Podcasts about falstaff

Hamlet wagers 6 Barbary horses against 6 French swords. Falstaff talks about fighting with a Barbary hen. Bassanio in Merchant of Venice talks about travelling merchants going to foreign lands including "Tripolis, Mexico and England, Lisbon, Barbary, and India" There are also an additional 5 references to Barbary horses.   The Barbary States were Algeria, Tunisia, Tripolis, and Morroco. These were powerful coastal societies tied in various ways to the Ottoman world, and in Shakespeare's day they were central to English fears about piracy and captivity. Ships were seized. Sailors were enslaved. Families, merchants, churches, and governments negotiated over the price of a human life.  English first hand accounts of the Muslim world and the Barbary States in particular were sparse, even non-existent prior to Richard Knolles publication in 1603 where he writes the History of the Turks, the same year Shakespeare publishes his Ottoman-heavy play with a Moor in the title role, Othello.   Today we are joined by Daniel Vitkus, editor of Piracy, Slavery, and Redemption: Barbary Captivity Narratives from Early Modern England, and Abdulhamit Arvas, Associate Professor of English at the University of Pennsylvania and expert on early modern Muslims, Barbary pirates, and Shakespeare. They are here to help us explore the place of the Barbary Coast in Shakespeare's England, to understand the culture of hostages and holding someone ransom, what was happening to Britons that were taken captive and sold into slavery by the Barbary pirates, as well as to explain the surprising dichotomy of being afraid of the Barbary nation while admiring their products, like horses. 

En este episodio de El Ojo Crítico, la directora Nuria Ibáñez Castañeda presenta El Guardián, su primera película de ficción. La historia transcurre en una playa de Baja California (México), donde el desierto y el mar se encuentran. Allí vive un hombre que cuida un paraíso natural que protege cada día, aunque nunca llega a sentirlo como propio. Nacida a partir del documental Una corriente salvaje, la película convierte a Basilio Moncada en protagonista de su propia historia y propone una reflexión sobre la migración, la identidad, la explotación laboral y la pertenencia.El programa analiza también el nuevo disco de Cupido junto a María Taosa, repasando la trayectoria de una banda que ha sabido borrar las fronteras entre el indie y el mainstream con un sonido que combina pop, nostalgia y estética contemporánea.La literatura nos lleva hasta el Festival Celsius 232 de Avilés, donde Laura Fernández conversa con la escritora Desirée de Fez sobre No la dejes sola, una primera novela que mezcla terror, suspense y costumbrismo para explorar los vínculos familiares y los miedos cotidianos.La actualidad musical pasa por el Gran Teatre del Liceu de Barcelona, donde Josep Pons dirige Falstaff, la última ópera de Giuseppe Verdi, antes de despedirse como director musical del Liceu tras catorce temporadas.Cerramos el programa en el Festival Internacional de Benicàssim (FIB), que celebra su 30.º aniversario con artistas como The Kooks, Franz Ferdinand, Kaiser Chiefs y The Prodigy.Escuchar audio

Wenn Du mit Dr. Ulrich Sautter sprichst, brauchst Du noch nicht einmal ganz genau hinzuhören und merkst doch sofort: Nicht wie, sondern das, was er sagt, ist groß, ist besonders, hat Gewicht und hat eine erfahrene Tiefe. Natürlich ist er der Wein-Chefredakteur des Falstaff, und doch ist er mehr. Er ist einer jener seltenen Menschen, die den Raum verändern, noch bevor sie ein Wort gesprochen haben. Nicht durch Lautstärke, nicht durch Macht und schon gar nicht durch jene billige Form von Aufmerksamkeit, die heute oft mit Bedeutung verwechselt wird. Sondern durch etwas wesentlich Seltenes: Gewicht. Schon wenn Du dieses Gespräch hier hörst oder wenn Du ihm zum ersten Mal begegnest, bemerkst Du oft zunächst gar nicht, weshalb er Eindruck hinterlässt. Es fehlt jede offensichtliche Erklärung. Kein übertriebener Charme. Keine einstudierte Eloquenz. Keine kalkulierte Originalität. Und doch bleibt nach einer Begegnung das Gefühl zurück, etwas Substanzielles berührt zu haben. Etwas, das nicht für den Augenblick geschaffen wurde. Vielleicht liegt es daran, dass er aus einer anderen Zeit zu stammen scheint. Nicht als Museumsstück, sondern als Archivar einer Epoche, in der Menschen wussten, dass Charakter wichtiger sei als Selbstdarstellung. Heute wird vieles produziert. Meinungen. Empörungen. Karrieren. Persönlichkeiten. Alles erscheint verfügbar, bearbeitbar und vermarktbar. Doch Dr. Ulrich Sautter wirkt seltsam unberührt von dieser Entwicklung. Als hätte er irgendwann beschlossen, dass Integrität ein besseres Geschäftsmodell sei als Aufmerksamkeit. Eine riskante Entscheidung. Aber offenbar eine erfolgreiche. Und eigentlich definiert es sich leicht, denn Ulrich definiert eine andere Form von Autorität. Eine, die nicht beansprucht werden muss. Sie wird einfach wahrgenommen. Wie ein Gebirge. Niemand diskutiert ernsthaft mit einem Gebirge. Du kannst es mögen oder nicht mögen, seine Existenz bleibt davon vollkommen unberührt. Eine Gemütsstärke, die wahrscheinlich aus der Zeit resultierenden Erfahrung erwuchs. Dadurch definiert er seine ganz eigene Perspektive. Wenn Du lange genug die Weinszene begleitest, erkennst Du, dass die meisten Revolutionen irgendwann zu Traditionen werden und die meisten Gewissheiten später als Irrtümer enden. Er sieht die Dinge gelassener, aber auf keinen Fall gelangweilt, sondern zugleich lebendig interessiert. Und nicht zuletzt definiert sich Uli über seinen ihm eigenen überraschenden Humor. Keinen lauten Humor. Keinen Humor für Bühnen. Sondern jene trockene, präzise Form der Komik, die aus Erfahrung entsteht. Wenn Du lange genug Menschen beobachtest, erkennst Du irgendwann die Absurditäten des Lebens mit einer Gelassenheit, die zugleich freundlich und gnadenlos wirkt. Woher diese Gelassenheit rührt? Wahrscheinlich aus einer seiner größten Stärken, denn Ulrich Sautter kann eines und das besonders gut: zuhören. Eine beinahe ausgestorbene Kunst. Besonders in Milieus wie dem unseren und Professionen wie der seinen, die vom Reden leben. Doch genau darin liegt ein Teil seiner Anziehungskraft. Menschen fühlen sich in seiner Gegenwart oft erstaunlich ernst genommen. Nicht weil er ihnen zustimmt. Sondern weil er tatsächlich zuhört. Es gibt einen fundamentalen Unterschied zwischen Warten und Zuhören. Die meisten warten lediglich auf ihren Einsatz. Ulrich hört zu. Und vielleicht ist genau das der Grund, weshalb er so glaubwürdig ist. Nicht wegen seiner Antworten. Wegen seiner Aufmerksamkeit. In einer Welt voller Sender wird ein guter Empfänger und Reflektor zur Rarität. Eine Autorität ohne Inszenierung und gerade deshalb von unschätzbarem Wert.

