their own individually-informed decisions about auditions, competitions, engagements, and more. You'll hear everything from in-depth artist interviews, to long form panel discussions on topics concerning emerging artists. BUY JESSICA A COFFEE: ⁠https://www.paypal.com/ncp/payment/32TKWJ6EQ7G8N⁠ TWITTER: ⁠⁠⁠⁠⁠⁠⁠twitter.com/sytycanbelto⁠⁠⁠⁠⁠⁠⁠ FACEBOOK: ⁠⁠⁠⁠⁠⁠⁠facebook.com/soyouthinkyoucanbelto⁠⁠⁠⁠⁠⁠⁠ INSTAGRAM: ⁠⁠⁠⁠⁠⁠⁠instagram.com/soyouthinkyoucanbelto⁠⁠⁠⁠⁠⁠⁠ HASHTAG: #SoYouThinkYouCanBelto JESSICA: ⁠⁠⁠⁠⁠⁠⁠jessicaharpersoprano.com⁠⁠⁠⁠⁠⁠⁠ JEREMY : ⁠⁠⁠⁠⁠⁠⁠jeremyboulton.com.au⁠⁠⁠⁠⁠⁠⁠ DISCLAIMER: The views and opinions expressed are solely those of the individuals that appear on the program, not the views of the organisations that they are employed by, nor who they represent in other capacities.

Christoph Willibald Glucks bekanntestes Bühnenwerk wird vom Label Erato in der Originalfassung von 1762 auf den Markt gebracht. Der Polnische Rundfunk in Warschau war Treffpunkt für die Interpretinnen und Interpreten, und das hat vielleicht mit der Nationalität des Dirigenten Stefan Plawniak und mit der des zentralen Sängers zu tun, der hier den Orfeo singt und zugleich als Produzent agiert: Countertenor Jakub Józef Orlinski.

During Black History Month this year I featured a group of five exceptional singers I dubbed, for lack of a better term, “Forgotten Divas.” Each of these women, sopranos Delcina Stevenson, Annabelle Bernard, and Veronica Tyler, mezzo-soprano Gwendolyn Killebrew, and jazz singer Ethel Ennis, represents the peak of achievement in each of their respective fachs. These proved to be among the most popular and far-reaching of my recent episodes. At that time, I promised my listeners that I would continue to seek out rare recordings of each of these women and that, if and when such material surfaced, I would be sure to share it with my listeners. True to my promise, I present a brand-new episode featuring (for the most part) newly discovered material with each of these singers: a live Washington Opera Ariodante from 1971 and a live Carnegie Hall Orfeo ed Euridice from 1967, both with Veronica Tyler; live original language performances of Puccini's Il tabarro and Meyerbeer's Le Prophète from the stage of the Deutsche Oper Berlin which starred Annabelle Bernard; Gwendolyn Killebrew singing the Habanera from Carmen, one of her most celebrated roles, as well as the Waldtaube in Schoenberg's Gurrelieder; rare studio recordings of Delcina Stevenson singing Bach and Vivaldi from the early 1970s; and live material featuring Ethel Ennis over the course of nearly fifty years of her career, 1958 through 2005. As more of this material resurfaces, I will present further episodes of this new “Rescue Mission” series featuring both these singers and others I have already featured on the podcast, performing material that adds to our understanding and appreciation of their artistry. 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.  

Countertenor Jakub Józef Orliński hat seine eigenen Ideen zu Glucks Klassiker als Produzent und künstlerischer Co-Leiter verwirklicht.

