Podcast appearances and mentions of franz leh

An der Oper Graz ist derzeit eine echte Operettenrarität zu erleben: Schön ist die Welt von Franz Lehár. Einst ganz auf das vokale Traumpaar Richard Tauber und Gitta Alpar zugeschnitten, kehrt diese Alpenoperette seit einigen Jahren – meist in konzertanter Form – vermehrt auf die Bühne zurück. Regisseur Florian Kutej spricht mit Marion Eigl über die Besonderheiten des Werks, die Herausforderungen, eine Lawine zu inszenieren und das wohl längste Liebesduett der Operettengeschichte. Dramaturgin Katharina Rückl macht Lust auf die nächste Premiere am Haus: Benjamin Brittens A Midsummernight's Dream. Ab 10. Mai steht die Adaption von Shakespeares Sommernachtstraum auf dem Spielplan der Oper Graz. Alles dreht sich um die zahlreichen Spielarten der Liebe in Bernd Mottls Inszenierung. Und wofür mag dabei der Wald stehen? 

durée : 00:31:03 - Avec Jules Cavalié, rédacteur en chef de L'Avant-Scène Opéra - par : Philippe Venturini - "À partir du 11 mai, l'Opéra du Rhin, à Strasbourg puis à Mulhouse, présente Giuditta de Franz Lehár. À cette occasion L'Avant Scène Opéra n° 345, consacre son dernier numéro à cette "comédie en musique" ultime création de l'auteur de La Veuve joyeuse et du Pays du sourire." Philippe Venturini - réalisé par : Doria Zénine

Zu Gast in der zweiten Ausgabe unserer neuen Sendereihe ist Ulrich Lenz, der Intendant der Oper Graz. Marion Eigl hat sich mit ihm über die besondere Atmosphäre im Haus, den richtigen Riecher in seinem Metier, den großen Erfolg von Hector Berlioz' Les Troyens und die kommenden Produktionen unterhalten.Freuen Sie sich auf Mozarts Così fan tutte ab 1. März,  Franz Lehárs Schön ist die Welt ab 22. März und den Ballettabend Follia! im April.Alle Infos: Oper Graz - Radio Klassik

durée : 00:19:08 - Franz Lehár : Œuvres symphoniques, sonates pour piano, 39 lieder - Il ne fallait pas moins qu'un coffret de six disques pour embrasser toute l'œuvre symphonique, les sonates pour piano et les lieder de Franz Lehár. Surtout connu pour ses opérettes, le compositeur autrichien a pourtant une œuvre très vaste que nous vous invitons à effleurer aujourd'hui.

durée : 01:26:57 - En pistes ! du jeudi 27 février 2025 - par : Max Dozolme - Si vous entendez parler de Franz Lehár, il y a de fortes chances pour que vous pensiez à La Veuve Joyeuse ! Mais ce compositeur n'a pas seulement composé des opérettes à succès, il a aussi signé des sonates, des lieder et des poèmes symphoniques, regroupés dans un coffret paru récemment.

durée : 00:19:08 - Franz Lehár : Œuvres symphoniques, sonates pour piano, 39 lieder - Il ne fallait pas moins qu'un coffret de six disques pour embrasser toute l'œuvre symphonique, les sonates pour piano et les lieder de Franz Lehár. Surtout connu pour ses opérettes, le compositeur autrichien a pourtant une œuvre très vaste que nous vous invitons à effleurer aujourd'hui.

durée : 01:26:57 - En pistes ! du jeudi 27 février 2025 - par : Max Dozolme - Si vous entendez parler de Franz Lehár, il y a de fortes chances pour que vous pensiez à La Veuve Joyeuse ! Mais ce compositeur n'a pas seulement composé des opérettes à succès, il a aussi signé des sonates, des lieder et des poèmes symphoniques, regroupés dans un coffret paru récemment.

Barrie Kosky hat als Intendant der Komischen Oper in Berlin die jüdische Operetten-Tradition in den Fokus gerückt. In einem Gespräch hatte er vor ein paar Jahren gesagt, dass ihn die Gassenhauer, wie Johann Strauss' "Fledermaus" oder die "Lustige Witwe" nicht interessieren würden. Jetzt hat er aber an der Bayerischen Staatsoper die Fledermaus inszeniert und nun auch die "Lustige Witwe" von Franz Lehár am Opernhaus Zürich. Jörn Florian Fuchs war für BR-KLASSIK bei der Premiere.

Der renommierte Opernregisseur Barrie Kosky hat nicht nur ein Faible fürs ganz große Opernspektakel, sondern auch für die Operette und das Musical. Seine Inszenierung von Franz Lehárs „Die lustige Witwe“ am Opernhaus Zürich zeugt von seinem vielseitigen Können und seiner Freude am Spektakel.

Drum prüfe, wer sich ewig bindet, vor allem wenn diese Bindung Kulturgrenzen überwindet. Schwierig wird es außerdem, wenn zwischen den Kulturen gleich mehrere 1.000 km liegen, so wie das im "Land des Lächelns" die österreichische Gräfin Lisa und der chinesische Prinz Sou-Chong erleben müssen. Am 17. Juni hatte die Operette von Franz Lehár Premiere beim Opernfestial auf Gut Immling im Chiemgau.

Der Thementag steht im Zeichen des Lehár Festivals Bad Ischl. Die Hauptwerke heuer sind „Der Vogelhändler“ von Carl Zeller, „Madame Pompadour“ von Leo Fall und „Schön ist die Welt“ von Franz Lehár. Intendant Thomas Enzinger skizziert gegenüber Bernadette Spitzer jedoch auch das kommende Jahr, das im Salzkammergut im Zeichen der Kulturhauptstadt stehen wird

2022 inszenierte Regisseurin Angela Schweiger für das Lehár Festival Bad Ischl die Operettenrarität „Wiener Frauen“ von Franz Lehár. Heuer steht die Rarität „Schön ist die Welt“ auf dem Programm. Premiere ist am 11. August.

2022 inszenierte Regisseurin Angela Schweiger für das Lehár Festival Bad Ischl die Operettenrarität „Wiener Frauen“ von Franz Lehár. Heuer steht die Rarität „Schön ist die Welt“ auf dem Programm. Premiere ist am 11. August – Operette, das heißt in vielen Fällen pointierte Texte. Besonders gelungen sind jene von Fritz Löhner-Beda.

Synopsis On this date in 1905, the Austro-Hungarian composer Franz Lehár conducted the first performance of his new operetta, The Merry Widow. Lehar was sure it would be a success, but others did not share his confidence. The show's librettist, lawyer in tow, urged Lehár to cancel the premiere, and the nervous theater manager banned Viennese reporters from dress rehearsals, fearing bad advance press. After a lukewarm debut at Vienna's Theater an der Wien, The Merry Widow moved to a smaller, suburban theater, where it suddenly caught on. Within a year it had become a sensational hit throughout Europe. Lehár's contemporary, Gustav Mahler, was a Merry Widow fan, although he sent his wife, Alma, to buy the music rather than risk the embarrassment of having the director of Vienna's Imperial Opera House seen buying such a shamelessly "pop" score. Ironically, another great fan of Lehár's music was Adolf Hitler. Despite the fact that Lehár's wife and many of his professional associates were Jewish, Lehár's music continued to be performed in Nazi Germany. Lehár was 68 when Austria became part of the German Reich, and continued to conduct in Vienna and Berlin. Lehár's family was spared, but many of his former associates were forced into exile. Others were not so lucky: In 1942, Louis Treumann, who first sang The Merry Widow Waltz at the 1905 premiere in Vienna, died in the "model" concentration camp at Theresienstadt. Music Played in Today's Program Franz Lehár (1870-1948) The Merry Widow excerpts Budapest Philharmonic; Janos Sandor, conductor. Laserlight 15046

