Podcasts about falstaff

Episode 168:Although Shakespeare's completion of the events of Henry IV's reign is very much a continuation of the story from part one it is a play with a very different vibe. The vigour of the battle scenes and the exuberance of prince Hal and Falstaff's relationship are replaced in part two with a more sombre and elegiac tone. The effects of old age and the passing to time hang over the play and even at its ending, where the coronation of Henry V could have been treated as a big party full of hope, it is the final rejection of Falstaff that dominates as once again Shakespeare provides an ending that many would have found surprising.The dating of the playThe early publishing history of the playThe early performance history of the playShakespeare's sources for the playA Synopsis of the plotHow the play functions without much dramatic actionWas the play a hurriedly written sequel?Foreshadowing and references to historyThe presence of the king and his illness in the playThe nature of the comedy in the playThe final split with FalstaffFalstaff the dangerous conmanThe Justices Shallow and SilenceMistress Quickly and the other comic charactersThe EpilogueSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Giuseppe Verdi: compositore italiano dell'Ottocento, autore di capolavori come Requiem, Rigoletto e La traviata, che hanno segnato la storia dell'opera.

What makes us laugh? And why should it matter? EI's Alastair Benn and Paul Lay are joined by the critic Mathew Lyons to discuss the uses of comedy. Engelsberg Ideas is funded by the Axel and Margaret Ax:son Johnson Foundation for Public Benefit. EI Talks... is hosted by Paul Lay and Alastair Benn, and produced by Caitlin Brown. The sound engineer is Gareth Jones. Image: Eduard von Grützner's Falstaff, 1873. Credit: INTERFOTO / Alamy Stock Photo 

Falstaff's Fables 5xxxxx 47 The Shooting of Pecos Percey

The British bass-baritone Norman Bailey (23 March 1933 – 15 September 2021) was one of the premier Wagner singers of his generation, appearing in his signature roles (Hans Sachs, the Dutchman, and Wotan, among others) at the most prestigious festival and with the most distinguished opera companies around the world. He was also celebrated for his Verdi and Strauss portrayals and was an skillful, intuitive, and communicative recitalist. In this refurbished bonus episode, he is heard in operatic scenes by all three of those composers, and additionally as a big-voiced miniaturist in songs by Peter Warlock, Ralph Vaughan Williams, and Hugo Wolf. “Guest stars” in the operatic excerpts (from Walküre, Macbeth, Holländer, Salome, Falstaff, Die Liebe der Danae, and The Mastersingers of Nuremberg) include Galina Vishnevskaya, Margaret Curphey, Carol Neblett, Arlene Saunders, and Montserrat Caballé, conducted by Otto Klemperer, Julius Rudel, Alexander Gibson, Anton Guadagno, Reginald Goodall, and Charles Mackerras. 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 or yearly support at whatever level you can afford.

Falstaff's Fables 5xxxxx 46 Space Patrol

A year and a half ago, I posted an episode on Robert Massard, the finest French baritone of his era, and one of the finest French baritones of all time. Today, in honor of his upcoming hundredth birthday later this year, I present him in a different repertoire (and therefore a different light). As was very much the custom of the day in French opera houses, Massard sang many of his non-French roles in translation. This was also very much the standard in German-language opera houses in the 50s and 60s. Massard's recorded legacy includes Italian operas sung in the original language as well as in French translation. No matter what language he was singing in, Massard was a master of bel canto as well as buffo patter. This episode includes arias and duets from Il barbiere di Siviglia, I Puritani, Lucie de Lammermoor, Le Comte Ory, La Traviata, Don Carlos, Un bal masque, La bohème, Cavalleria rusticana, and Andrea Chénier, as well as extended scenes from both Rigoletto (in and out of French!) and Falstaff. I also include a clip of Massard's contemporary and compatriot Gabriel Bacquier singing an excerpt of one of his greatest Verdi parts, Iago in Otello. Massard's vocal colleagues in these excerpts include Alain Vanzo, Peter Glossop, and Renée Doria. 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 or yearly support at whatever level you can afford.

Hey all! Welcome to another episode of “Mr. P.'s Tales from the Road!” In this edition, we sashay on down to St. Louis, Missouri to tell a glorious tale of beer. German immigrant beer. Or in this case, the now-abandoned brewery once owned  that once produced a special family-recipe brew that saw its rise and fall in the Gateway to the West. Plenty of frothy but crisp history and tales abound, so tap a solid beer of choice, raise your frosty stein in the air, shout out a lusty "Ziggy Zaggy, Ziggy Zaggy, Oi, Oi, Oi,” eat a nice big warm, freshly baked and salted pretzel (preferably with mustard), listen in and enjoy the show! Have a great weekend, bundle up, be safe out there and we'll see you in the next episode! -Mr. P.Also now available on APPLE PODCAST!: ⁠https://podcasts.apple.com/us/podcast/mr-p-s-tales-from-the-road/id1717990959Check out the new Mr. P. Explores Substack for articles and photos!: https://mrpexplores.substack.com/FOR MORE MR. P. ADVENTURES, FOLLOW ON INSTAGRAM:https://www.instagram.com/mr.p_explores/ @mr.p_exploresON TWITTER:https://twitter.com/ExploresMr @ExploresMrON BLUESKY: https://bsky.app/profile/mrpexplores.bsky.socialON FLICKR: https://www.flickr.com/photos/mrpexplores/#MrPExplores