Unsere Folgen sind nicht selten ungewöhnlich lang. Das hat seinen Grund: Wir möchten den Tiefsinn fließen lassen und Euch unsere Gesprächspartner so präsentieren, wie Ihr sie sonst nie – und vielleicht nie wieder – kennenlernen könnt. Und um Euch die Scheu zu nehmen, die man verspürt, wenn man einen über drei Stunden langen Zeitstempel sieht, aber auch, um Euch so richtig Lust auf den Kandidaten zu machen, präsentieren wir Euch immer einen Tag vor dem Release einen exklusiven Sneak in die neue Folge. Viel Spaß beim Hören, und wir freuen uns auf Euch mit einem herzlichen „Welcome back“ am Freitag.

Back for more Shakespeare! This week it's Henry IV Part 2 (following up last month's Part 1)--but with the addition of the book Year of the Fat Knight by Shakespearean actor Antony Sher.Part One's pairings of characters give way to one central relationship in Part 2: fathers and sons. It's much more serious as Prince Hal moves closer to assuming the throne: how much will he follow his father's wishes for him? How can he create his kingly presence with Falstaff acting as his best friend and surrogate father? And who, if anyone, might fill that advisor/father role when Hal loses his own?On top of this play, I read the wonderful Year of the Fat Knight. Sher was Falstaff in the productions of Henry IV from Royal Shakespeare Company, the ones I watched, and he was marvelous. I spotted this book when we were in Stratford last summer and decided that this was the perfect month to read it.Sher's memoir is amazing, full of all kinds of anecdotes about not only this play but being a Shakespearean actor in general. I strongly feel that you can't experience a Shakespeare play without seeing it in some form, and Sher's memoir made me see why. It's a true vocation to act in a play like this--embodying the complicated language so that it seems natural, filling in the blanks of a personality that Shakespeare leaves, deciding exactly how to appear in front of an audience. I'm really happy I read this one.Next week--Happy Birthday, America!BOOKS IN THIS EPISODEThe complete list of Crack the Book Episodes (Amazon affiliate links): https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rHenry IV Part 2 (RSC Production)Year of the Fat Knight (Antony Sher)CONNECTTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/Like what you heard? Buy me a coffee! https://ko-fi.com/crackthebookLISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321Captivate - https://crackthebook.captivate.fm

Verdis Oper über den verarmten Ritter „Falstaff“ ist ein musikalisches Meisterwerk. Der weibliche Blick von Regisseurin Verena Stoiber verleiht dem Werk Aktualität und Brisanz.

James Conlon is known as one of the most versatile and respected conductors of a generation, and throughout his career, has cultivated a vast symphonic, operatic, and choral repertoire. Today, we are honored to welcome him to our show. Since his 1974 debut with the NY Philharmonic, he has conducted virtually every major American and European symphony orchestra with precision. Needless to say, Mr. Conlon is one of classical music's most recognized interpreters. We will be speaking with him about his early days in music and conducting, his influences, and how he earned a spot as one of the premiere influences in this genre. His finale with the LA Opera with Falstaff was simply jaw-dropping, an event that will be hard to replicate for even the most seasoned and decorated conductors. Mr. Conlon makes it look effortless, which is part of his magic, because his work and career are nothing short of extraordinary. Please find our full interview with Mr. Conlon on all video and audio platforms of #DeborahKobyltLIVE, #LittleItalyPodcast and #LittleItalyOfLAPodcast. I'm your host, #DeborahZaraKobylt, and it's my pleasure to welcome you here.

* William Moseley Talks An Enemy Within, His Edgar Allan Poe - imperialists, scapegoats, and wolves * Mitchel Cohen's recording of US political prisoner Assata Shakur in exile * Bro on Verdi's Falstaff * & Garland Nixon!

Jeremiah Miller, Executive Artistic Director of Lancaster Shakespeare Theatre, returns to discuss the company's upcoming production of Henry IV, Part 1, opening on the 22nd. Following last fall's Vietnam-era drama Streamers, the theatre shifts back to Shakespeare with an exciting and unconventional take. Featuring direction by Shakespeare scholar Dr. Justin Hopkins and starring acclaimed local actress Elizabeth Pattey as Falstaff—a role traditionally played by men—this bold casting choice brings fresh perspective to one of Shakespeare's most iconic characters. This conversation explores the creative vision behind the production and what audiences can expect from this innovative staging.Sydney Ernst, Museum Director at the Cumberland County Historical Society, shares details about the upcoming exhibition Freedom to Be: LGBTQ+ Journeys in the American Story. Opening May 1, 2026, at the History On High Museum in Carlisle, the exhibit highlights LGBTQ+ experiences within the broader American narrative. On view through June 20, these timely and impactful installation invites visitors to explore stories of identity, resilience, and history.