"Mod er ikke bare at turde tage skridtet. Modet er også at være villig til at fejle i det skridt, man tager." - Adam PriceAdam Price er en mand af mange titler. Tidligere jurastuderende, nuværende manuskriftforfatter, dramatiker, madanmelder og restauratør, hvor han i dag driver fem af slagsen sammen med sin bror James, med hvem han også lavede TV-programmet 'Spise med Price' på DR. I kraft af hans virke som manuskriftforfatter har han  blandt andet skrevet 'Borgen', 'Herrens Veje' og 'Nikolaj og Julie' tilbage i 00'erne, for hvilke han har modtaget et væld af internationale priser. Jeg talte med ham på SAM Productions hovedkontor, hvor 60 ansatte administrerer opgaven, der ligger i at skabe TV-dramaer, der blandt andet sælges til Netflix, hvilket eksempelvis 'Ragnarok' og den seneste sæson af 'Borgen' er blevet det.Derudover iscenesatte Adam 'Den glade enke 2.0', oprindeligt komponeret i 1905 af østriske Franz Lehár, sammen med Kasper Holten i Den Kongelige Opera sidste efterår. Forestillingen havde premiere kort efter, at jeg havde talt med selvsamme Kasper Holten i Operaen, hvilket  selvfølgelig også kan høres her på kanalen. Rigtig god fornøjelse med episoden. Music: The Prelude Op. 28, No. 4 by Frédéric Chopin, performed by Paul Cantrell, http://inthehands.com

Two years ago last month, the great French (bass-)baritone Gabriel Bacquier died just four days short of his 96th birthday. At that time I offered a brief memorial tribute which opened my eyes to aspects of his artistry and voice with which I had been previously unfamiliar. Like his near-contemporary, the Italian baritone Tito Gobbi, Bacquier was one of the supreme actors of the operatic stage, whose voice coarsened somewhat over the course of his long career, even as his mastery as an actor and interpreter increased. By the time he retired, his repertoire consisted almost entirely of buffo parts. But in the earliest years of his career (and also like Gobbi), he possessed a baritone of velvety beauty that might surprise those who know only his later comic roles. This episode, which commemorates the second anniversary of Bacquier's death as well as his (posthumous) 98th birthday, focuses on the three different musical genres in which, in those early years, from 1953 through 1968, he excelled in equal measure: opera, of course, but also mélodie and operetta. The operatic portrayals represented include the title roles in Don Giovanni and Orphée et Eurydice; Zurga in Les Pêcheurs de perles; the Count in Le nozze di Figaro; Iago in Otello; Golaud; and his incomparable Scarpia, which he sang opposite every great Tosca of the 1960s with the exception of Callas. Complementing these live and studio recordings are recordings of melodies by Duparc, Fauré, Debussy, Ravel, and Poulenc; and operetta arias by Sigmund Romberg, Franz Lehár, Johann Strauss II, and Reynaldo Hahn, all deliciously sung in French. Vocal guest stars include Mirella Freni; Alain Vanzo; Bernard Demigny; Janine Ervil; Yvonne Gall, with whom Bacquier studied at the Conservatoire de Paris; and the late Renate Holm, the renowned German soubrette who died in April at the age of 90. In all this repertoire, Bacquier, who insisted on the appellation “acting singer” rather than “singing actor,” displays his commitment to clear yet full projection of text, which serves as a mirror into the music and not the other way around. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

The Merry Widow COMPOSER: Franz Lehar LIBRETTISTS: Viktorr Leon, Louis Stein SOURCE: L'Attache d'ambassade (1861) by playwright Henri Meilhac PRINCIPLE CAST: Mizzi Günther (Hanna), Siegmund Natzler (Baron Zeta), Louis Treumann (Danilo), Annie Wünsch (Valencienne) OPENING DATE: Dec 30, 1905 CLOSING DATE: Unknown PERFORMANCES: 483 SYNOPSIS: A prince from a small kingdom courts a wealthy widow to keep her money in the country. Both the cultural influences and the lasting artistic impacts of Franz Lehár's The Merry Widow are analyzed within the context of American musical theatre history. The comic operetta's success is attributed both to its timely approach to current public opinion and its artistic superiority when compared to contemporary populist entertainment. The Merry Widow's influence as a piece of art, a franchise, and a template for production are explored. In summation, Andrew Child looks at the ways The Merry Widow set the scene for the following decades of musical theatre on the world stage and notes the ways the libretto is revamped, revived, and reproduced for contemporary audiences today. Andrew Child is a multi-hyphenate artist whose work as a director, animator, choreographer, performer, and designer has been seen on stages and screens all over Boston, Argentina, and Italy. He has also worked as an arts writer with a focus on Boston's complete arts ecosystem and as a guest artist for institutions such as MIT, Emerson College, New England Conservatory, Clark University, and NYU. He has been quoted in the New York Times, Chicago Tribune, LA Times, and Boston Globe. He holds a degree in theatre arts from Brandeis University. SOURCES Learn more about your ad choices. Visit megaphone.fm/adchoices

Comment rendre hommage à Vienne sans faire résonner la musique de l'un des plus emblématiques de ses maîtres, Johann Strauss II? Portées par Alfred Eschwé et son Wiener Johann Strauss Orchester, ses valses et polkas seront bien présentes sous la Tente du Festival de Gstaad lors de ce grand gala final… mais elles seront loin d'être seules! Car la Vienne qui danse et qui s'amuse du 19e et du début du 20e siècle, c'était aussi les opérettes aux accents volontiers tziganes de Franz Lehár et Emmerich Kálmán, de même que les spectacles rose bonbon de Carl Zeller. Sans oublier Rudolf Sieczyński, Viennois d'origine polonaise – c'étaient les derniers feux de la mosaïque culturelle de l'immense empire des Habsbourg… – auteur de l'emblématique et inoxydable «Wien, du Stadt meiner Träume» [Vienne, ville de mes rêves], une chanson devenue iconique de la nostalgie de ces temps révolus. On peut compter sur Polina Pasztircsák et Dovlet Nurgeldiyev pour rendre ces pages de velours délicieusement… sucrées!

Wie kann man Wien seine Reverenz erweisen ohne Werke des «musikalischen Schädels in Europa», wie Richard Wagner Johann Strauss (Sohn) nannte, erklingen zu lassen? Alfred Eschwé und das Wiener Johann Strauss Orchester präsentieren seine Walzer und Polkas bei der grossen Abschlussgala im Festival-Zelt Gstaad. Doch damit nicht genug! Denn im tanz- und amüsierfreudigen Wien des 19. und frühen 20. Jahrhunderts begeisterten auch die Operetten von Franz Lehár und Emmerich Kálmán mit ihren Zigeunerklängen, oder die melodieseligen Stücke von Carl Zeller. Nicht zu vergessen Rudolf Sieczyński, ein Wiener mit polnischen Vorfahren, der Autor des unverwüstlichen Lieds «Wien, du Stadt meiner Träume» ist. Dieser Nachklang der kulturellen Vielfalt des riesigen Habsburger Imperiums bringt wie kaum ein anderes Programm die Sehnsucht nach einer längst vergangenen Zeit zum Ausdruck. Polina Pasztircsák und Dovlet Nurgeldiyev werden fraglos den rechten Ton für diese unvergänglichen Zeugnisse der leichten Muse finden.