Celebrated stage and screen actor JAY O. SANDERS joins host NATHAN WINKELSTEIN, Red Bull's Associate Artistic Director, for a conversation focused on one of Shakespeare's most iconic characters. Appearing in the Henry IV's and The Merry Wives of Windsor–and also eulogized in Henry V, Falstaff is a unique study. Together they will read from Henry IV, Act 2 Scene 4: “But tell me, Hal, art not thou horrible afeard?” — discussing the rewards and challenges of playing Shakespeare's most lovable and licentious old knight. (April 5, 2021)Exciting update! Since we recorded this Podversation back in 2021, Jay O. Sanders was cast as Falstaff for Theatre for a New Audience's production of Henry IV — on stage from January 30 - March 2, 2025. At the time of publishing this remastered Podversation, audiences have 4 more opportunities to see it! 

Falstaff; Act 4, Scene 2 Henry IV, Part 2January 10, 2025 Falstaff is Shakespeare's greatest comic creation.  John Ahlin is the greatest ‘Simon Says' player in the world.   Discover how this talent helped launch a career that has seen him play the role sixteen times… and counting.   Just don't call it a bit! Click here to follow along with the text. Click here for a First Folio Version.

Leibold, Christoph www.deutschlandfunk.de, Kultur heute

Leibold, Christoph www.deutschlandfunkkultur.de, Fazit

The complete audiobook is available for purchase at Audible.com https://n9.cl/67o08 Henry IV, Part 1 & Part 2 By William Shakespeare Narrated by Laura E. Richcreek, Blaise Doran, Alan Weyman, Rory Barnett, Tim Dehn, Graham Scott, Geraint Pickard, Noni Lewis, Roberta Jackson, Denis Daly, Christopher Dukes, Sarah Jane Rose, Josh Innerst, Gregory Dwyer and Shane Emmett This full cast presentation includes Part 1 and Part 2 of Shakespeare's Henry IV.In 1598 appeared a Quarto with the following title:The History of Henrie the Fourth; With the Battell at Shrewsburie, betweene the King and Lord Henry Percy, surnamed Henrie Hotspur of the North. With the humorous conceits of Sir John Falstaffe. At London. Printed by P. S. for Andrew Wise, dwelling in Paules Churchyard, at the signe of the Angell. 1598.This was the First Part of Shakespeare's Henry IV, which must have been written in 1597. This play is the first in which Shakespeare really demonstrated his great and overwhelming individuality. Its dramatic structure is fairly loose, though is closer knit and technically stronger than that of the Second Part. However, as a poetical creation, it is one of the great masterpieces of the world's literature, at once heroic and burlesque, thrilling and side-splitting. Yet these contrasted elements are not brought into hard-and-fast rhetorical antithesis, but move and mingle with a natural freedom. The driving elements of the plot are the machinations of the guilt-ridden King Henry IV to establish the legitimacy of his accession and the inevitable revolt by the former supporters who helped him to gain the throne. One of the leaders of the opposing faction is the warlike Henry Percy, nicknamed Hotspur, who the king compares unfavourably with his own son, the self-indulgent and riotous Prince Hal. The prince spends much of his time cavorting with a group of boon companions, the most notable of which is the dissipated and unscrupulous knight, Sir John Falstaff, who acts as something of a surrogate parent. At the end of the First Part, the revolt is suppressed; in the conflict, Prince Hal reveals his true character as a doughty defender of the realm. In the Second Part, the king's health progressively declines and Hal begins to assert his royal prerogative. Eventually, the king dies, and Hal, now having shed all his adolescent impertinence, ascends to the throne. Falstaff, in expectation of elevation to high office and new-found prosperity, publicly accosts the new king and is rudely rebuffed, together with his disreputable retinue. Audio edited by Denis Daly The text used for this performance was kindly provided by playshakespeare.com. Welsh dialogue and tune for Lady Mortimer's song in Henry IV Part One provided by Noni Lewis.