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

Christoph Willibald Glucks „Orfeo ed Euridice“ gehört zu den bekanntesten, schon an der Schwelle zum Klassizismus stehenden Barockopern überhaupt. Der Orfeo ist eine Wunschpartie für jeden Mezzosopran, inzwischen aber auch für jeden Countertentor. Jetzt erscheint eine Neueinspielung mit dem Counterstar Jakub Józef Orlinski und der Sopranistin Elsa Dreisig. Für SWR Kultur-Kritiker Manuel Brug ist es eine Aufnahme, „die es temperamentsmäßig gewaltig in sich hat“.

fWotD Episode 2544: Kathleen Ferrier Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Monday, 22 April 2024 is Kathleen Ferrier.Kathleen Mary Ferrier, CBE (22 April 1912 – 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J. E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.In 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.Ferrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954. The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.This recording reflects the Wikipedia text as of 00:32 UTC on Monday, 22 April 2024.For the full current version of the article, see Kathleen Ferrier on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Joanna Standard.

L'opéra raconte une histoire, celle imaginée par le livret, mise en musique par un compositeur et interprétée par des chanteurs lyriques. Il s'agit donc d'un spectacle complet, porté par les accents de l'orchestre.Le théâtre grec, dans l'Antiquité, et certains ballets de cour, à l'époque de la Renaissance, ont pu donner un avant-goût de l'opéra, dont la naissance remonte au début du XVIIe siècle.C'est en effet à ce moment que ce type de spectacle apparaît à Florence, capitale du grand-duché de Toscane. On le doit aux initiatives d'un petit groupe d'artistes et d'intellectuels, la "Camerata fiorentina" ou "Camerata de Bardi".Les musicologues s'interrogent sur le premier opéra à avoir été écrit. Les avis divergent à ce sujet. Si l'on se fonde sur la composition même de l'œuvre, il semble bien que "La Dafne", du compositeur italien Jacopo Peri, ait été le premier opéra jamais composé.En effet, il en écrit la musique, sur un livret d'Ottavio Rinuccini, à l'occasion du carnaval florentin de 1597. Le même musicien compose la musique d'un autre opéra trois ans plus tard, en 1600, sur un texte dû au même librettiste. Il s'agit d'"Euridice", d'après le mythe d'Orphée, qui sera représenté pour la première fois en octobre 1600 au palais Pitti de Florence.Si l'on prend comme critère la représentation de l'œuvre, "Euridice" peut encore être considéré comme le premier opéra. D'autant que Jacopo Peri a introduit dans sa partition des éléments, comme les duos, les chœurs ou les solos, que l'on retrouvera dans tous les opéras à venir.Pour certains, cependant, la première œuvre musicale méritant vraiment le nom d'opéra est l'"Orfeo" de Claudio Monteverdi, sur un livret d'Alessandro Striggio. Créé en février 1607 à Mantoue, cet opéra marque la transition entre la musique de la Renaissance et celle de l'époque baroque.L'opéra italien sera introduit en France, dès le milieu du XVIIe siècle, grâce à Mazarin qui, fin mélomane, fait représenter plusieurs de ces œuvres à la Cour de France. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Juan David Betancurelnarrodororal@gmail.comHoy seguimos con los mitos y las leyendas de la Grecia antigua. Siguiendo con las amantes de Zeus hoy le toco a Danae. La mama de alguien bien importante. Había una vez en la antigua Grecia un dios llamado  Zeus, o Jupiter para los romanos que como veníamos contando en las semanas anteriores era bastante ojialegre. Y eso que le juro a su esposa hera con h que el le seria fiel por la eternidad. Pues como hemos visto a Zeus le gustaban las muchachas bonitas y por eso termino enredándose con  Y aquí va la lista hasta ahora y faltan datos de otros municipiosMetis, Themis, obviamente Hera, Io, Europa, Leda y hoy tenemos a Danae. Y eso que faltan datos de otros municipios. Resulta pues que en una ciudad llamada Argos había un rey que se llamaba Acrisio y estaba casado con la reina Eurídice. Acrisio era un rey muy orgulloso y Euridice eran muy bella. Mejor dicho eran las pareja show del año de Argos.  Como Euridice era tan bella tuvo una hija que era aún más bella que ella. La llamaron Danae. Y se dice que era la más bella de el tinder de la época. Así que permanentemente multiples heredos y príncipes le mandaban el me gusta de rigor. Pero el papa se mantenía oji abierto y no le dejaba tener novios.  Acrisio el papa de Danae decidio ir a visitar un oráculo, que como ya hemos visto antes era el que adivinaba el futuro pero generalmente hablaban muy enredado. Pues este oráculo le dijo a Acrisio que pilas…. Tu hija va a tener un hijo en el futuro que va a ser muy poderoso y para peor te va a matar. Así que paila como dicen por ahí.  Acrisio salió más aburrido que caballo en un balcon y se fue directo para su castillo e hizo la misma bobada que hizo el papa de Leda…. Se acuerdan de la semana pasada. Mando a encerrar a su hija en pieza cubierta de metal  donde nadie le pudiera llegar y donde nadie le pudiera hacer el mandado.  Así que allá cayo  Danae… Bien linda y bien encerrada.    Pero Zeus que se mantenía por ahí todo desocupado dando vueltas por su reino mirando a que muchachita le ponía el ojo paso por argos y vio una lucesita en un  castillito. Y el hombre que tenía ojo como de el hombre nuclear. Ok esto no es para milenials, pero más vale que se den una averiguada en Google a ver quien era el tal hombre nuclear. Pues resulta que vio que allá adentro había una princesa. Divina, divina. Y como sabemos el hombre no se aguantaba las ganas.  Se dio cuenta que Danae estaba en un cuarto reforzado que no tenía ventanas por lo tanto no le podía aplicar la de leda. Pero si vio que el cuarto subterráneo tenía un techo con una reja bien tupida por la que no cabia ni una cucaracha.  Pues Zeus que todo se lo ingeniaba se puso a consultar en copilot IA, como entrar a un sitio bien cerrado desde arriba. Y la respuesta le llego inmediatamente. Pendejo puede entrar como una lluvia de arena.  Pues claro se dijo Zeus pero para hacer más emocionante la cosa y para que las fotos de Instagram llamaran bastante la atención se convertiría en lluvia de polvo de oro. Como les quedo el ojo.  Polvo dorado. Esa si no la teníamos hasta ahora. Así que se convirtió en eso y se dejo caer brillantemente por el techo tupido y Danae se maravillo y se hecho todo el polvito encima. (metaforicament hablando) y Claro después de una buena banada en polvo de oro la Bella Danae quedo en cinta.  Y empezó a poner fotos y videos en Instagram bajo el hashtag. #hijodeoro. #goldenboy  En fin que fuera de eso documento todos los 9 meses para una serie de netflix. Ya que no todos los días se tenía el privilegio de tener un hijo de Ze