Audiences and scholars alike have long remarked that Shakespeare's poems and plays record the pleasures and perils of the table. Shakespeare in the Kitchen (Routledge, 2026) by Dr. Marissa Nicosia asks what Shakespeare's works can tell us about Renaissance culinary recipes, and what these recipes can tell us about Shakespeare's works. Dr. Nicosia explores how Shakespeare's works reveal tensions not only within early modern food culture about who should eat, what to eat or serve guests, and when to preserve foods, but also how to undertake the embodied processes of cooking, baking, and serving. The chapters include both analysis of plays and poems, as well as updated historical recipes ready for cooking. Nicosia prepares the recipes that permeate the canon—from Falstaff's beloved capons to the cakes that invite festivity in Twelfth Night—demonstrating how the physical act of cooking can transform our understanding of once familiar texts, and asking what we can learn about food history by recreating historical recipes with twenty-first-century ingredients and tools. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Audiences and scholars alike have long remarked that Shakespeare's poems and plays record the pleasures and perils of the table. Shakespeare in the Kitchen (Routledge, 2026) by Dr. Marissa Nicosia asks what Shakespeare's works can tell us about Renaissance culinary recipes, and what these recipes can tell us about Shakespeare's works. Dr. Nicosia explores how Shakespeare's works reveal tensions not only within early modern food culture about who should eat, what to eat or serve guests, and when to preserve foods, but also how to undertake the embodied processes of cooking, baking, and serving. The chapters include both analysis of plays and poems, as well as updated historical recipes ready for cooking. Nicosia prepares the recipes that permeate the canon—from Falstaff's beloved capons to the cakes that invite festivity in Twelfth Night—demonstrating how the physical act of cooking can transform our understanding of once familiar texts, and asking what we can learn about food history by recreating historical recipes with twenty-first-century ingredients and tools. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Audiences and scholars alike have long remarked that Shakespeare's poems and plays record the pleasures and perils of the table. Shakespeare in the Kitchen (Routledge, 2026) by Dr. Marissa Nicosia asks what Shakespeare's works can tell us about Renaissance culinary recipes, and what these recipes can tell us about Shakespeare's works. Dr. Nicosia explores how Shakespeare's works reveal tensions not only within early modern food culture about who should eat, what to eat or serve guests, and when to preserve foods, but also how to undertake the embodied processes of cooking, baking, and serving. The chapters include both analysis of plays and poems, as well as updated historical recipes ready for cooking. Nicosia prepares the recipes that permeate the canon—from Falstaff's beloved capons to the cakes that invite festivity in Twelfth Night—demonstrating how the physical act of cooking can transform our understanding of once familiar texts, and asking what we can learn about food history by recreating historical recipes with twenty-first-century ingredients and tools. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Audiences and scholars alike have long remarked that Shakespeare's poems and plays record the pleasures and perils of the table. Shakespeare in the Kitchen (Routledge, 2026) by Dr. Marissa Nicosia asks what Shakespeare's works can tell us about Renaissance culinary recipes, and what these recipes can tell us about Shakespeare's works. Dr. Nicosia explores how Shakespeare's works reveal tensions not only within early modern food culture about who should eat, what to eat or serve guests, and when to preserve foods, but also how to undertake the embodied processes of cooking, baking, and serving. The chapters include both analysis of plays and poems, as well as updated historical recipes ready for cooking. Nicosia prepares the recipes that permeate the canon—from Falstaff's beloved capons to the cakes that invite festivity in Twelfth Night—demonstrating how the physical act of cooking can transform our understanding of once familiar texts, and asking what we can learn about food history by recreating historical recipes with twenty-first-century ingredients and tools. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

Audiences and scholars alike have long remarked that Shakespeare's poems and plays record the pleasures and perils of the table. Shakespeare in the Kitchen (Routledge, 2026) by Dr. Marissa Nicosia asks what Shakespeare's works can tell us about Renaissance culinary recipes, and what these recipes can tell us about Shakespeare's works. Dr. Nicosia explores how Shakespeare's works reveal tensions not only within early modern food culture about who should eat, what to eat or serve guests, and when to preserve foods, but also how to undertake the embodied processes of cooking, baking, and serving. The chapters include both analysis of plays and poems, as well as updated historical recipes ready for cooking. Nicosia prepares the recipes that permeate the canon—from Falstaff's beloved capons to the cakes that invite festivity in Twelfth Night—demonstrating how the physical act of cooking can transform our understanding of once familiar texts, and asking what we can learn about food history by recreating historical recipes with twenty-first-century ingredients and tools. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Audiences and scholars alike have long remarked that Shakespeare's poems and plays record the pleasures and perils of the table. Shakespeare in the Kitchen (Routledge, 2026) by Dr. Marissa Nicosia asks what Shakespeare's works can tell us about Renaissance culinary recipes, and what these recipes can tell us about Shakespeare's works. Dr. Nicosia explores how Shakespeare's works reveal tensions not only within early modern food culture about who should eat, what to eat or serve guests, and when to preserve foods, but also how to undertake the embodied processes of cooking, baking, and serving. The chapters include both analysis of plays and poems, as well as updated historical recipes ready for cooking. Nicosia prepares the recipes that permeate the canon—from Falstaff's beloved capons to the cakes that invite festivity in Twelfth Night—demonstrating how the physical act of cooking can transform our understanding of once familiar texts, and asking what we can learn about food history by recreating historical recipes with twenty-first-century ingredients and tools. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Orson Welles spent thirty-five years trying to put Sir John Falstaff on screen. Chimes at Midnight (1966) is the result: a film drawn from five Shakespeare plays — primarily the two Henry IV parts, with passages from Richard II, Henry V, and The Merry Wives of Windsor — that lifts Falstaff from comic supporting player to tragic protagonist. Welles plays the knight himself, a lumbering, larger-than-life tavern dweller and unlikely father figure to Prince Hal (Keith Baxter), heir to the guilt-haunted Henry IV (John Gielgud). When Hal must choose between loyalty to Falstaff and the demands of the crown, the film becomes what Welles called a lament "for the death of Merrie England." Dismissed by critics on its 1966 Cannes premiere and barely distributed in the United States, the film spent decades trapped in rights disputes — finally reaching audiences properly through the Janus Films/Criterion restoration in 2016.Mike talks with Spencer Parsons and David MacGregor about the film's three-decade gestation across stage and screen, the filmmaking ingenuity behind its legendary Battle of Shrewsbury sequence, the autobiographical dimensions of Welles's performance, and why Chimes at Midnight now stands for many critics as the greatest Shakespeare film ever made.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Orson Welles spent thirty-five years trying to put Sir John Falstaff on screen. Chimes at Midnight (1966) is the result: a film drawn from five Shakespeare plays — primarily the two Henry IV parts, with passages from Richard II, Henry V, and The Merry Wives of Windsor — that lifts Falstaff from comic supporting player to tragic protagonist. Welles plays the knight himself, a lumbering, larger-than-life tavern dweller and unlikely father figure to Prince Hal (Keith Baxter), heir to the guilt-haunted Henry IV (John Gielgud). When Hal must choose between loyalty to Falstaff and the demands of the crown, the film becomes what Welles called a lament "for the death of Merrie England." Dismissed by critics on its 1966 Cannes premiere and barely distributed in the United States, the film spent decades trapped in rights disputes — finally reaching audiences properly through the Janus Films/Criterion restoration in 2016.Mike talks with Spencer Parsons and David MacGregor about the film's three-decade gestation across stage and screen, the filmmaking ingenuity behind its legendary Battle of Shrewsbury sequence, the autobiographical dimensions of Welles's performance, and why Chimes at Midnight now stands for many critics as the greatest Shakespeare film ever made.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Pesl, Martin Thomas www.deutschlandfunk.de, Kultur heute