A seven-time Tony Award nominee, actress and singer Kelli O'Hara won the 2015 Tony Award for Best Actress in a Musical for her performance in the Lincoln Center Theater revival of The King and I. She has also received Tony nominations for her performances in The Light in the Piazza, The Pajama Game, South Pacific, Nice Work If You Can Get It, The Bridges of Madison County, and Kiss Me, Kate. Kelli made her opera debut at The Metropolitan Opera in Franz Lehár's The Merry Widow in 2014. She also has many TV and film credits including Masters of Sex, 13 Reasons Why, Blue Bloods, and All My Children, and can currently be seen on TV in The Accidental Wolf and the new HBO series The Gilded Age.  Kelli may have studied opera at Oklahoma City University, but she opens up about why her true love is and always was Broadway, and how she often set herself into an “unusual size box” on Broadway in order to sing the way she felt most comfortable. She notes how performers are starting to take better care of themselves through both action and words, and shares why the shift to sharing roles more often with understudies, swings, covers, and standby's sounds “delicious”. Kelli also chats about all things The Gilded Age, from lessons in using cutlery appropriately for the period, to where they filmed, to why she feels the shooting schedule is supportive of a family.  In this episode, we talk about: Differences between Broadway and Opera performance schedules   Having two babies while starring on Broadway  Working on The Gilded Age with other seasoned Broadway performers  Her children's artistic talents and interests Connect with Kelli Twitter: @kelliohara IG: @kelliohara Watch The Gilded Age on HBO Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

For London-born AUSCHWITZ survivor LEON GREENMAN it was after the HOLOCAUST that he said his nightmare really began. Every day was an agonising struggle for survival. To mark HOLOCAUST MEMORIAL DAY 2022, the UCL CENTRE FOR HOLOCAUST EDUCATION, has created a podcast reflecting on Leon's life and work, and the daily trauma of his survival. Leon passed away in 2008 at the grand age of 97. RUTH-ANNE LENGA, Associate Professor (Teaching) and Programme Director, UCL CENTRE FOR HOLOCAUST EDUCATION, was privileged to be with him at that moment. Ruth-Anne's long friendship with Leon gave her – and in turn the Centre – a rare insight into how he lived with the trauma of the past and what drove him to become a force for good despite the suffering he had endured. Leon's mission was to bear witness so that atrocities, such as the Holocaust, would never happen again. He spoke to thousands and thousands of people, especially young people, over his lifetime, and his testimony and humour shaped many of their lives. He also spoke to many teachers-in-training at the INSTITUTE OF EDUCATION (IOE) - UCL'S FACULTY OF EDUCATION AND SOCIETY, and the experience left a lasting impression that has stayed with them through their careers. PRESENTER | Ruth-Anne Lenga, Associate Professor (Teaching) & Programme Director, UCL Centre for Holocaust Education. ARCHIVE AUDIO | Testimony of Leon Greenman, licensed courtesy of USC Shoah Foundation. CONTRIBUTORS | Vicky O'Kelly, Head of RE & PSHE, Verulam School | Jack Scholes, Lytham St Anne's High School. MUSIC | "With A Song In My Heart", Rodgers/Hart, licensed courtesy of Warner Chappell/Concord & performed by Leon Greenman | Franz Lehár "Das Land des Lachelns (The Land of Smiles), Act II: Dein ist mein ganzes Herz!" Performed by Richard Tauber (tenor), Berlin Staatskapelle & Franz Lehár, (conductor), licensed courtesy of Jube Classic. COVER IMAGE | Photograph of Leon Greenman © Joel Redman. PRODUCTION | ChromeRadio (http://www.chromemedia.co.uk/) for UCL Centre for Holocaust Education (https://holocausteducation.org.uk/) | Producer - Catriona Oliphant | Assistant Producer - Corey Soper, Lecturer, UCL Centre for Holocaust Education | Post-production - Catriona Oliphant & Chris Sharp.

durée : 01:30:03 - Festival d'Archives - par : Benoît Duteurtre - "Festival d'Archives Avec les interviews de Francis Lai, Pierre Barouh Les voix d'Yvonne Printemps, Franz Lehár, Pauline Carton Et les grands orchestres de Serge ElhaÏk en 2e partie" - réalisé par : Davy Travailleur

Franz Lehárs letztes Musiktheaterwerk "Giuditta" aus dem Jahr 1934 wird mal als "Spieloper", mal als "Musikalische Komödie" oder auch als "Operette" betitelt. Am 18. Dezember erlebte "Giuditta" an der Bayerischen Staatsoper ihre Erstaufführung in einer Fassung von Regisseur Christoph Marthaler, der Lehárs Komposition mit Orchestermusiken und Liedern von seinen Zeitgenossen wie Arnold Schönberg, Erich Wolfgang Korngold oder Dmitri Schostakowitsch durchbricht.

Die subjektive, leicht beschwipste Opernkritik Linda Becker und Kathi Roeb haben in HOW TO OPER – DER PODCAST FÜR NEULINGE UND NEUGIERIGE die Neuproduktion von Franz Lehárs Musikalischer Komödie GIUDITTA an der Bayerischen Staatsoper begleitet. Wer nun auch ihre Meinung zum fertigen Stück hören will, bekommt diese im Kurz-Podcast „Spoiler“ – dort folgt eine subjektive und emotionale Opernkritik der beiden – direkt nach der Premiere am 18. Dezember 2021 im Münchner Nationaltheater. FRAGEN, ANREGUNGEN, IDEEN? Schreibt Kathi und Linda: how-to-oper@staatsoper.de

Diese Liebesgeschichte ist ein Zeitpanorama von 1920-35! Wie klingt eine Liebe? Wie eine ganze Zeit? Giuditta war ein sensationeller Erfolg, mehr als 120 Radioanstalten sendeten 1934 die Uraufführung der Spieloper von Franz Lehár in die Welt hinaus. Ein italienischer Hauptmann, dem das Leben betont lebenswert erscheint, verliebt sich, verlässt die Geliebte, weil er in ein Militärkommando nach Libyen zieht. Die Liebe zerbricht an dieser Entscheidung. Für immer. Die Münchner Neuinszenierung verbindet und verblendet dieses Werk mit anderen künstlerischen Reaktionen auf die damalige Zeit von Kollegen Lehárs, nicht als Demontage. Nein, Montage! Christoph Marthalers Radikalität bedeutet radikale Poetisierung. So landet das Stück bei uns im Heute. Was das alles bedeuten soll und warum Ödön von Horváth eine so bedeutende Rolle spielt, das alles ist im Audiofeature der Bayerischen Staatsoper nachzuhören. Autor und Sprecher: Holger Noltze Sprecher: Malte Ubenauf, Thomas Anzenhofer Schnitt: Sven Eckhoff Dramaturgie und Projektleitung: Christopher Warmuth

Am 18. Dezember wird erstmals an der Bayerischen Staatsoper Franz Lehárs letzte Operette "Giuditta" Premiere feiern. Wie ein DJ mixt Regisseur Christoph Marthaler für seine "Giuditta"-Version die Musik von Franz Lehár mit Werken von Arnold Schönberg und Erich Wolfgang Korngold. Geht das Operetten-Experiment auf?