La contralto qui incarnera le rôle de Mrs Quickly à l'Opéra Bastille jusqu'au 30 septembre 2024 nous parle de son métier de cantatrice, son rapport à la musique et à sa voix et au théâtre ! Invitée : Marie-Nicole Lemieux, cantatrice, elle joue le rôle de Mrs Quickly dans Falstaff de Giuseppe Verdi, joué à l'Opéra Bastille jusqu'au 30 septembre 2024.(Rediffusion)

La contralto qui incarnera le rôle de Mrs Quickly à l'Opéra Bastille jusqu'au 30 septembre 2024 nous parle de son métier de cantatrice, son rapport à la musique et à sa voix et au théâtre ! Invitée : Marie-Nicole Lemieux, cantatrice, elle joue le rôle de Mrs Quickly dans Falstaff de Giuseppe Verdi, joué à l'Opéra Bastille jusqu'au 30 septembre 2024.(Rediffusion)

A drink, as much as it was songs and a group activity, wassail has been a traditional part of the Christmas season in England, and particularly a favorite of Twelfth Night celebrations, for centuries, including before and during the life of William Shakespeare. In Shakespeare's Macbeth, Lady Macbeth talks about wine and wassail going together to muddle up the brain, Falstaff mentions a wassail candle in Henry IV Part II, and three other references in Shakespeare's plays refer to wassail as something that happened at night and existed somewhere between a greeting and something that could lead to trouble. Here today to share with us the songs from Shakespeare's lifetime that were considered wassail songs, as well as to help us unravel the complicated history of what it meant to go wassailing from the house and how that's related to Christmas and even apple trees, is our guest and musical historian, Debi Simons.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Fibber McGee & Molly go on a search for the best Thanksgiving Turkey. November 24, 1955 Plus, Falstaff's Fables explains why we have turkey on Thanksgiving delivered in rhyme.

I read from Falstaff to familiar.     The word of the episode is "familial hypercholesterolemia".     Use my special link https://zen.ai/thedictionary to save 30% off your first month of any Zencastr paid plan.    Create your podcast today! #madeonzencastr     Theme music from Jonah Kraut https://jonahkraut.bandcamp.com/     Merchandising! https://www.teepublic.com/user/spejampar     "The Dictionary - Letter A" on YouTube   "The Dictionary - Letter B" on YouTube   "The Dictionary - Letter C" on YouTube   "The Dictionary - Letter D" on YouTube   "The Dictionary - Letter E" on YouTube   "The Dictionary - Letter F" on YouTube     Featured in a Top 10 Dictionary Podcasts list! https://blog.feedspot.com/dictionary_podcasts/     Backwards Talking on YouTube: https://www.youtube.com/playlist?list=PLmIujMwEDbgZUexyR90jaTEEVmAYcCzuq     https://linktr.ee/spejampar dictionarypod@gmail.com https://www.facebook.com/thedictionarypod/ https://www.threads.net/@dictionarypod https://twitter.com/dictionarypod https://www.instagram.com/dictionarypod/ https://www.patreon.com/spejampar https://www.tiktok.com/@spejampar 917-727-5757

Falstaff, Mercedes de Miguel, Basq Company, La Palma, Encurtidos Margari, Naubis y Grupo Sanimotor son los Favoritos de Bilbao 2024, distinguidos en la gala de los XVII Premios al Comercio de bilbaoDendak. En este 'Hoy por Hoy Bilbao-Bizkaia' hablamos con los protagonistas del Botxo 

Last week, absorbed in preparations for my own birthday, I passed over the birthday of the great Giuseppe Verdi, born 10 October 1813. Two years ago I produced a pair of Verdi episodes, and today I feature the one first published as a bonus episode at that time, which features duets from Luisa Miller, Il Trovatore, La Traviata, Rigoletto, Otello, and Falstaff. In the spirit of my two recent episodes “Requiescat” and “In Pace,” I had the brilliant idea of highlighting great Verdi singers (and one conductor) who died in Octobers past, including: Joan Sutherland (October 10, 2010); Eleanor Steber (October 3, 1990); Montserrat Caballé (October 6, 2018); Vladislav Piavko (October 6, 2020); Rosanna Carteri (October 25, 2020); Leonard Bernstein (October 14, 1990); Walter Berry (October 27, 2000); Franco Bonisolli (October 30, 2003); Edita Gruberová (October 18, 2021); Ingvar Wixell (October 8, 2011); and Rolando Panerai (October 22, 2019). Heard alongside these musicians are the blazingly talented John Alexander, Sherrill Milnes, Leonard Warren, Irina Arkhipova, Mario del Monaco, Anselmo Colzani, Regina Resnik, Margherita Rinaldi, Giorgio Zancanaro, Luigi Alva, Judith Raskin, and Mattiwilda Dobbs. Live performances are featured alongside soundtrack recordings from three different operatic films, as well as a few rare studio recordings ensure that the great Giuseppe receives sufficient, if belated, accolades. 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.