In this pre-recorded post-show talk Maestro James Conlon sits down with actor and comedian Stephen Fry to explore Falstaff's roles across Shakespeare's plays, his wit and humanity, and why he remains one of the playwright's most enduring and beloved characters. Don't miss the final performances of this witty and lavish opera, Falstaff. Tickets are on sale now at LAOpera.org

On today's episode, LA Opera Chorus Director Jeremy Frank welcomes bass-baritone Craig Colclough for a conversation about “Falstaff,” in which Colclough plays the titular role. Learn what Craig's first instrument was, how he feels to see himself on a show banner, and what his first impressions of LA Opera were. Craig and Jeremy also analyze “Falstaff” through a Shakespearean lens, with Craig sharing his personal interpretation of the role he's played for over a decade. “Falstaff” runs now through May 10th on the LA Opera stage. Get your tickets at LAOpera.org.

In this episode, Gail Eichenthal interviews the acclaimed opera director Shawna Lucey who helms LA Opera's "Falstaff." Shawna shares how she came to opera from theater, her long love affair with "Falstaff," and her formative training in Moscow. Experience Shawna's feminist perspective on Elizabethan society and find out why she says that "Falstaff" teaches us to love ourselves. "Falstaff" is playing now through May 10 at the Dorothy Chandler Pavilion. Get your tickets at LAOpera.org.

In this episode, we bring you the next edition of "Serious Fun with Opera," a "Behind the Curtain" mini-series that takes a romp through operatic themes with Dr. Kristi Brown-Montesano. This episode takes us into the story and the music of Verdi's "Falstaff," which lights up the LA Opera with hilarity from April 18-May 10. Delight in the details of the revenge plot of "The Merry Wives of Windsor" and then get your tickets to "Falstaff" at LAOpera.org.

How do you make a devastating story feel funny—without losing its truth? In this episode of the podcast, Jacob Krueger explores Dying for Sex, the extraordinary limited series created by Elizabeth Meriwether and Kim Rosenstock, to break down one of the most elusive tools in screenwriting: tone. Focusing on a single scene from episode 5, Jake shows how the writers take one of the darkest confrontations imaginable—a daughter facing her mother about trauma—and shape it into something that is simultaneously heartbreaking and hilarious. Along the way, he explores three key ideas: how juxtaposing tones can deepen emotional impact, why tone is something you layer over your script in rewrites, and how tone is central to a television series engine—helping a show feel both the same and different across episodes. Drawing inspiration from Falstaff's tragicomic end in Henry IV, Part 2, Tony Soprano's fractured family, and his own early playwriting misadventures, Jake reveals a powerful truth: Tone isn't a single instrument you play. It's something you shape—note by note—until the whole piece sings.

In this episode, Richard Seaver Music Director James Conlon walks us through the history, the plot, and of course, the music of Verdi's "Falstaff." Don't miss this merry farce, playing April 18-May 10. Get your tickets now at LAOpera.org.

"Obviously Five Believers" Formed in 1980 by the Kentucky-born former roadie for X, Top Jimmy, his band Top Jimmy and the Rhythm Pigs were local L.A. heroes. Playing a wicked blend of American roots music and scrappy R&B, Top Jimmy and the Rhythm Pigs were a band that sizzled with equal parts howl and groove. Top Jimmy was a wildly charismatic frontman once described as an unholy combination of Howlin' Wolf and Shakespeare's Falstaff and he was such a ubiquitous presence in L.A. his outfit was once dubbed the scene's punk house band. The live show, which was a sweaty, frenetic blast of sweaty, rootsy bliss, found everyone from Tom Waits to Stevie Ray Vaughn joining them onstage. By the way, if you're wondering if the Van Halen track "Top Jimmy" is about the Top Jimmy I'm speaking of, let me just say this: there could only be one Top Jimmy. So: yes. The band's only album Pigus Drunkus Maximus which came out in 1987 on Steve Wynn of the Dream Syndicate's Down There label, was just reissued for the first time ever on CD and on pig pink colored vinyl and it's an essential addition to your record collection. Top Jimmy sang with Maria McKee and Phil Alvin, was seen getting a tattoo from John Doe in the Decline of Western Civilization and hung out with David Lee Roth. The guy was everywhere and remains, to this day, one of the most charismatic characters in rock and roll history. As for his sax player Steve Berlin, well, Mr. Berlin after leaving the band, went on to become one of the greatest rock and roll sax players ever. The Philadelphia born Berlin is a full time member of Los Lobos, and the list of people he's played with and produced is just ridiculous. Let me give you a partial list: The Tragically Hip, R.E.M., Faith No More, the Go-Go's, Great Big Sea, The Replacements, Rickie Lee Jones and the Beat Farmers. And believe me, I could go on. An unbelievable player of steady finesse and power, Steve Berlin is an absolute legend and I wish this conversation could have gone on for hours. www.topjimmyandtherhythmpigs.bandcamp.com (http://www.topjimmyandtherhythmpigs.bandcamp.com) www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Threads + Bluesky + Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