Ein Bühnenbild zwischen Wes Anderson-Film und Hipster-Treffen und eine Schlussszene so wehmütig wie La La Land: In der zweiten Folge HOW TO OPER finden Kathi und Linda heraus, was die Neuproduktion GIUDITTA besonders macht – Gesangseinlage von Kathi unter der Dusche inklusive. Die Spieloper von Franz Lehár feiert am 18. Dezember 2021 Premiere in München. FRAGEN, ANREGUNGEN, IDEEN? Schreibt Kathi und Linda: how-to-oper@staatsoper.de

Nigel Simeone chooses his favourite recording of Lehar's The Merry Widow. The Merry Widow by the Austro-Hungarian composer Franz Lehár is one of the most popular operettas in the repertoire. It's the story of a fabulously rich widow, and the political shenanigans involved in making sure her fortune stays in the principality by finding her the right husband. Since its 1905 premiere in Vienna, it continues to captivate and charm audiences with its tuneful score, including hits such as the "Vilja Song", "You'll Find Me at Maxim's" and the "Merry Widow Waltz". Presented by Andrew McGregor.

A cura di Paolo PellegriniFranz Lehar - LA VEDOVA ALLEGRA – Venezia, T. la Fenice 14 febbraio 1988personaggiAnna, RAINA KABAIWANSKADànilo, ARMANDO ARIOSTINICamille, MAX RENE' COSOTTIValencienne, NUCCIA FOCILEMirko Zeta, SILVANO PAGLIUCA / Raoul, IORIO ZENNAROBogdanovich, CARLO GAIFA / Njegus, ELIO PANDOLFISilviana, DONELLA DEL MONACO / Olga, CRISTINA MANTESEOrch. e Coro della Fenice – direttore JAN LATHAM KONIG

Xin chào các bạn, hôm nay, ngày 30 tháng 4 có rất nhiều sự kiện đã diễn ra, mời các bạn theo dõi trên A Week TV: SỰ KIỆN 1789 - Trên ban công của trường liên bang trên Wall Street ở thành phố New York, George Washington có những tuyên thệ nhậm chức để trở thành người đầu tiên được bầu trở thành Tổng thống Hoa Kỳ . 1812 – Lãnh thổ Orleans trở thành tiểu bang thứ 18 của Hoa Kỳ với tên Louisiana. 1945 – Adolf Hitler và Eva Braun cùng tự sát sau khi kết hôn chỉ được một ngày. Liên Xô cắm quốc kỳ trên nóc Tòa nhà quốc hội Đức. 1925 - Nhà sản xuất ô tô Dodge Brothers, Inc được bán cho Dillon, Read & Co. với giá 146 triệu USD cộng với 50 triệu USD làm từ thiện. 1948 - Tại Bogotá , Colombia, Tổ chức các Quốc gia Châu Mỹ được thành lập. Tổ chức này còn được gọi là OAS hoặc OEA , là một tổ chức liên chính phủ khu vực Mỹ Latinh có trụ sở đặt ở Washington, DC, Hoa Kỳ, gồm 34 thành viên . 2019 – Nhật hoàng Akihito thoái vị. Ngày lễ và kỷ niệm Ngày thống nhất đất nước Sinh 1777 - Carl Friedrich Gauss , là một nhà toán học và nhà khoa học người Đức tài năng, người đã có nhiều đóng góp lớn cho nhiều lĩnh vực khoa học, như lý thuyết số, giải tích, hình học vi phân, khoa trắc địa, từ học, tĩnh điện học, thiên văn học và quang học. (mất năm 1855) 1870 – Franz Lehár, là nhà soạn nhạc người Áo gốc Hungary. Ông là một trong những nhà soạn nhạc sống trong sự chuyển giao giữa âm nhạc Lãng mạn và Hiện đại. Ông được biết đến với những vở operetta, trong đó thành công nhất và nổi tiếng nhất là Bà quả phụ vui tính. (m. 1948) 1911 – Phùng Há, tên thật là Trương Phụng Hảo, là nghệ sĩ nổi tiếng người Việt gốc Hoa. Bà được xem là một trong những vị tổ của bộ môn nghệ thuật cải lương Việt Nam cùng với nghệ sĩ Bảy Nam. (m. 2009) 1795 - Jean-Jacques Barthélemy , nhà khảo cổ học và tác giả người Pháp (sinh năm 1716) người trở thành người đầu tiên giải mã một ngôn ngữ đã tuyệt chủng. Ông giải mã bảng chữ cái Palmyrene vào năm 1754 và bảng chữ cái Phoenicia vào năm 1758. 1958 – Lương Chi Mai, là một nhà khoa học trong lĩnh vực khoa học máy tính người Việt Nam, Phó Viện trưởng Viện Công nghệ thông tin, một trong hai người đoạt giải thưởng Kovalevskaya năm 2010. Mất 1063 – Triệu Trinh, tức Tống Nhân Tông, hoàng đế của triều Tống, tức ngày Tân Mùi (29) tháng 3 năm Quý Mão (s. 1010) 1960 – Nguyễn Lộc, là một tôn sư võ thuật, người sáng lập môn võ Vovinam" 2000 – Poul Hartling, Thủ tướng Đan Mạch (s. 1914) 2009 – Nguyễn Văn Tuyên, nhạc sĩ người Việt Nam. Ông được coi là người khai sinh ra nền tân nhạc Việt Nam, nghệ sĩ đầu tiên sáng tác và trình diễn Tân nhạc trước công chúng.(s. 1909) --- Send in a voice message: https://anchor.fm/aweek-tv/message

Dr John Rigby studied orchestral conducting at the University of Huddersfield and the Royal Northern College of Music. He gained his PhD from King's College London having researched the cultural resonances of Franz Lehár's ‘Berlin' operettas during the Weimar Republic. He also holds an honorary Doctor of Arts from Edge Hill University in recognition of his work in musical theatre and conducting.As a musical supervisor his credits include: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (Palladium); SCHOOL OF ROCK (London, US Tour, Australia, Korea); THE PHANTOM OF THE OPERA (25th Anniversary UK and US Tours); JESUS CHRIST SUPERSTAR (World Arena Tour & DVD); LES MISERABLES (Korea); MISS SAIGON (London, cinema release & DVD); THE PRODUCERS (UK Tour) and THE KING AND I (UK Tour). As a musical director his West End credits include: Christopher Wheeldon's AN AMERICAN IN PARIS (Dominion & cinema release) BEAUTIFUL AND DAMNED (Lyric); THE DROWSY CHAPERONE (Novello); THE KING AND I (Palladium); THE LAST EMPRESS (Apollo, Hammersmith); MARGUERITE (Theatre Royal, Haymarket); LES MISÉRABLES (Palace & Queens); THE PHANTOM OF THE OPERA (Her Majesty's); PETER PAN (Savoy); THE PIRATES OF PENZANCE (Savoy); THE PRODUCERS (Theatre Royal, Drury Lane) and SINATRA (Palladium). Additionally, he was musical director for the German productions of MISS SAIGON (Stuttgart) and STARLIGHT EXPRESS (Bochum). He also recently conducted and supervised the workshops for Andrew Lloyd Webber's 2018 reworking of STARLIGHT EXPRESS at The Other Palace, London.His opera credits include: Judith Weir's THE BLACK SPIDER(Huddersfield Contemporary Music Festival); CARMEN JONES (Royal Festival Hall); CAROUSEL (Opera North); DIE FLEDERMAUS (Opera Holland Park); MADAMA BUTTERFLY (Lyric Opera, Dublin); and most recently CHESS (English National Opera).John is extremely active on the concert platform as both a conductor and presenter and the numerous orchestras he has worked with include: the Berliner Symphoniker, Royal Philharmonic Orchestra, BBC Concert Orchestra, City of London Sinfonia, CBSO, Dublin Concert Orchestra, Hallé Orchestra, Ulster Orchestra, London Philharmonic Orchestra, London Concert Orchestra, Manchester Concert Orchestra, Royal Philharmonic Concert Orchestra, Royal Liverpool Philharmonic Orchestra, RSNO, Scottish Concert Orchestra, RTÉ Concert Orchestra, RTÉ Symphony Orchestra and the orchestras of both Welsh National Opera and Opera North. He has appeared as a conductor of BBC Radio 2's FRIDAY NIGHT IS MUSIC NIGHT and is also conductor of the famous CLASSICAL SPECTAUCULAR concerts for Raymond Gubbay. He recently conducted the sell-out concerts of 2 CELLOS at the London Palladium and the Royal Albert Hall, as well as ANDREW LLOYD WEBBER'S 70th BIRTHDAY CONCERT with the Royal Philharmonic Concert Orchestra.Future plans include supervising the Russian premiere of CHESS in Moscow in October 2020, Andrew Lloyd Webber's new musical, CINDERELLA, which will open in London in spring 2021, and the return of JOSEPH to the London Palladium in summer 2021.He has been awarded an honorary Doctor of Arts from Edge Hill University in recognition of his work in musical theatre and conducting.