In 1552, a lexicographer gave us the word “noctivagation” which means walking around at night. The word itself was a legal term for Shakespeare's lifetime, used to describe someone that wandered around at night without any particular purpose. Vagrancy, on the whole, was frowned upon for Shakespeare's lifetime, but vagrancy at night was viewed with extreme suspicion. In fact, walking around at night illegitimately was so bad that in his play King Lear, Shakespeare implies that the poster boy for night walkers is Satan himself. This negative understanding of nightwalkers gets confusing though, when we consider Falstaff in Henry IV talks about walking from tavern to tavern at night with Bardolph, and mentions it as fun, certainly not anything they were worried about, and other period references from the 16th century talk about Link Boys, who were young boys paid to escort travelers as night while carrying a torch to light the way. What does this mean about travelling at night in a city like London? Were there legitimate reasons to be out after dark, and what options were available for creating artificial light prior to the advent of the light bulb? Here today to answer these questions and introduce us to the concept of night walkers, and night lights, for Shakespeare's lifetime is our guest, Matthew Beaumont.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

She's one of the greatest contralto singers in the world; a French-speaking Canadian opera star who has performed on stage across the planet. Marie-Nicole Lemieux talks to Eve Jackson about wanting to speak to the audience's emotions through music, being a body positive role model for women of different shapes and sizes and why Maria Callas's tragic life nearly put her off becoming an opera singer. You can see her perform at the Bastille Opera house as Mrs Quickly in Verdi's "Falstaff" until September 30. After that she'll be back in January for Wagner's "Das Rheingold".

La contralto qui incarnera le rôle de Mrs Quickly à l'Opéra Bastille jusqu'au 30 septembre 2024 nous parle de son métier de cantatrice, son rapport à la musique et à sa voix et au théâtre ! Invitée : Marie-Nicole Lemieux, cantatrice, elle joue le rôle de Mrs Quickly dans Falstaff de Giuseppe Verdi, joué à l'Opéra Bastille jusqu'au 30 septembre 2024.

La contralto qui incarnera le rôle de Mrs Quickly à l'Opéra Bastille jusqu'au 30 septembre 2024 nous parle de son métier de cantatrice, son rapport à la musique et à sa voix et au théâtre ! Invitée : Marie-Nicole Lemieux, cantatrice, elle joue le rôle de Mrs Quickly dans Falstaff de Giuseppe Verdi, joué à l'Opéra Bastille jusqu'au 30 septembre 2024.

Merriam-Webster's Word of the Day for September 4, 2024 is: ensconce • in-SKAHNSS • verb Someone or something ensconced is firmly placed or hidden. Ensconce can be a synonym of shelter and conceal, or of establish and settle. // The sculpture is safely ensconced behind glass. // He ensconced himself in the library's back room for the afternoon. See the entry > Examples: "Portraying the autocratic chancellor of an unnamed Central European country ... is Kate Winslet, whose increasingly delusional strongwoman is also a germaphobe ensconced in a luxury hotel that she's turned into her personal palace." — Andy Meek, BGR.com, 4 Mar. 2024 Did you know? You might think of a sconce (the word that when combined with the prefix en- forms ensconce) as a type of candleholder or lamp, but the word can also refer to a defensive fortification, usually one made of earth. Originally, then, a person who was ensconced was enclosed in or concealed by such a structure, out of harm's way. One of the earliest writers to apply the verb ensconce with the general sense of "hide" was William Shakespeare. In The Merry Wives of Windsor the character Falstaff, hoping to avoid detection when he is surprised during an amorous moment with Mrs. Ford, says "She shall not see me; I will ensconce me behind the arras."

Recently, I read a very interesting article on the challenges of aging. Studies by the experts state that "the generation who are celebrating their 50th, 60th and 70th anniversaries have succeeded in kicking the blabbers out of the stereotypes of aging." Perhaps this can be explained by one word - attitude. The experts stated, "the attitudes of a 70-year-old today are equivalent to those of a 50-year-old, but only a decade or two ago." It is interesting how many couples are in their 50th, 60th and even 70th wedding anniversaries. More individuals are also reaching that century mark. The late George Burns stated, "I see people who, the minute they get to be 60, start rehearsing to be old. They practice when they sit down and grunting when they get up, and by the time they get to be 70, they're a hit. They've got the part - they're old." I like to think that the streams of life bring depth and wisdom in our lives. Goth finished his Faust at 81. At 80, Verdi produced his famous Falstaff. Tennyson wrote "Crossing the Bar" at 83. Valtaire was still penning plays at 84. Monet was painting great pictures at 86. Marian Baininray in "The Stillness is Dancing" says, "At 50, the mind has yet to reach its zenith. At 60, it as at its best, and then declines gradually that at 80, those who have kept themselves mentally alert can be just as productive as at 30. Judgment and reason may have actually improved and creative imagination is scarcely touched by age. I think Mark Twain says it best, "Age is mind over matter. If you don't mind, it doesn't matter." Warm Thoughts: If you are too busy to laugh, you are too busy. The old are the precious gems in the center of the household. Chinese proverb. Have many warm thoughts every day! Warm Thoughts from the Little Home on the Prairie Over a Cup of Tea by Dr. Luetta G WernerPublished in the Marion Record, August 19, 1996.Download the Found Photo Freebie and cherish your memories of the past.Enjoy flipping through the Vintage Photo Book on your coffee table.I hope you enjoyed this podcast episode! Please follow along on this journey by going to visualbenedictions.com or following me on Instagram, Facebook, and Pinterest. You can listen to the podcast on Apple Podcast,Spotify,Stitcher, and Overcast. And don't forget to rate and review so more people can tune in! I'd greatly appreciate it.Till next time,Trina

durée : 00:09:10 - L'Invité(e) des Matins d'été - par : Julie Gacon - Raconter des histoires oui, mais avec du coffre ! Marie-Andrée Bouchard-Lesieur, chanteuse lyrique mezzo-soprano, ouvrira la saison de l'Opéra de Paris avec "Falstaff", de Giuseppe Verdi.