Just when all seemed lost, it finally happened… Falstaff called his sword back and he saved the day… let's hope he can keep it under control in the future!!! Game Master: Chad MatchetteRaúl Parera AKA Astor: Cesar AlacronSir Reginald Tippery AKA Falstaff: Morgan CollinsTerri Bliss AKA Dart: Natasha SukorokoffPat Roleman AKA Paramount: Robin “Coach” Sukorokoff“Legends” Co-Creators: Chad and Jack MatchettePodcast Editors: Matt Williamson, Em Matchette and Chad MatchetteBUY “LEGENDS: THE SUPERHERO ROLE PLAYING GAME” NOW: https://books.friesenpress.com/store/title/119734000192338578Listen to “Legends: The Superhero Soundtrack” on Spotify: https://open.spotify.com/album/5mBxdCslTJ1u1aBHetIiem?si=lt4_4_RUSISSP4E1e_7HiwTweet about the show using #thelegendscast for the chance to have an NPC named after you!For our super fans who would like to help us make the show the best it can be, please consider becoming a patron here: https://www.patreon.com/thelegendscastCheck out our heroic merch here: https://thelegendscast.threadless.com/#Come hang out with us on Discord: https://discord.gg/jYpYhN3fTVFor more information head over to our website: https://www.matchplaygames.ca/Theme music by Omar Chakor (https://www.instagram.com/theorce/) through Fiverr (https://www.fiverr.com/ch6k0r)Underscoring by Sayer Roberts (https://www.instagram.com/roberts.the.sayer/) - check him out on Soundcloud: https://soundcloud.com/user-135673977 and SideBiz Studio!: https://bit.ly/3kdunQJCLICK HERE TO BUY “LEGENDS: THE SUPERHERO ROLE PLAYING GAME”!Support the show

durée : 01:28:15 - par : Aurélie Moreau - Refusé au Conservatoire de Milan, le jeune provincial Giuseppe Verdi s'impose rapidement sur les scènes italiennes. De Nabucco (1842) à Falstaff (1893), ses 28 opéras couvrent 54 ans de carrière, entre sujets historiques, drames intimes. - réalisation : Cécile Bonnet des Claustres, Yuthou-Diego Hak-Lopes - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Forgiveness. Comeuppance. Transformation. And the power of storytelling. In this episode of the Behind the Curtain miniseries Opera in the Community, scholar Dr. Tiffany Kuo talks to Melissa Chalsma of the Independent Shakespeare Company. They probe the enduring power of Shakespeare's comedies and enlighten us on some of the class and gender themes we'll uncover in LA Opera's production of Verdi's Falstaff, playing April 18th to May 10th at the Dorothy Chandler Pavilion. Get your tickets for this merry farce at laopera.org.

Today, we bring you another episode of "20 Years with Maestro Conlon", our miniseries in which Gail Eichenthal illuminates the legacy of Maestro James Conlon, in his culminating season with LA Opera. This time, the dynamic pair focuses on 19th-century German Opera with an emphasis on Wagner. Learn why the Ring was a must, how many rehearsals a "Rheingold" fits into, and which 20th-century composers were Wagner devotées. Maestro Conlon rounds out our 40th Anniversary Season conducting Verdi's "Falstaff" and Mozart's "The Magic Flute". Get your tickets now at LAOpera.org.

This episode is titled: The Story of Sack Wine in Early Modern Europe.Imagine walking into the lively taverns and candlelit theaters of early modern Europe, where one drink stood out among both the fashionable and the literary: sack. Think of Sir John Falstaff, the unforgettable character from Shakespeare's Henry IV, Part II, delivering his famous speech. With great enthusiasm, he says that if he had a thousand sons, the first lesson he would teach—the most important of all—would be to avoid weak, watery drinks and instead dedicate themselves to sack.Falstaff's love for sack was not just a joke; it reflected a real trend that spread through England and beyond in the 16th and 17th centuries. Sack was a fortified white wine—rich, strong, and often sweet—similar to what we now call sherry or white port. The origin of the name “sack” is still debated. According to several dictionaries cited by Wikipedia, some believe it comes from the French word “sec,” meaning “dry,” though this explanation has certain linguistic uncertainties.Others suggest it may derive from the Spanish word “sacar,” which means “to withdraw,” referring to the process of drawing wine from a solera. Some historians suggest that the name “sack” comes from the Spanish verb “sacar,” which means “to withdraw,” possibly in reference to drawing wine from barrels for export. The wine itself was traditionally produced in the vineyards of Spain and Portugal. In Spain, the Canary Islands became a major producer after colonization in the 1400s, and regions such as Málaga, Jerez, and Andalusia also produced well-known types. Portugal also played a part, with wines from the north and center of the country, and especially from Madeira. Merchants labeled their shipments by where they came from—” Canary sack,” “Malaga sack,” “Madeira,” or “Jerez”—and these names appeared in trade records from London to Dublin.The trade was massive, especially to the British Isles. According to Jerez-Xeres-Sherry, in 1517, the Duke of Medina Sidonia, Don Alfonso Pérez de Guzmán, granted extended privileges to English merchants operating in Sanlúcar, many of whom were facing difficulties with the Inquisition. Later, in the 1530s, English merchants formed the Spanish Company to facilitate trade, exporting cloth and importing sack wine. So intertwined were the goods that some wines earned the cheeky nickname “bastard”—a nod to the English cloth measure and the back. Even war did not stop people from wanting to sack. During the Anglo-Spanish conflict from 1585 to 1604, smugglers risked crossing the Channel to keep the wine coming when official trade was blocked. Official trade faltered.One of the most memorable moments was Sir Francis Drake's bold raid on Cádiz in 1587, when he set out to “singe the King of Spain's beard.” During the attack, Drake's men took about 2,900 pipes, or butts, of sack, with each holding around 600 liters. This added up to more than a million liters of wine taken as loot. Back in England, drinking this captured wine became a patriotic gesture, a playful way to celebrate victory while enjoying the spoils.Sack became a big part of English culture. On the London stage, it was often mentioned. Ben Jonson praised “a pure rich cup of Canary wine” in his poetry, and later writers, such as John Dryden, who was appointed poet laureate in 1670, according to Samuel Johnson, even accepted barrels of sack as payment. But Shakespeare was its biggest fan. Falstaff talks about the amazing effects of sack: it clears the mind, sharpens wit, warms the blood, and gives courage. “Skill in the weapon is nothing without sack,” he says, and his friends joke about how much he loves it. Audiences in the late 1590s would have recognized sack everywhere, seeing it as a symbol of English energy.Read the full textMore Podcasts