Canale Youtube: https://youtube.com/c/AudiolibriLaLocandadellaTormenta☕Donazioni: https://ko-fi.com/lalocandadellatormenta​

蹦藝術EP149 普契尼逝世百週年系列專題～聊古典時期的歌劇發展與葛路克的歌劇改革 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

There's nothing like singing in an opera chorus. Marc Eliot Stein and Ted Shulman talk about their participation in Regina Opera's production of Verdi's "Rigoletto" in Sunset Park, Brooklyn, and the special ways a chorus can illuminate or enliven a classic opera. We chat about "Nabucco", "Turandot", "Parsifal", "Les Contes d'Hoffmann", "Orfeo ed Euridice", "HMS Pinafore" and "Aida", and the conversation also turns to amateur singing, drinking songs, offensive operas, gender of choruses, teamwork, the disastrous 2023 Israel/Gaza war, Lance Loud, reality TV, New York City's 1970s CBGBs punk scene and a mostly (but not completely) forgotten punk band called The Mumps.

This episode delves into the pivotal EuRIDICE randomized clinical trial published in Critical Care in 2023. This episode provides an in-depth analysis of the trial's findings on using haloperidol in managing delirium among critically ill adults in the ICU. We'll explore the implications of these results for clinicians and the broader healthcare community, discussing whether haloperidol truly impacts the duration of delirium and coma in ICU patients. This discussion is essential for medical professionals, from students to board-certified physicians, seeking to stay informed on the latest in critical care medicine. Tune in to gain valuable insights and broaden your understanding of ICU delirium management. This Podcast was Editing Using Descript: ⁠⁠https://www.descript.com?lmref=BGOxjQ⁠⁠ TrueLearn Link: ⁠⁠⁠⁠⁠https://truelearn.referralrock.com/l/EDDYJOEMD25/⁠⁠⁠⁠⁠ Discount code: EDDYJOEMD25 --- Support this podcast: https://podcasters.spotify.com/pod/show/eddyjoemd/support

If a loved one were to die, how far would you be willing to go to bring them back? Orpheus, the ancient Greek musician, goes to hell and back to have the love of his life, Eurydice, by his side again. The gods cut a deal with Orpheus: he can bring his love back from hell, but all throughout the journey, she has to follow behind him and he is not allowed to look back at her. Unable to resist, he turns to see her,  and the gods take her for a second time. In a moment of overwhelming grief, Orpheus asks, “What will I do without Eurydice?” Ahead of this season's production of "Orfeo ed Euridice" by the Metropolitan Opera, we're revisiting this episode, in which host Rhiannon Giddens and her guests reflect on Christoph Gluck's operatic adaptation of the Orpheus myth and the all-encompassing nature of both grief and love. At the end of the show, mezzo-soprano Jamie Barton sings “Che farò senza Euridice?” from the Metropolitan Opera stage.The GuestsMezzo-soprano Jamie Barton grew up in a musical family, with days full of bluegrass, classic rock, and music history quizzes about the Beatles. In her role debut as Orfeo, she searches for this hero's vulnerability, dramatically and vocally, and figures out how to embody a version of this character that's modeled on Johnny Cash. Author Ann Patchett stumbled upon her love for opera while writing her book “Bel Canto.” But the Orpheus myth has been part of her life — and has influenced her writing — for a lot longer.  She's fairly certain that she would travel to the depths of hell to save her husband of 29 years. Jim Walter lost his wife to cancer in 2015. He cared for her through some very difficult years, and kept hope alive even when things looked hopeless. He says that nowadays his grief usually isn't as immediate and gut-punching as it once was, but he is still sometimes overcome with sadness at unexpected moments.

蹦藝術EP135 希臘神話中最淒美的愛情悲劇：奧菲歐與尤麗狄西 用耳朵閱讀古典音樂 - 蹦藝術 | BONART

Emma and Christy look at Alfred Gilbert's sculpture Mors Janua Vitae (c. 1905–1907) at the Royal College of Surgeons, London — a life-sized bronze which houses the remains of the couple Edward and Eliza Macgloghlin. We talk relics and transi tombs; Victorian atheism and the history of unbelief; cremation, miasma, and lead-lined coffins; books bound in human skin; Victorian sex (and free love!); affairs between artists and patrons; Welsh druids; paganism; birth control and the throuple; infidel feminism; and abolishing the family. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. MEDIA DISCUSSED Alfred Gilbert, Mors Janua Vitae (c. 1905–1907) Henry Weekes, John Hunter (1864) Etruscan couple tomb: The Sarcophagus of the Spouses (c. 530–510 BCE) Alfred Gilbert, Mors Janua Vitae detail: panel Alfred Gilbert, Mors Janua Vitae detail: 'baby angel' Examples of G. F. Watts paintings: She Shall Be Called Woman (c. 1875–92); Orpheus and Euridice (exh. 1890) Photograph of the lobby of the Royal College of Surgeons, from Artistic Possessions at the Royal College of Surgeons of England (1967) Alfred Gilbert, plaster (and wood) version of Mors Janua Vitae, exhibited 1907 Alfred Gilbert, The Virgin (1884) Relic example: the bones of St Valentine, Basilica of Santa Maria, Rome Relic example: the Veil of Veronica (cloth said to have wiped Christ's face on the way to the crucifixion), Vatican version Nineteenth-century mourning jewellery made with hair of the deceased Case containing William Morris's hair, by Robert Catterson Smith and Charles James Fox (1896–97) Transi tomb example from Boussu, Belgium (16th century) Victorian garden cemeteries example: Norwood cemetery (1849) Alfred Gilbert, Mors Janua Vitae detail: mushrooms or people? Spiritualist painting referencing 'Mors Janua Vitae' (written on the book on the floor): Evelyn De Morgan, The Hourglass (1904) Joseph Noel Paton, Mors Janua Vitae (1866) Photograph of Dr William Price (1884) Alfred Gilbert, Anteros, in Piccadilly Circus (1893) CREDITS This season of ‘Drawing Blood' was funded in part by the Association for Art History. Follow our Twitter @drawingblood_ ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