The singers Jan Kiepura and Marta Eggerth were a musical dream couple and superstars in the early days of recorded sound and music film. Their younger son, Marjan Kiepura, and his wife Jane Knox-Kiepura tell us about their careers before and after American exile, from serenading fans outside the Vienna State Opera to performing Franz Lehár's “The Merry Widow” in Polish for audiences in Chicago.Show Notes: *2:33 – Marta's musical beginnings in Budapest *5:04 – the secret to maintaining a nine-decade career *7:15 – [musical excerpt: “Neopolitan Duet” from Lehár's “Der Zarewitsch”] – waltzing offstage on Broadway *12:31 – making the transition from Europe to the U.S. Musical excerpts from provided courtesy of Marjan Kiepura and Jane Knox-Kiepura. To hear more, visit our website https://www.insideoutmedia.digital/conversations  Intro and outro composed and performed by Miguel Kertsman

Welcome to Caroline Miller and Elizabeth van Os of the Pleiades Project that is based in New York. Their project focuses on telling the various different facets of women's stories which are often neglected in the general operatic canon. Caroline Miller is a “warm soprano [with] emotional bite,” praised as a compelling singer-actor with vocal flexibility and dramatic intensity, who is “especially adept at comedy.” In the 2019-2020 season, Caroline was a Resident Artist with Toledo Opera, appearing as Gretel in Hansel and Gretel vs the Witch, the Plaintiff in Gilbert and Sullivan's Trial by Jury (canceled due to COVID-19) and Lady-In-Waiting and First Witch in Monk Tarrots' new production of Verdi's Macbeth. In the 2022-2023 season, Caroline returns to Toledo Opera as Valencienne in Franz Lehár's The Merry Widow.Caroline is Co-Founder & Artistic Director of The Pleiades Project, a non-profit organization dedicated to championing women's stories through opera, film and original music-theater projects. With The Pleiades Project, Caroline has expanded her artistic talents outside of performance, embracing her interdisciplinary skills as a director, writer, programmer and producer.Caroline has a BA in English Literature and Music from Washington University in St. Louis and an MM in Vocal Performance & Literature from Eastman School of Music.  Caroline's website: www.carolinemillersoprano.comInsta: @millercarliFacebook: @carli.millerMost recent solo project/premiere: https://invision.inseries.org/full-feature/aberSoprano Elizabeth Van Os is one of New York City's most dynamic performers, making waves not only as soloist and ensemble member but also as a co-founder of the non-profit Pleiades Project. For her efforts, the opera-zine parterre took notice of her “striking impression,” with additional praise from Voce di Meche for her “lovely, affecting” voice and “justifiable passion.”A lover of concert work, Elizabeth has appeared as soloist with the American Symphony Orchestra, the Berkshire Bach Society, The Astoria Choir, the Collegiate Choir, Ars Musica, and more. In opera, notable roles have included that of Marguerite in Faust and Mimi in La Bohéme, both as Sing Through Central productions. She is a regular invited guest at the Bard SummerScape festival, where she has performed in productions like Anton Rubenstein's Démon, Dvorâk's Dimitrij, Pietro Mascagni's Iris, and Dame Ethel Smyth's Wreckers.With an eye towards growing the repertoire, Van Os's career has a particular focus on collaboration with select contemporary music composers, including recent premieres of work by Matthew Brown with The Astoria Choir, and Katherine Hoover, where she was a featured soloist with the New York Virtuoso Singers. Offstage, Van Os creates new performance opportunities for female artists as the co-founder of The Pleiades Project, a non-profit production company.Elizabeth Van Os was born as Elizabeth Smith in Wendell, Idaho. She holds a Master of Music degree from the Eastman School of Music, and a Bachelor of Music degree from Brigham Young University in Idaho. Elizabeth's website: elizabethvanos.comPhotography Website: https://eavphotography.cominsta: @misselizabetkatwitter: @misselizabetkahttps://www.facebook.com/elizabethvanossopranoThe Pleiades ProjectWebsite: www.thepleiadesproject.comMost recent premiere/short film: https://invision.inseries.org/series/the-pleiades-project-german-romantics

After seven months of lockdown due to COVID-19, on January 5 Opera Australia's performances will resumes at the Joan Sutherland Theatre in Sydney with four masterpieces loved by audiences around the world: Franz Lehár's "La Vedova Allegra", Giacomo Puccini's "Tosca", "Bluebeard's Castle" by Béla Bartók and "Ernani" by Giuseppe Verdi, the latter in co-production with La Scala of Milan. - Dopo sette mesi di forzata chiusura a causa del COVID-19, il 5 gennaio riprende all'Opera House di Sydney la stagione lirica di Opera Australia con "La Vedova Allegra" di Franz Lehár, la Tosca di Giacomo Puccini, Il Castello di Barbablù di Béla Bartók e Ernani di Giuseppe Verdi, quest'ultima in co-produzione con La Scala di Milano.

Angeblich war es ein Kleriker, der Johannes Silberschneider dazu brachte, Schauspieler zu werden. Jetzt ist Silberschneider als Conférencier beim Münchner Rundfunkorchester, im Konzert am 21. Oktober zu einem Programm rund um Franz Lehárs Operettenhits. Das lässt das Herz des Österreichers höher schlagen.

Er ist einer der berühmtesten Operetten-Komponisten: Franz Lehár. Seine Operette «Die lustige Witwe» ist nach wie vor ein Verkaufsschlager. Und: 2020 ist auch Franz-Lehár-Jahr. Am 30. April 2020 jährte sich Lehárs Geburtstag zum 150. Mal. Grund genug, seine Operette unter die Lupe zu nehmen, mit der er 1905 seinen grossen Durchbruch in der Musikstadt Wien feiern konnte: «Die lustige Witwe». Darin geht es um den Umgang der Geschlechter miteinander, um versteckte Liebschaften und um eine reiche Witwe, die neu verheiratet werden soll. Fünf verschiedene Aufnahmen diskutiert Jenny Berg mit ihren beiden Gästen, der Sängerin Maya Boog und der Regisseurin Julia Hölscher.