Misha Glenny and guests discuss one of the most successful of Shakespeare's plays in his own time. Written with no Part 2 in mind as 'Henry the Fourth', the play explores ideas about who can be a legitimate ruler and why, and how anyone can rightly succeed to the throne. This was an especially pressing question for his Tudor audience as Elizabeth I had named no successor. Playwrights, banned from openly discussing the jeopardy her subjects faced, turned to these themes of power, legitimacy and succession in distant and recent history. When Shakespeare combined this relevance with the vivid characters of Falstaff, Hotspur and Hal and with the tensions between noble fathers and sons, he had a play that fascinated well into the Jacobean era and has been revived throughout the centuries.WithEmma Smith Professor of Shakespeare Studies at Hertford College, University of OxfordLucy Munro Professor of Shakespeare and Early Modern Literature at Kings College LondonAndLaurence Publicover Associate Professor in the Department of English at the University of BristolProducer: Simon TillotsonReading list:Hailey Bachrach, Staging Female Characters in Shakespeare's English History Plays (Cambridge University Press, 2023)Warren Chernaik, The Cambridge Introduction to Shakespeare's History Plays (Cambridge University Press, 2007) Stephen Greenblatt, Tyrant: Shakespeare on Power (Bodley Head, 2018) Graham Holderness, Shakespeare: The Histories (Red Globe Press, 1999)Jean Howard and Phyllis Rackin, Engendering a Nation: A Feminist Account of Shakespeare's English Histories (Routledge, 1997)William Shakespeare (eds. Indira Ghose, Anna Pruitt and Emma Smith), Henry IV Part I: The New Oxford Shakespeare (Oxford University Press, 2024) William Shakespeare (ed. Gordon McMullan), 1 Henry IV: A Norton Critical Edition, 3rd edition (Norton, 2003) In Our Time is a BBC Studios ProductionSpanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Misha Glenny and expert guests explore the characters, events and discoveries that have shaped our world.

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Today, we think of Christmas as the season of giving—but in Shakespeare's England, it was New Year's Day that reigned supreme as the biggest gift-giving holiday of the entire year.    Shakespeare himself alludes to this entrenched tradition in The Merry Wives of Windsor, where Falstaff quips: "I'll have my brains ta'en out and buttered, and give them to a dog for a new-year's gift." It's a grotesque image—thank you, Falstaff—but it reveals just how deeply the practice of New Year's gifting permeated society, to the point where even dogs might expect a present.    Of course, no one in Elizabethan England gave and received gifts quite like the queen herself—which is why this week, we're diving into the fascinating world of New Year's gifts at the court of Elizabeth I: how these gifts were chosen, presented, and meticulously recorded—and how they served as powerful tools of politics, loyalty, and social hierarchy in Shakespeare's lifetime.    Joining us to unravel this glittering and strategic tradition is Maria Hayward, whose research on the New Year's Gift Rolls shines a light on the court culture, textiles, and customs that shaped this extraordinary annual ritual. 

Today, we think of Christmas as the season of giving—but in Shakespeare's England, it was New Year's Day that reigned supreme as the biggest gift-giving holiday of the entire year. Shakespeare himself alludes to this entrenched tradition in The Merry Wives of Windsor, where Falstaff quips: “I'll have my brains ta'en out and buttered, and give them to a dog for a new-year's gift.” It's a grotesque image—thank you, Falstaff—but it reveals just how deeply the practice of New Year's gifting permeated society, to the point where even dogs might expect a present. Of course, no one in Elizabethan England gave and received gifts quite like the queen herself—which is why this week, we're diving into the fascinating world of New Year's gifts at the court of Elizabeth I: how these gifts were chosen, presented, and meticulously recorded—and how they served as powerful tools of politics, loyalty, and social hierarchy in Shakespeare's lifetime. Joining us to unravel this glittering and strategic tradition is Maria Hayward, whose research on the New Year's Gift Rolls shines a light on the court culture, textiles, and customs that shaped this extraordinary annual ritual. Hosted on Acast. See acast.com/privacy for more information.

In this special look inside the Domingo-Colburn-Stein Young Artist Program, we're featuring Young Artist Vinícius Costa, a bass from São Paulo, Brazil, who is singing three roles on the LA Opera main stage this season. Listen in as he chats with LA Opera's Paul Hopper about his musical origin story, first impressions of the American vocal scene, and visions for the future of his career. Catch this Young Artist on stage in "Akhnaten," "Falstaff," and "The Magic Flute." Tickets are available now at LAOpera.org.