We're digging deep into Marvel's Alien Volume 1 Issues 7-9, the first three issues of the Revival storyline"We'll podcast for you, Jane. Here in Mother's house. We're not goin' anywhere."Check out Kenny's newest article on Hard-Drive.netActually, check out ALL of Kenny's articles on Hard-Drive.netThe podcast is now on Youtube/YT Music at Youtube.com/@crewexpendableWe're on Bluesky now at https://bsky.app/profile/crewexpendable.bsky.socialFollow the show on twitter @crewexpendapodFollow the show on Instagram @crewexpendablepodSubscribe to the podcast at CrewExpendable.netFollow Kenny on twitter @cyhobbezFollow Neal on twitter @finalnealFollow Neal on TWITCH.TV/FINALNEALCheck out Neal's Mortal Kombat podcast at MKpodquest.comUSCSS PODCAST Location: Hopefully heading towards Euridice

Orfeo: Marilyn Horne | Euridice: Adriana Maliponte | Amore: Judith Blegen | Conductor: Charles Mackerras | Metropolitan Opera | 21 November 1972 | In -house recording

SynopsisDetails on the lives and careers of composers born before 1700 tend to be a bit skimpy, at best. For example, we know that the Italian Baroque composer Jacopo Peri was born on today's date in 1561, but we're not sure if that was in Rome or Florence.As a point of reference, remember that William Shakespeare was born in 1564, just three years after Peri. And by the 1580s, around the same time Shakespeare was learning to be a playwright, Peri and some of his Italian contemporaries were experimenting with a new art form that we call now call “opera.”There was much discussion at the time about what the music of the ancient Greek dramas must have been like, and how dramatic stories might be told in music. Peri was instrumental in the production of two of the earliest operas for which the complete music survives: Dafne, which premiered around 1597, and Euridice from 1600.Peri outlived his English contemporary Shakespeare by 17 years. Shakespeare died in 1616 at the age of 52, while Peri died sometime in August of 1633, at 72, a ripe old age for the 17th century.Music Played in Today's ProgramVagn Holmboe (1909 – 1996) String Quartet No. 13, Op. 124 Kontra Quartet Da Capo CD 8.207001 (complete) or 8.224127 (Quartets 13-15 only)

Gestern wurde „Orfeo ed Euridice“ von Christoph Willibald von Gluck von den Salzburger Osterfestspielen in den Sommer übernommen. Intendantin Cecilia Bartoli sang den Orfeo. Unser Opernexperte Richard Schmitz berichtet aus Salzburg.

Daniel Lozakovich's rich, romantic style of playing often sees him likened to the iconic violinists of the 20th century. On Spirits, his latest Deutsche Grammophon recording, he celebrates some of his forebears in the hope of passing on their style and repertoire to younger generations. “I've chosen a selection of very accessible miniatures, which I associate with different violinists,” he explains. “All these musicians had such strong, soulful spirits that it's impossible to forget their sound.” Partnered by pianist Stanislav Soloviev, Lozakovich performs his favorite encores by Elgar, Debussy, Falla, Gluck, Brahms, and Kreisler.Track Listing:1 ELGAR Salut d'amour, Op_ 122 ELGAR La Capricieuse Op_ 173 DEBUSSY Suite bergamasque, L_ 75 - III_ Clair de lune4 FALLA La vida breve - Danse espagnole5 GLUCK Melodie from ‘Orfeo ed Euridice', Wq_ 306 BRAHMS 21 Hungarian Dances, WoO 1 - No_ 2 in D Minor_ Allegro non assai7 BRAHMS 21 Hungarian Dances, WoO 1 - No_ 6 in D-Flat Major_ Vivace8 KREISLER 3 Old Viennese Dances - II_ LiebesleidHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