Today is the final episode of the Crossover Classics series and the final episode of Season One of Countermelody. The subject is US-American singers who spent significant portions of their lives and careers in Europe. I begin with an historical survey of early Twentieth Century singers who emigrated from the US to Europe (Geraldine Farrar, Mary Lewis) as well as from Europe to the US (Jarmila Novotná, Lotte Lehmann). Singers are featured in operetta (Barry McDaniel, Donald Grobe, Arlene Saunders), musicals (Reri Grist, Tatiana Troyanos, Wilbur Evans, Robert Trehy, Maria Ewing), jazz (Margaret Tynes, Charles Holland, Shirley Verrett), and pop, soul, and schlager (Lawrence Winters, Anna Moffo, Kenneth Spencer, Grace Bumbry, Felicia Weathers). The range of composers represented is enormous, from Cole Porter to Carrie Jacobs-Bond to Jimmy Webb to Rodgers and Hammerstein to ABBA to Duke Ellington to Gilbert Bécaud to J.B. Lenoir to Franz Lehár. The tone ranges from tongue in cheek to dead serious, from the quasi-bel canto pop vocalism of Muriel Smith to the intimate, Lieder-like shadings of Roberta Alexander to the raw blues stylings of Barbara Hendricks. Tune in next week for an sneak preview of Season Two. 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.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available!

Caroline Miller and Mary Cloud, two opera singers join the podcast this week, and you’re probably thinking, what does opera have to do with politics? Well, turns out - A LOT!!Where would we be now without the insight and hope gained from the arts, especially generated by young people? Off The Beaten Path had the joy of presenting such gifts last fall in the extraordinary concert by the Sphinx Virtuosi ensemble. They gave us our inaugural theme: “For Justice and Peace.” We thank them for that inspiration. We turn a new page with a virtual presentation of a perhaps overlooked celebration of justice: 100 years of Women’s Suffrage in the US. The 2019-20 Toledo Opera Resident Artists are ending their year in Toledo (and at St. Michael’s in the Hills choir) with a burst of creativity, celebration, and learning. Join us for a virtual treat in the series of videos that tell the story, “Nevertheless She Persisted.” The virtual concert will be a three part series. Tune in on August 12, 19, and 26th on the St. Michaels in the Hills FB page to hear "Nevertheless She Persisted".About Our GuestsCaroline Miller is a “warm soprano [with] emotional bite,” praised as a compelling singer-actor with vocal flexibility and dramatic intensity, who is “especially adept at comedy.” In the 2019-2020 season, Caroline was a Resident Artist with Toledo Opera, appearing as Gretel in Hansel and Gretel vs the Witch, the Plaintiff in Gilbert and Sullivan's Trial by Jury (canceled due to COVID-19) and Lady-In-Waiting and First Witch in Monk Tarrots' new production of Verdi's Macbeth. In the 2020-2021 season, Caroline returns to Toledo Opera as Valencienne in Franz Lehár’s The Merry Widow.Caroline is Co-Founder & Artistic Director of The Pleiades Project, a non-profit organization dedicated to championing women's stories through opera, film and original music-theater projects. With The Pleiades Project, Caroline has expanded her artistic talents outside of performance, embracing her interdisciplinary skills as a director, writer, programmer and producer. She produced and starred in the short-film Così, excerpted from W.A. Mozart's Così fan tutte, which was named an official selection of the NY Indie Theatre Film Festival. Caroline directed the entirety of the 24 Series, a collection of videos based on the 17th and 18th-century song collection, Twenty-Four Italian Songs & Arias. For the 2020-2021 season, Caroline will premiere A Women's Suffrage Splendiferous Extravaganza!, a vaudevillian revue celebrating and problematizing the US women's suffrage movement, through a generous grant from the Lower Manhattan Cultural Council.Caroline has a BA in English Literature and Music from Washington University in St. Louis and an MM in Vocal Performance & Literature from Eastman School of Music. She resides in Washington Heights with her bluegrass-playing husband and her un-impressed pitbull Maya.Mary CloudOne of the amazing artists that will be singing in our virtual concert is Mary Cloud, a mezzo-soprano from Atlanta, Georgia. She was Lady to Lady Macbeth and was a Toledo Opera Resident Artist for the 2019-2020 season as well as a member of our St. Michael’s choir. Ms. Cloud performed the role of Despina (Così fan tutte) at the Hawaii Performing Arts Festival and the Metro Detroit Opera Workshop. She also sang the role of the Second Lady (Die Zauberflöte) at the Hawaii Performing Arts Festival. She holds degrees from Loyola University, New Orleans (MM) and Indiana University, Bloomington (BM).This is a Girl’s Girls Media Production.Want more? Join our community at www.girlsgirlscommunity.com.Got questions? Send them to wevegotissuespod@gmail.comLike the Show? Leave us a Review on iTunes.

„Dein ist mein ganzes Herz“ heißt das neue Lesebuch zu Franz Lehár, das anlässlich seines 150. Geburtstags erschienen ist. In dem Buch werden Aspekte zu Leben und Werk des Komponisten aufgegriffen, dessen Karriere im Eiltempo verlief: Er spielte zunächst Geige, stieg zum jüngsten Kapellmeister der k.& k.-Armee auf und begann Operetten zu komponieren. Die 1905 in Wien uraufgeführte „Lustige Witwe“ markiert einen Höhepunkt: Léhar präsentierte eine neue Form der Operette mit enormer stilistischer Bandbreite – und landete einen Welt-Hit. Christoph Vratz mit Lektüreeindrücken.

Last week we had such an overflowing of vocal, artistic, and personal charm that I was compelled to produce a second episode on the subject with a fresh batch of charmers. We begin the episode with a tribute to Gabriel Bacquier, the iconic French (bass-)baritone who died this past week just four days short of his 96th birthday. I feature him in three rare selections that represent him in repertoire which is a far cry from his operatic roles. I then resume the survey of charm as demonstrated by artists as varied as Conchita Supervia, Joséphine Baker, Hilde Güden, Ella Fitzgerald, Yvonne Printemps, John McCormack, Lois Marshall, Charles Trenet, Lucrezia Bori, Lily Pons, Hermann Prey, Dusolina Giannini, Tito Schipa, Richard Tauber, Julie Andrews, Julius Patzak, Maria Kurenko, Judith Blegen, Danny Kaye, Marta Eggerth, Elisabeth Schumann, Fritzi Massary, Maxine Sullivan, Magda Kalmár, Ella Logan, Dorothy Warenskjold, Aksel Schiøtz, Erich Kunz, and Lucia Popp. Repertoire ranges from operetta (including Franz Lehár in three different languages), folk song arrangements, musicals, art song, pop music, and children’s songs. Amazingly, opera is nowhere to be seen in this episode, but that will certainly change in the next week, when we take up consideration of Charm’s cousin, Glamour. Countermelody is a podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. 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 interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.

Am 30. April 2020 feiert der Komponist Franz Lehár seinen 150. Geburtstag. Er beherrscht bis heute die Spielpläne der Opernhäuser weltweit und eins seiner Werke hat es sogar auf die Leinwand geschafft: Die Operette „Die Lustige Witwe“. Das Jubiläum war für Theaterwissenschaftler Stefan Frey ein Grund, seine neue Lehár-Biographie zu veröffentlichen, in der es um weit mehr als den bekannten Operettenschlager geht.