In Shakespeare's play Henry IV, Part 1, Falstaff declares on more than one occasion, "I am a rogue." Several exchanges between Falstaff, Henry V, and others like Hostess Quickly and Doll Tearsheet, see characters throwing the word "rogue" back and forth as both an insult and a badge of honor.   The term connects to a real form of slang underworld language known as rogue cant. Which was a secret, cryptic lexicon, spoken and understood only by criminals. Falstaff and his companions are the closest depictions of criminals in Shakespeare's works. Their roguish behavior includes gathering at the Boar's Head in Eastcheap to plan their crimes and divide their spoils. By choosing to use the word "rogue," Shakespeare was deliberately connecting his characters to the real criminal underworld of 16th-century England that trafficked in this mysterious and coded language.   To introduce us to this rogue cant, and to help us unlock the hidden meanings of these words so that we can better understand the culture that produced them, we are excited to welcome Ari Friedlander back to the show.   Ari joins us today to take a closer look at rogue cant: where the words came from, how they were used, and what they reveal about Shakespeare's world.

In Shakespeare's play Henry IV, Part 1, Falstaff declares on more than one occasion, “I am a rogue.” Several exchanges between Falstaff, Henry V, and others like Hostess Quickly and Doll Tearsheet, see characters throwing the word “rogue” back and forth as both an insult and a badge of honor.The term connects to a real form of slang underworld language known as rogue cant. Which was a secret, cryptic lexicon, spoken and understood only by criminals. Falstaff and his companions are the closest depictions of criminals in Shakespeare's works. Their roguish behavior includes gathering at the Boar's Head in Eastcheap to plan their crimes and divide their spoils. By choosing to use the word “rogue,” Shakespeare was deliberately connecting his characters to the real criminal underworld of 16th-century England that trafficked in this mysterious and coded language.To introduce us to this rogue cant, and to help us unlock the hidden meanings of these words so that we can better understand the culture that produced them, we are excited to welcome Ari Friedlander back to the show.Ari joins us today to take a closer look at rogue cant: where the words came from, how they were used, and what they reveal about Shakespeare's world. Hosted on Acast. See acast.com/privacy for more information.

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers.

Ever since her triumphant debut in Chaucer's Canterbury Tales, the Wife of Bath, arguably the first ordinary and recognisably real woman in English literature, has obsessed readers--from Shakespeare to James Joyce, Voltaire to Pasolini, Dryden to Zadie Smith. Few literary characters have led such colourful lives or matched her influence or capacity for reinvention in poetry, drama, fiction, and film. In The Wife of Bath: A Biography (Princeton UP, 2023), Marion Turner tells the fascinating story of where Chaucer's favourite character came from, how she related to real medieval women, and where her many travels have taken her since the fourteenth century, from Falstaff and Molly Bloom to #MeToo and Black Lives Matter. A sexually active and funny working woman, the Wife of Bath, also known as Alison, talks explicitly about sexual pleasure. She is also a victim of domestic abuse who tells a story of rape and redemption. Formed from misogynist sources, she plays with stereotypes. Turner sets Alison's fictional story alongside the lives of real medieval women--from a maid who travelled around Europe, abandoned her employer, and forged a new career in Rome to a duchess who married her fourth husband, a teenager, when she was sixty-five. Turner also tells the incredible story of Alison's post-medieval life, from seventeenth-century ballads and Polish communist pop art to her reclamation by postcolonial Black British women writers. Entertaining and enlightening, funny and provocative, The Wife of Bath is a one-of-a-kind history of a literary and feminist icon who continues to capture the imagination of readers. Learn more about your ad choices. Visit megaphone.fm/adchoices

This past September 19th, we observed the anniversary of the death in 1992 of the great Welsh bass-baritone Geraint Evans at the age of 70. A vivid actor and a skilled singer, he both began and ended his career at the Royal Opera House Covent Garden, but was a treasured guest at opera houses all over the globe. In 1966, London/Decca records released a recording designed to give full display to his musical, stylistic, and dramatic versatility. In its US issue it was entitled, appropriately enough, Three Centuries of Baritone Art, and in it many of his greatest roles are highlighted, as well as a number of parts, unusual or uncharacteristic for him, which he never performed onstage.  Needless to say, his Mozart roles are in the forefront, as is his exceptional characterization of Verdi's Falstaff, to which he brought a light buffo touch while still retaining a full vocal palette bolstered by a vivid characterization. On this episode, I supplement this album with a delightful recording of Evans singing from Mahler's Knaben Wunderhorn, a wrenching one of his legendary Wozzeck, and a monumental one of Elegy for a Prince, a work for voice and orchestra by William Mathias, written for and dedicated to Evans, who sang the premiere in 1972 and subsequently recorded it in 1977. 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 author 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 or yearly support at whatever level you can afford.

durée : 00:28:38 - La musique symphonique britannique I - Sir Edward Elgar (4/4) : de Falstaff à la Symphonie n°3 - par : Christian Merlin - L'un des fils rouges de cette saison sera une exploration de la musique orchestrale britannique, trop méconnue sur le continent. D'Elgar, on connaît le Concerto pour violoncelle et la Marche "Pomp and Circumstance", mais qui sait qu'il a composé trois symphonies et des poèmes symphoniques ? - réalisé par : Marie Grout Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

My guest on The British Food History Podcast today food historian and friend of the show Sam Bilton, podcaster and author of Much Ado About Cooking Delicious Shakespearean Feasts for Every Occasion, published by Headline and commissioned by Shakespeare's Globe. It was, of course, a great opportunity to talk about the food of Shakespearean England as well as the food and drink references in Shakespeare's plays, and what they meant to those watching the plays at the time they were first performed.We talked about lots of cookery manuscripts, the importance of keeping historical recipes relevant, capons, Early Modern bread and greedy Falstaff's sack, amongst many other things.Those listening to the secret podcast can hear about horrible, sweet spinach tarts, Early Modern cakes, possets and more!Much Ado About Cooking by Sam BiltonSam's websiteFollow Sam on BlueSky, Insta and Threads @mrssbiltonComfortably HungryAis for Apple: An Encyclopaedia of Food & DrinkRemember: Fruit Pig are sponsoring the 9th season of the podcast. Visit their website www.fruitpig.co.uk to learn more about them, their journey, to find your local stockist and access their online shop.If you can, support the podcast and blogs by becoming a £3 monthly subscriber, and unlock lots of premium content, including bonus blog posts and recipes, access to the easter eggs and the secret podcast, or treat me to a one-off virtual pint or coffee: click here.This episode was mixed and engineered by Thomas Ntinas of the Delicious Legacy podcast.Things mentioned in today's episodeThe Globe TheatreWho is Falstaff?Books discussed or mentioned and further readingFirst Catch Your Gingerbread by Sam BiltonKnead to Know: A History of Baking by Neil ButteryA Dark History of Sugar by Neil ButteryEnglish Bread & Yeast Cookery by Elizabeth DavidThe Good Housewife's Jewel by Thomas Dawson