a cura di Paolo PellegriniOrfeo, Fedora BarbieriEuridice, Hilde GudenAmore, Magda GaboryOrchestra e Coro del Teatro alla Scala di MilanoWilhelm Furtwängler, direttore

CLAIR DE LUNE, the album that gives continuity to SALUT D'AMOUR, presents a selection of short pieces with a characteristic expressive aspect. Yuriy Rakevich and Olga Kopylova demonstrate a unique inspiration and rhythm, which unify the miniature works, marking a concert in memory.Tracks1. 2 Canciones Mexicanas: II. Estrellita (Arr. for Violin and Piano by Jascha Heifetz) (02:50)2. Orfeo ed Euridice, Wq.30: Melodie (Arr. for Violin and Piano by Fritz Kreisler) (02:57)3. Dance of the Maidens, Op. 48 (Arr. for Violin and Piano by Fritz Kreisler) (02:33)4. Romance in D Major, Op. 3 (04:14)5. Suite Bergamasque, L. 75: III. Clair de Lune (Arr. for Violin and Piano by Alexandre Roelens) (04:16)6. Frasquita: Serenade (Arr. for Violin and Piano by Fritz Kreisler) (02:33)7. Danny Boy (Londonderry Air) [Arr. for Violin and Piano by Fritz Kreisler] (03:58)8. La plus que lente, L. 121 (Arr. for Violin and Piano by Léon Roques) (04:18)9. Marionettes No. 2: La poupée valsante “Dancing Doll” (Arr. for Violin and Piano by Fritz Kreisler) (02:33)10. Albumblatt, WWV 94 (Arr. for Violin and Piano by August Wilhelmj) (04:13)11. Six Pieces, Op. 51, TH 143: VI. Valse Sentimentale (01:48)12. Cantabile for Violin and Piano in D Major, Op. 17 (03:07)13. Poeme Op. 39 “At Twilight” (Arr. for Violin and Piano by Vilmos Tátrai) (01:57)14. 2 Nocturnes, Op. 5: No. 1 in F-Sharp Minor (Arr. for Violin and Piano by Alexander Mogilevsky) (03:20)15. Three Miniatures No. 3: Valse. Allegretto (Arr. for Violin and Piano by Galina Barinova) (03:47)Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Bárbara Leu from Azul Music.         

L'Orfeo (SV 318), sometimes called La favola d'Orfeo [la ˈfaːvola dorˈfɛːo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognized as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed.Purchase the music (without talk) at:Monteverdi: L'Orfeo (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

本期接上一期自蒙特威尔第之后，讲述歌剧艺术如何从意大利发展到整个欧洲以及引发一轮歌剧艺术改革的经过。对歌剧感兴趣的朋友一定要听哦包含曲目：0:26- Se Tu Della Mia Morte? (斯卡拉蒂：你如果要我死亡)；4:32- Die Zauberflöte - Act I: Der Vogelfänger Bin Ich Ja (魔笛：第一幕：我是一个快乐的捕鸟人)；8:16- GLUCK:Melody from Orfeo ed Euridice.