Auch ihn feiern wir in diesem Jahr: Franz Lehár. Der vor 150 Jahren geborene Komponist schuf mit "Die lustige Witwe" eine neue Form der Operette und gehört - neben Jacques Offenbach oder Johann Strauß - zu den prägenden, aber auch umstrittenen, Figuren der Operette des 20. Jahrhunderts. Stefan Frey hat sich mit der bewegenden Lebensgeschichte des Operettenkönigs beschäftigt. Kai Luehrs-Kaiser stellt die Biografie vor.

Er ist einer der berühmtesten Operetten-Komponisten: Franz Léhar. Seine Operette «Die lustige Witwe» ist nach wie vor ein Verkaufsschlager. Und: 2020 ist auch Franz-Léhar-Jahr. Am 30. April 2020 jährt sich Léhars Geburtstag zum 150. Mal. Grund genug, seine Operette unter die Lupe zu nehmen, mit der er 1905 seinen grossen Durchbruch in der Musikstadt Wien feiern konnte: «Die lustige Witwe». Darin geht es um den Umgang der Geschlechter miteinander, um versteckte Liebschaften und um eine reiche Witwe, die neu verheiratet werden soll. Fünf verschiedene Aufnahmen diskutiert Jenny Berg mit ihren beiden Gästen, der Sängerin Maya Boog und der Regisseurin Julia Hölscher.

Am 30. April feiert die Operettenwelt den 150. Geburtstag von Franz Lehár. Aus Österreich kommt dazu ein neues Buch: der Sammelband "Dein ist mein ganzes Herz". Einer der Autoren ist Michael Lakner, der das Lehár Festival in Bad Ischl viele Jahre lang geprägt hat.

Am 24. Februar hat BR-KLASSIK die Operette im Martinipark in Augsburg ordentlich hochleben lassen. "Die wilden 20er" war das Motto, und zudem wurde der 150. Geburtstag von Franz Lehár gefeiert. BR-KLASSIK-Redakteurin und Operettenfachfrau Franziska Stürz hat den Abend zusammen mit Stefan Frey moderiert.

Saksa lavastaja ja kunstnik Thomas Mika toob Rahvusooperis Estonia lavale Franz Lehári ooperi "Krahv Luxemburg".

Saksa lavastaja ja kunstnik Thomas Mika toob Rahvusooperis Estonia lavale Franz Lehári ooperi "Krahv Luxemburg".

Franz Lehárs "Lustige Witwe" ist eine der erfolgreichsten und am meisten aufgeführten Operetten. Am Staatstheater Augsburg hat nun die Regisseurin Andrea Schwalbach das Stück neu inszeniert. BR-KLASSIK war am 7. Dezember bei der Premiere. Die Begeisterung hielt sich in Grenzen.

O sétimo episódio do Podcast Theatro Municipal é inteiramente dedicado à produção que encerra a temporada lírica 2019 no Theatro Municipal de São Paulo: a opereta 'A Viúva Alegre', composta pelo austríaco Franz Lehár em 1905. A apresentadora Ligiana Costa bate um papo divertido com o ator, diretor e dramaturgo Miguel Falabella, que assina a tradução, versão e direção cênica desta montagem inédita, e conversa também com solistas da opereta e com o diretor artístico do Theatro Municipal, Hugo Possolo.

Liebe Hörerinnen und Hörer! Heute geht es weiter vom Leschetizky Gala Konzert mit: "Lippen schweigen" aus der Operette "Die Lustige Witwe" von Franz Lehár (1870-1948) Dirigent: Peter Ritzen Orchester: New Cosmos Philharmonics Mehr erfährt ihr hier: www.leschetizky.com Viel Freude beim Hören! Eure, Barbara Marie-Louise Pavelka P.S: Falls ihr meinen Podcast und Kulturverein unterstützen möchtet, könnt ihr das hier tun: A Lyrical Singers Life - Kulturverein IBAN AT16 2011 1839 7351 0200 BIC GIBAATWWXXX --- Send in a voice message: https://anchor.fm/a-lyrical-singers-life/message

Cronache da Bari: al Petruzzelli in scena la Valchiria di Richard Wagner. A Roma, la prima de La Vedova Allegra di Franz Lehàr

Hvað er að gerast Í New York um helgina. Þar er vetrarfrí framundan í skólum, örtröð er á flugvöllum, margir ætla á skíði - aðrir halda til Mexíkó. Þau sem verða eftir í borginni sem aldrei sefur geta notið menningar og skemmtana ýmiskonar. Freyr Eyjólfsson sendi okkur póstkort frá New York. - Fyrirtæki, stofnanir og opinberir aðilar þurfa í vaxandi mæli að mæta kröfum um sjálfbærni - í heimi þar sem auðlindir eru takmarkaðar og leita þarf umhverfisvænna og siðferðislega viðurkenndra leiða. Sjálfbærni er ekki bara samfélagsleg krafa, heldur ætti sjálfbærni að vera arðbær. Íslendingar eru á eftir mörgum þjóðum í þessum efnum - þjóðum sem við viljum bera okkur saman við. En það er margt að gerast og þegar hafa mörg íslensk fyrirtæki náð eftirtektarverðum árangri. Circular Solutions heitir fyrirtæki sem aðstoðar þá sem til þeirra leita við að auka sjálfbærni í rekstri - leita lausna með nýjustu tækni. Hafþór Ægir Sigurjónsson, einn stofnenda fyrirtækins, og Bjarni Herrera Þórisson, framkvæmdastjóri Circular Solutions, sögðu frá. - Oflækningar á norrænum ferðamönnum er reglulega til umræðu í skandinavísku pressunni. Heilbrigðisstarfsmenn á Spáni, Taílandi og víðar stunda það að gera dýrar rannsóknir á minniháttar brotum eða veikindum hjá norrænum ferðamönnum, enda eru þeir alla jafna vel tryggðir. Kristján Sigurjónsson, ritstjóri Túrista.is, segir enga ástæða til annars en að ætla að íslenskir ferðamenn hafi kynnst þessu líka. Í ferðaspjalli dagsins ræddum við líka hvort tími risaþotunnar sé að renna sitt skeið, heyrðum af framboði sólarlandaferða og vopnaleit á flugvöllum: Ótrúlega margar hlaðnar byssur eru teknar af farþegum á leið um bandaríska flugvelli. - Föstudagsgestur Morgunvaktarinnar er frá Úkraínu þar sem hún lauk námi í óperusöng og kennslu, en hefur sannarlega látið til sín taka á Íslandi - með söng, listrænu starfi og kennslu. Hún hefur komið fram og sungið víða um lönd, unnið keppnir og hlotið margskonar verðlaun og viðurkenningar. Eftir að hún fluttist til Íslands hefur hún víða tekið til hendi - bætt við sig prófgráðu, sungið og kennt söng - stofnað söngskóla, Óperu Skagafjarðar, stýrði stúlknakórnum Draumaraddir norðursins, gefið út hljómdiska - og svona mætti áfram telja. Hún heitir Alexandra Chernyshova, af úkraínskum og rússneskum ættum, en hefur sannarlega látið til sín taka á Íslandi, kennir nú tónlist í Vogum, og sinnir fjölbreytum verkefnum. Alexandra kemur fram í Hannesarholti um helgina. Hún söng fyrir hlustendur aríuna Dein ist mein ganzes herz eftir Franz Lehár. - Önnur tónlist: Alicia Key

Det är inte alla framgångsrika kompositörer förunnat, att lyckas skriva en opera, som lever kvar under århundraden. Franz Schubert, Robert Schumann och Franz Lehár tillhör den skara som försökt. Att vara framgångsrik kompositör inom en genre, betyder självfallet inte per automatik att tonsättningar utanför just de ramarna blir en succé. Men exempel på starka ambitioner finns det gott om i musikhistorien. Franz Schubert komponerade flera operor, men de nådde aldrig samma höjder som hans övriga verk. Richard Wagner försökte å sin sida skriva liedkompositioner, men de nådde inte samma klass som hans operor. I veckans avsnitt lyssnar vi på tonsättningar som sträcker sig utanför den genre som kompositörerna blivit ihågkomna för. Veckans gäst Jonas Samuelsson är verksam som baryton vid Malmö opera. Utöver det arbetar han som dirigent och producent. Avsnittet sänds i repris tisdagen den 18 december kl. 14.56 i P2.