Welcome back to Behind the Curtain's mini series, 20 Years with Maestro Conlon, in which Classical KUSC's Gail Eichenthal sits down with Maestro James Conlon to discuss his legacy here at LA Opera. In this episode, we explore Italian opera—Rossini, Puccini, Verdi, and beyond—touching on bel canto and what makes a 'perfect opera.' Get your tickets now for Puccini's "La Bohème" and Verdi's "Falstaff" at LAOpera.org.

This week on Crack the Book, I'm still in awe of Shakespeare — and not ready to leave him behind. Somewhere between Falstaff's jokes and Othello's heartbreak, I realized just how much I've climbed the Shakespeare learning curve. The language that once felt impossible now feels like music, and these plays — Henry IV, Parts 1 & 2, and Othello — have been my favorite week yet.To start, though, I covered a little of Shakespeare's own history, so that we can better understand what was happening around him as he wrote his plays.The Henry IV plays are part of Shakespeare's “Henriad,” tracing Prince Hal's transformation from tavern-dwelling prankster to King Henry V. Part 1 sets up the tension between fathers and sons — King Henry and Hal, Northumberland and Hotspur — while Falstaff brings both comedy and chaos. I was surprised by how much I loved the histories: the mix of battle and banter, the political drama, and the emotional depth. By Part 2, the story turns elegiac. Henry IV is aging, Hal is ready to lead, and Falstaff's charm finally wears thin. The final father–son scenes left me sobbing under a tree outside our hotel — Shakespeare reached across 400 years and hit me right in the heart.Then comes Othello, which could not be more different. Where Falstaff is funny, Iago is chilling. He's not a misunderstood fool — he's pure manipulation, the “honest” man who deceives everyone. I was struck by how quickly Shakespeare draws each character: Desdemona's sweetness, Emilia's courage, Othello's nobility. The tragedy lands hard because we believe them all. And even here, amid jealousy and death, Shakespeare finds humor — like a quick, ridiculous debate about national drinking habits.I watched the Royal Shakespeare Company productions of Henry IV with Anthony Sher's Falstaff, and they were brilliant — vivid sword fights, excellent pacing, and real warmth. By Othello, I'd developed my ear enough to read without watching.This project keeps surprising me — and this week, it reminded me why Shakespeare endures. His plays aren't ancient; they're alive, human, and heartbreakingly funny.This is a year-long challenge! Join me next week for Giorgio Vasari's Lives of the Artists and Benvenuto Cellini's Autobiography.LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)CONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts -

I had a delightful discussion with Hank Neimark, one of the Directors and Eric Hefler, who plays Falstaff, in The Bird-On-A-Ciff's Woodstock Shakespeare Festival production of “The Merry Wives of Windsor”,  Shakespeare's light heartened, and raucous, comedy, truly a farce, which focuses on middle class domestic issues and the agency of its female characters.            The Merry Wives of Windsor is Shakespeare's only contemporaneous play, and features two very clever and able women who turn the tables on the bumptious, raucous, drunken rogue and scoundrel, womanizing, egotistical, deceitful, epicure and glutton, the fragile and fearful, morbidly obese and impoverished knight, Sir John Falstaff.     “Tell Me What You're Reading” wherever you listen to podcasts. #Shakespeare #Bird-On-A-CliffTheatreCompany #WoodstockShakespeareFestival #communitytheater #summerstock  #woodstock #bookwormsinthewild

Steven concludes his fascinating conversation about Orson Welles with noted film critic, historian, and film institute educator Robert Horton as they dive deeper into "Chimes at Midnight," Falstaff, Freud, Gielgud, Olivier, and more. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Clare Jaget, Courtney L, David Neufer, Deduce, Earl Showerman, Edward Henke, Ellen Swanson, Eva Varelas, Frank Lawler, James Warren,  Jen Swan, John Creider, John Eddings, Kara Elizabeth Martin, Michael Hannigan, Neal Riesterer, Patricia Carrelli, Richard Wood, Romola, Sandi Boney, Sandi Paulus, Sheila Kethley, Tim Norman, Tim Price, Vanessa Lops, Yvonne Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

Called “the finest actor of his generation,” Sir Simon Russell Beale has played just about everyone in Shakespeare's canon—Hamlet, Lear, Macbeth, Falstaff, Malvolio, Iago—and most recently, Titus Andronicus, for the Royal Shakespeare Company. In this episode, Beale reflects on the Shakespearean roles that have shaped his career and how his approach to them has evolved over time. He shares what drew him to Titus, and how he found surprising tenderness in Shakespeare's brutal tragedy. The actor revisits past performances, exploring grief in Hamlet, aging and dementia in King Lear, and how time has deepened his connection to the plays and the characters. Beale's memoir, A Piece of Work: Playing Shakespeare & Other Stories, is a moving and often humorous reflection on acting, Shakespeare, and the power of performance to reveal something essential about being human. Sir Simon Russell Beale studied at Cambridge before joining the RSC. Described by the Daily Telegraph as “the finest actor of his generation,” he has been lauded for both his stage and TV work, winning many awards including the Olivier Award for Best Supporting Actor, the Evening Standard Best Actor Award, and the BAFTA Best Actor Award. From the Shakespeare Unlimited podcast. Published June 17, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.