In this episode, we read Chapters 40 to 45 of Mansfield Park. We talk about the plot of a girl brought up in privileged circumstances returning to her family, Mary's letters and how Fanny responds to them, the success of Henry's visit, Edmund's letter to Fanny, and Tom's illness.We discuss the Price family (with a slight digression into the idea of disposition and principle), then Ellen talks about servants and Harriet looks at how adaptations and modernisations treat these chapters. Things we mention: General and character discussion:John Wiltshire [Editor], The Cambridge Edition of the Works of Jane Austen: Mansfield Park (2005)Charlotte M. Yonge, The Pillars of the House (1873)Historical discussion:Claire Tomalin, Charles Dickens: A Life (2011)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)Other references:Susan Coolidge, What Katy Did Next (1886)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

In this episode we are joined by Maureen Freedman, talking all things performance design. A South African designer for performance, Maureen has worked with production teams in the US and abroad creating spaces and crafting characters for theatre, object theatre, opera and dance. Some notable work includes The Exalted at BAM with Carl Hancock-Rux and Theo Belckmann, Anne Bogart, Freedman's directing credits include Collider Classroom with Dr. Christopher Emdin at Lincoln Theatre Studio, The Wolves at the Window by Toby Davis for Brits off Broadway, and several collaborations with Yael Rasooly including The House by the Lake (Israel & touring), Silence Makes Perfect (UK) and upcoming Burning Blue in Norway. Maureen is a Linbury Prize finalist, Cheek by Jowl young Professional alum, NYFA IAP fellow and in May this year she and her team presented their winning design for Orfeo ed Euridice in Opera America's L. B. Tobin Director-Designer award for 2021-22. https://www.maureenfreedman.com/ We want to hear from YOU and provide a forum where you can put in requests for future episodes. What are you interested in listening to? Please fill out the form for future guest suggestions here and if you have suggestions or requests for future themes and topics, let us know here! @theatreartlife Thanks to David Zieher who composed our music.

In this episode, we read Chapters 31 to 34 of Mansfield Park. We talk about Fanny's initial failure to realise she has received a true proposal, the amount of pressure placed on her to accept, the picture everyone has of little, modest Fanny, and the difference between Sir Thomas and Fanny's views of marriage. We discuss Henry Crawford, then Ellen talks about ordination, and Harriet looks at how adaptations and modernisations treat these chapters, particularly the scene between Fanny and Sir Thomas. Things we mention: General and character discussion:Barbara Pym, Excellent Women (1952)The Daily Knightley (2021) [podcast]Historical discussion:Irene Collins, Jane Austen and the Clergy (2002)The 1559 Book of Common PrayerGeorgina Battiscombe, John Keble: A Study in Limitations (1963)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)Comment on previous episodeThe Thing About Austen [podcast]Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.  The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama.Purchase the music (without talk) at:Gluck: Orfeo ed Euridice (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Orfeo ed Euridice explained complete with music examplesPurchase the music (without talk) at:Orfeo ed Euridice Explained (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Synopsis Contemporary composers may bemoan that their newly-composed opera or concerto might languish unperformed for years. “Haydn was lucky,” they whine, “His stuff got played right away!” Well, it's true that Haydn DID have his own orchestra at Prince Esterhazy's estate and got his music played while the ink was still wet. But even Haydn had to wait for a premiere on occasion—in two instances, for a very, VERY long time. Consider the last opera Haydn wrote, entitled L'anima del filosofo, ossia Orfeo ed Euridice –or, in plain English, The Soul of the Philosopher, or Orpheus and Euridice. This was supposed to premiere in 1791 in London. But a spat between the Prince of Wales and his pop, King George III, meant the performance was off. The opera was eventually premiered 160 years later – on today's date in 1951, at the Teatro della Pergola in Florence, with a cast including Maria Callas and Boris Christoff, led by the German conductor Erich Kleiber. And the public premiere of a Cello Concerto in C, a work some think Haydn wrote at Esterhazy in the 1760s, took place in the 1960s. Haydn's score was presumed lost until 1961, when it was discovered at the Prague National Museum and finally played by cellist Milos Sádlo and the Czech Radio Symphony, led by Sir Charles Mackerras, on May 19, 1962. Music Played in Today's Program Franz Joseph Haydn (1732 - 1809) –Orfeo ed Euridice Franz Joseph Haydn (1732 - 1809) –Cello Concerto in C