Inside this Episode with host, Mitch Hampton I seem to never tire of saying that among my many missions on this podcast is to have guests that are quite different than myself. Although Christine and I are both musicians and in the music world, I can't carry a tune to save my life and my truly awful singing voice is one of the main reasons I decided to purely instrumental music in terms of my own performance.  Not only does our guest have one of the best singing voices  in her for any field or genre of music but she also speaks five plus languages and is well versed in a remarkably diverse repertoire of music Indeed her newest release is representative of just the kind of eclecticism I always champion. I always love having guests on my show who have been in the "classical music" world as it is a genre most misunderstood at times by the public and always worthy of continuation and celebration. I sincerely hope you enjoy watching this episode as much as we did recording it. Ms. Moore's Bio : ( Full Bio on her website below) Praised by the Leipziger Volkszeitung for her lush sound and powerful expression, soprano Christine Moore Vassallo is a versatile performer with equal command in opera, recital, and contemporary music.  The Sacramento, California native counts among her many opera roles Mimi in La Boheme, the title role Madama Butterfly, Alice Ford in Falstaff, Micaela in Carmen, the title role in Suor Angelica, Santuzza in Cavalleria Rusticana, Donna Anna in Don Giovanni, Countess in Le Nozze di Figaro, Judith in Bluebeard's Castle, Leonora in Il Trovatore (described as "velvety and luscious" by SongWordSight Magazine), the title roles in Aida and Ariadne auf Naxos with such companies as the Leipzig Opera, Central City Opera, Santa Fe Opera, Chautauqua Institute, Utopia Opera, Create Opera, the Aldeburgh Summer Festival, Sacramento Opera, the Amato Opera and Lyric Artists of New York. She curated and performed in the first ever concert of Arab composers, entitled "Nearer to East: Chamber Music from the Arab World" at the Bruno Walter Auditorium at Lincoln Center, which concert was lauded by the Library as one of the outstanding of the year. Christine speaks five languages and sings in ten, and has given numerous solo recitals featuring works of all genres of repertoire and languages, including in Granada and Madrid with Festival de Cancion Espanola, Trinity Concert Series in New York, the Library at Lincoln Center, Merkin Concert Hall, the Edinburgh Fringe Festival, and the Old Stone House, Brooklyn. She made her UK debut in 2005 at the Paxton Chamber Music Festival in Scotland with Schoenberg's Pierrot Lunaire (praised by the Glasgow Herald) and has performed many new works by living composers, including the premiere at Merkin Hall NYC of Richard Thompson's song cycle The Shadow of Dawn as well as the NYC premiere of his opera The Mask in the Mirror, Andrew Rudin's Masha's Arias, and works by Michael Rose, Kareem Roustom, Halim El-Dabh, Richard Cameron-Wolfe, Steve Gerber and Zaid Jabri with the Brooklyn New Music Collective.  In 2016 she founded the singers collective Lyric Artists of New York, producing operas and concerts in the New York area. In 2023 she made her Weill Hall at Carnegie debut, and is currently collaborating on a project with composer and pianist Patricio Molina set to premiere in 2025 of his songs set to Arab women poets of the Andalus period. Album webpage on the Meridian Records website: https://www.meridian-records.co.uk/acatalog/CDE84647-From-Al-Andalus-to-the-Americas.html  Christine's Website: www.christinemooresoprano.com #middleeast #egypt #spain #oud #darbuka #andalus #soprano #classicalmusic #flute ##arabic #folkmusic #latinamerica #meridianrecords #istanbul #farsi #opera #newyorkcity #artsong  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

Mia has dreams of being an actress, and Sebastian has dreams of opening a jazz club. Together, they can push each other to be their dream versions of each other, but can their love and their dreams co-exist in this world of glamour and heartache? This week we head to the Hollywood Hills, mix up a new classic punch, and take a look at the new classic musical love story that almost won all the Oscars. Join us for dancing, breaking and entering, tap shoes, coffee shops, casting calls, learning to love jazz, and a chat about LA LA Land! This week's cocktail comes from Falstaff! Merch Shop - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠drinkthemovies.square.site⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/drinkthemovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/drinkthemovies/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/drinkthemovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/drinkthemovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.drinkthemovies.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/fsdW2QqqpS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ *Please Drink Responsibly*

We continue our long journey through the dark heart of Aaron Sorkin's STUDIO 60 ON THE SUNSET STRIP. Jordan gets pregnant, Harriet is inducted into the Falstaff Society, Matt & Danny create the most Epic Christmas TV broadcast ever, and Aaron Sorkin confirms once and for all that Santa isn't real in Episode 10 ("B-12") and Episode 11 ("The Christmas Show"). PATREON-EXCLUSIVE EPISODE - https://www.patreon.com/posts/532-studio-sucky-106000756

Johnny Falstaff, born in Alice, Texas and raised in Alvin, Texas, became interested in music from a young age and has toured domestically and internationally over the last decades. He served in the U.S. Army in the 1980s and moved to Nashville, Tennessee in 1991. After moving back to Texas, he began releasing his own albums in 2000. He began touring in Germany in 2006 and stayed in the country for several years. In 2021, he won his battle against cancer and is back to creating music and performing live. Johnny makes his home in Alvin, Texas.

Huge, enthusiastic queues are surrounding the Duke of York's theatre where Tom Holland, famous for Spider-Man is playing Romeo opposite Francesca Amewudah-Rivers as Juliet. Next door, veteran actor and star of Lord of the Rings, Ian McKellen is performing Falstaff for his own adoring fans. In this week's episode Nancy and Sarah discuss the two productions and what it shows us about Shakespeare - and about the new generation of actors. Hosted on Acast. See acast.com/privacy for more information.

My guest this week Johnny Falstaff appeals to all of you purists in the country scene who grew up listening to George Jones and crooners and perhaps caught the rockabilly bug . Johnny had a stint over seas where he learned quickly he was cowboy cool. He's released new single and tells stories of how he kept his spirits up through a bout with cancer and is more than ready to keep those boots scootin' . Thanks to Burress Law PLLC The Guitar Sanctuary and Cadillac Pizza Pub.   Originally aired 05/19/2024 on 95.3 FM KHYI the Range in Dallas, TX.

Today's episode is one of my Listeners' Favorites episodes, this one introduced by my wonderful friend Thom Baker. He had just written me about his enthusiasm for the Rosanna Carteri episode I posted in the fall of 2020 on the occasion of her death, just a few short weeks before her 90th birthday. Thom and I were both equally taken with this long-lived artist, who abandoned her performing career in 1966 when she was only 35 years old, brought her full-throated voice and impeccable artistry to operatic stages around the world for fifteen exceptional years. Carteri's was a lyric yet full-bodied voice with facility that allowed her to undertake soubrette parts as well as some spinto roles. I feature extended examples of her versatility over the course of that entire career, including excerpts from La traviata, La bohème, La rondine, Guglielmo Tell, Falstaff, L'elisir d'amore, Madama Butterfly, Roméo et Juliette, Otello, Pietro Mascagni's L'amico Fritz and Iris, Prokofiev's War and Peace (the final version of which she created in Florence in 1954), the premiere recording of Poulenc's Gloria and Gilbert Bécaud's Opéra d'Aran (which she premiered in Paris in 1962). These operas represent just a fraction of her repertoire, in which are featured, among others, Giuseppe di Stefano, Nicolai Gedda, Leonard Warren, Carlo Bergonzi, Ettore Bastianini, Ferruccio Tagliavini, Giuseppe Taddei, Cesare Valletti, and Giuseppe Gismondo and conductors Tullio Serafin, Pierre Monteux, Vittorio Gui, Georges Prêtre, Gabriele Santini, and Artur Rodzinski. In other words, the crème de la crème of the operatic firmament in the 1950s and 1960s, in which company Carteri most emphatically belonged. 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.

Lacy returns from London and takes a turn in the guest seat with a report on everything she saw on stage over her week away, from Michael Sheen in the National Theatre's Nye to Sir Ian McKellen's almost four-hour Falstaff in The Player Kings.See omnystudio.com/listener for privacy information.

Welcome to our latest episode, where we shine a spotlight on a diverse array of stage productions sure to captivate audiences! Join us as we explore Leslie Ash's starring role in Artificially Yours, Ian McKellen's portrayal of Falstaff in Player Kings, the punk reimagining of GISELLE: REMIX, an electrifying flamenco festival at Sadler's Wells, the hilarious antics of USHERS: The Front of House Musical, and a backstage chat with Karis Anderson from Tina: The Tina Turner Musical.Artificially YoursLeslie Ash stars in this gripping dark comedy that delves into the consequences of our society's increasing reliance on Artificial Intelligence. Three couples invite an AI relationship therapy device into their homes, hoping to solve their smallest disagreements and deepest issues. However, as the AI device becomes entangled in their lives, it leads to hilarious and disturbing outcomes, raising questions about the nature of human relationships and the role of technology in our lives.Player Kings Ian McKellen takes on the iconic role of Falstaff in Robert Icke's adaptation of Shakespeare's Henry IV. Set in a divided England on the brink of war, the play follows the journey of Hal, who must navigate his father's expectations, his friendship with the infamous Falstaff, and the looming conflict. Bringing together Shakespeare's two great history plays, Player Kings promises to be a theatrical event of the season, offering audiences a compelling exploration of power, loyalty, and leadership.GISELLE: REMIXHot off its sell-out premiere at the Royal Opera House, GISELLE: REMIX returns with its punk reimagining of the classic ballet. Conceived by Pleasance Associate Artist Jack Sears and Royal Ballet Soloist Hannah Grennell, the production combines cabaret excellence, theatrical divinity, and jaw-dropping lip-syncs. Collaborating with dancers from The Royal Ballet, the show subverts the timeless story of love, loss, and redemption, offering audiences a fresh and electrifying take on a beloved classic.Flamenco Festival at Sadler's WellsSadler's Wells presents a spectacular flamenco festival featuring a lineup of renowned artists, including Vicente Amigo, Eva Yerbabuena, and the Ballet Nacional de España. From traditional flamenco to innovative new sounds, the festival celebrates the rich cultural heritage of Spain through music, movement, and colour. Audiences can expect a mesmerising showcase of flamenco's raw energy and emotional depth, transporting them to the heart of Iberian culture.USHERS: The Front of House MusicalCelebrating its tenth anniversary, "USHERS: The Front of House Musical" returns to the Other Palace with all the drama and laughter of working behind the scenes in a West End theatre. Set during a working shift at a theatre, the show follows the lives of the front of house staff as they navigate workplace romances, preview performances, and managerial pressures. With hilarious and moving stories, "USHERS" offers a backstage glimpse into the world of theatre.Backstage Chat with Karis AndersonJoin Natalie backstage at "Tina: The Tina Turner Musical" for an exclusive interview with Karis Anderson, who stars as the legendary Tina Turner. Hear first-hand about the challenges and joys of bringing Tina's iconic story to life on stage, as well as insights into the preparation and performance process. Don't miss this behind-the-scenes conversation with one of the West End's brightest talents! Hosted on Acast. See acast.com/privacy for more information.

As the TLS celebrates all things Shakespeare, Emma Smith goes to see Ian McKellen's larger-than-life Falstaff; plus Rana Mitter on the immense impact and lasting legacy of the Tokyo Trial.'Player Kings: Henry IV Parts 1 and 2', by William Shakespeare, adapted by Robert Icke, Noël Coward Theatre, London, until June 22, then touring 'Judgement at Tokyo: World War II on Trial and the Making of Modern Asia' by Gary J. Bass.Produced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Renowned African American tenor and educator Jonathan Walker-VanKuren continues to leave an indelible mark on the world of music, both on stage and in the classroom. With a diverse repertoire spanning jazz, musical theatre, art song, and opera, Walker-VanKuren has captivated audiences with his powerful voice and versatile performances. Currently serving as Assistant Professor of Voice and Artist Teacher of Studio Voice and Music Theatre at Lebanon Valley College, Walker-VanKuren balances his teaching duties with a busy schedule of recitals and operatic performances. His influence extends far beyond the college walls, as evidenced by the success of his students who have gone on to pursue music at prestigious institutions such as Texas A&M, Michigan State University, and Belmont University. Recent highlights from Walker-VanKuren's performing career include his roles as Thamar in Opera Southwest's revival production of "Ali Baba," as well as captivating portrayals of the Witch in "Hansel and Gretel," Don Jose in "La tragédie de Carmen," Fenton in "Falstaff," Nelson in "Porgy and Bess," and Beppe in "Il Pagliacci." And in a testament to Lebanon Valley College's commitment to inclusivity and accessibility, the Music Theatre department is set to host a sensory-friendly performance of "Tuck Everlasting" on Saturday, April 6, at 1 p.m. in Leedy Theatre inside the Allan W. Mund College Center. This initiative aims to provide a welcoming environment for individuals with sensory needs or other social, cognitive, and/or physical challenges, allowing them to enjoy the magic of live theatre. What To Expect: Audiences attending the sensory-friendly performance can expect several modifications to enhance their experience, including keeping the lights dimmed throughout the show, reducing overall sound levels, and eliminating potentially overwhelming elements such as strobe lights and intense sound effects. Additionally, the cast and crew will adjust their interactions with the audience to ensure a comfortable atmosphere for all attendees. To further support guests, a staffed quiet area will be available in the lobby for those who may need a break during the performance. Audience members are also encouraged to bring their own comfort objects and support items to personalize their experience and make the most of this unique theatrical event. Through his dedication to both his craft and his students, Jonathan Walker-VanKuren continues to inspire and uplift aspiring musicians while fostering a culture of inclusivity and accessibility in the performing arts. As the curtain rises on this sensory-friendly performance, it serves as a shining example of the transformative power of music and the boundless potential for artistic expression to unite and uplift us all.Support WITF: https://www.witf.org/support/give-now/See omnystudio.com/listener for privacy information.

Norah Jones discusses her new album, Visions, and reflects on the song, Come Away With Me, that made her name along with a special performance in the Front Row studio; Sir Ian McKellen and theatre director Robert Icke on tackling one of Shakespeare's greatest characters, Falstaff, in their new production Player Kings; and Keisha Thompson on how her year as artist-in-residence at Yorkshire Sculpture Park led to her creation of "sculpted poetry" in her new collection, Dé-rive. Presenter: Nick Ahad Producer: Ekene Akalawu

Episode 318: I will discuss The 60th anniversary of the debut of WCIU-TV Channel 26 in Chicago, and Falstaff Beer. --- Send in a voice message: https://podcasters.spotify.com/pod/show/pete-kastanes/message

Episode 318: I will discuss The 60th anniversary of the debut of WCIU-TV Channel 26 in Chicago, and Falstaff Beer. --- Send in a voice message: https://podcasters.spotify.com/pod/show/pete-kastanes/message

Host Aaron Odom (@TridentTheatre) welcomes back returning Guest, LA-Based TV and Film Producer Brand Birtwistle, to discuss Orson Welles' love letter to possibly his favorite Shakespeare character Falstaff with his epic film "Chimes at Midnight."  **SPOILERS AHEAD** thebrand.productions

Henry IV, Part 2 is a history play by William Shakespeare, believed written between 1596 and 1599. It is the third part of a tetralogy, preceded by Richard II and Henry IV, Part 1 and succeeded by Henry V. The play picks up where Henry IV, Part 1 left off. Its focus is on Prince Hal's journey toward kingship and his ultimate rejection of Falstaff. (From Wikipedia.)This is a dramatic reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Henry IV, Part 2 is a history play by William Shakespeare, believed written between 1596 and 1599. It is the third part of a tetralogy, preceded by Richard II and Henry IV, Part 1 and succeeded by Henry V. The play picks up where Henry IV, Part 1 left off. Its focus is on Prince Hal's journey toward kingship and his ultimate rejection of Falstaff. (From Wikipedia.)This is a dramatic reading.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

For the latest episode of NostalgiaCast '70s Palooza, Jonny and Darin tackle the faux-documentary / biography / proto-YouTube video essay that is Orson Welles's F FOR FAKE. They talk about the movie as an examination of authorship over art, Welles's (brazen but ultimately unsuccessful) attempts to explode the documentary form, and how a story of charlatans, magicians, and frauds slots into the legendary director's manic career.

Rick and Forrest are joined by award-winning journalist Michael Krasny for an episode focused on how to stay curious, navigate times of transition, and relate to the modern media landscape in healthy ways. They use Michael's recent experience with “retirement” as a jumping off point to explore how we can embrace change and stay curious before diving into a conversation focused on the modern media landscape. Topics include bothsides-ism, navigating challenging conversations, and finding the balance between what “knowing mind” and “don't know mind.”About our Guest: Michael Krasny is the long-time host of the KQED Forum, and has interviewed some of the most prominent figures of the past 50 years, including Maya Angelou, Caesar Chavez, President Jimmy Carter, Carl Sagan, and President Barack Obama. Since retiring from the Forum, Michael has started his own podcast: Grey Matter with Michael Krasny. Watch the Episode: Prefer watching video? You can watch this episode on YouTube.Key Topics:0:00: Introduction1:45: What's helped Michael navigate the transition to a new phase of life3:45: Michael's shift in identity post-KQED Forum5:45: Curiosity and ‘usefulness'8:10: Preparing for interviews11:10: How Michael became an interviewer14:10: Shakespeare characters, the anxiety of influence, and corporal punishment23:10: How the function of media has changed over time26:05: Bothsidesism and offering balanced viewpoints30:40: ‘Always don't know', and not being captured by our strengths33:45: Overpreparation, anxiety, and the role of an interviewer38:20: The value of spacious conversation vs. discourse through sound bytes40:30: Recap Support the Podcast: We're now on Patreon! If you'd like to support the podcast, follow this link.Sponsors:Get 15% off OneSkin with the code BEINGWELL at https://www.oneskin.co/  Go to BrioAirPurifier.com and use code BEINGWELL to save $100 on a Brio Air Purifier.Finally get that project off the ground with Squarespace! Head to squarespace.com/beingwell for a free trial, and when you're ready to launch use coupon code BEINGWELL to save 10% off your first purchase of a website or domain.Join over a million people using BetterHelp, the world's largest online counseling platform. Visit betterhelp.com/beingwell for 10% off your first month!Want to sleep better? Try the Calm app! Visit calm.com/beingwell for 40% off a premium subscription.Connect with the show:Subscribe on iTunesFollow Forrest on YouTubeFollow us on InstagramFollow Forrest on InstagramFollow Rick on FacebookFollow Forrest on FacebookVisit Forrest's website