"Meloodika"seekordses saates tuleb juttu austria-ungari päritolu helilooja Franz Lehàri operetist "Lõbus lesk".

"Meloodika"seekordses saates tuleb juttu austria-ungari päritolu helilooja Franz Lehàri operetist "Lõbus lesk".

Este es un programa diferente a todos los demás. Nos encontramos en el fin de temporada y hemos decidido celebrarlo por todo lo alto. Para esta ocasión hemos elegido no una ópera, sino una opereta: 'La viuda alegre' de Franz Lehár.Nos vamos de fiesta al principado -ficticio- de Pontevedro en París, allí nos recibe el embajador, el Barón Zeta.  Él es, además, el encargado de conseguir que una rica viuda pontevedrina se case con un compatriota y no con un francés. Las autoridades tienen miedo a que todo ese dinero de la viuda acabe fuera de sus fronteras y el Barón Zeta se ve obligado a ejercer de Celestina.En este podcast tenemos la suerte de escuchar en directo la soprano Èlia Casanova, que nos canta dos temas de su próximo disco, entrevistamos al director artístico del Teatro Real, Joan Matabosch, y contamos con la presencia del humorista Carlos Iribarren.¡Cerramos la Ópera hasta la próxima temporada!

Am 3. Februar hatte Franz Lehárs "Graf von Luxemburg" am Landestheater Niederbayern in einer Inszenierung von Stephen Medcalf Premiere. Der britische Regisseur verzichtete nicht auf die eine oder andere Brexit-Andeutung, hielt sich aber insgesamt mit aktuellen politischen Anspielungen zurück.

Sarjas ‟Meloodika” jõuab pühadeperioodil eetrisse viis uut osa. Neljapäeval, 21. detsembril kell 21 on fookuses igihaljas Franz Lehàri operett ‟Lõbus lesk”. Saatejuht on Jaak Jõekallas. Kordus pühapäeviti kell 14.

Sarjas ‟Meloodika” jõuab pühadeperioodil eetrisse viis uut osa. Neljapäeval, 21. detsembril kell 21 on fookuses igihaljas Franz Lehàri operett ‟Lõbus lesk”. Saatejuht on Jaak Jõekallas. Kordus pühapäeviti kell 14.

När två tenorer strålar samman i Operahuset, blir det fokus på magiska toner och uttryck, levererade av både storslaget dramatiska och känslosamt lyriska sångare. Han har drygt 1500 föreställningar som förstetenor i strupen. Veckans gäst Sten Sjöstedt inledde sin karriär som operettsångare och har briljerat i hundratalet uppsättningar av bland annat Franz von Suppés "Boccaccio", Johann Strauss d.y. "Läderlappen", Franz Lehárs "Glada änkan" och Carl Zellers "Fågelhandlaren". Senare sjöng han under drygt tre årtionden merparten av de stora tenorrollerna i operor där Giuseppe Verdi och Giacomo Puccini komponerat musiken. I Sverige återfinns knappast någon som sjungit rollen som don José i Carmen fler gånger. Förutom det har Sten även medverkat i en del veristiska roller. Idag för han vidare sin kunskap till kommande generationers sångare. I Operahuset ger vi plats åt minnesvärda höjdtoner med både världskända tenorer och några som gärna kunde tagit mer plats när musikhistorien skrivs.

I grunden är det väntan på tre små ord jag älskar dig som fyller hela Franz Lehárs operett Glada änkan. Kommer den glada änkan Hanna Glawari rädda sitt land genom sin förmögenhet? Vill hon? Lyssna på alla avsnitt i Sveriges Radio Play. Programledaren och producenten Britta Svanholm Maniette och Sam Jakobsson, medarbetare på SR P2, bl a operaansvarig, pratar om männens oförstånd inför kvinnorna, varför Hitler var så förtjust i Glada änkan och om vad det är för skillnad på opera och operett egentligen. GLADA ÄNKANS LÅTLISTA Glada änkans Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan. Operaguidenoperaguiden@sverigesradio.se Hör vad Kulturnytts recensent Per Feltzin tyckte om Kungliga operans version av Glada änkan här.

I grunden är det väntan på tre små ord "jag älskar dig" som fyller hela Franz Lehárs operett Glada änkan. Kommer den glada änkan Hanna Glawari rädda sitt land genom sin förmögenhet? Vill hon? Programledaren och producenten Britta Svanholm Maniette och Sam Jakobsson, medarbetare på SR P2, bl a operaansvarig, pratar om männens oförstånd inför kvinnorna, varför Hitler var så förtjust i Glada änkan och om vad det är för skillnad på opera och operett egentligen. GLADA ÄNKANS LÅTLISTA Glada änkans Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan. Operaguiden operaguiden@sverigesradio.se Hör vad Kulturnytts recensent Per Feltzin tyckte om Kungliga operans version av Glada änkan här.

I grunden är det väntan på tre små ord "jag älskar dig" som fyller hela Franz Lehárs operett Glada änkan. Kommer den glada änkan Hanna Glawari rädda sitt land genom sin förmögenhet? Vill hon? Programledaren och producenten Britta Svanholm Maniette och Sam Jakobsson, medarbetare på SR P2, bl a operaansvarig, pratar om männens oförstånd inför kvinnorna, varför Hitler var så förtjust i Glada änkan och om vad det är för skillnad på opera och operett egentligen. GLADA ÄNKANS LÅTLISTA Glada änkans Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan. Operaguiden operaguiden@sverigesradio.se Hör vad Kulturnytts recensent Per Feltzin tyckte om Kungliga operans version av Glada änkan här.

"Gelbe Jacke"? Nie gehört? Klar, denn wenn Franz Lehár Mikado mit Madame Butterfly gen Asien folgt, ist man im "Land des Lächelns", wo man statt nur Duft aus dem Haar ein ganzes Herz gewinnt. Autor: Markus Vanhoefer

Grammy award-winning Renée Fleming talks to Suzy Klein about her starring role as Hanna Glawari, the titular 'Merry Widow' of Franz Lehár's operetta which is currently running at the Metropolitan Opera in New York. The production, which sees Fleming performing the role all through January, will be broadcast live not only to Opera on 3, but also to cinemas across the UK on Saturday 17th January.

Featuring music by Gilbert & Sullivan, Jacques Offenbach, Franz Lehár, Emmerich Kálmán and interviews with company members Boyd Mackus and Nicholas Wuehrmann. Broadcast 7.14.12 on WCWS.

Featuring music by Gilbert & Sullivan, Kurt Weill, Franz Lehár, Reynaldo Hahn, Frank Loesser and an interview with former company member Jane Schoonmaker Rodgers. Broadcast 6.9.12 on WCWS.

Featuring music by Gilbert & Sullivan, Rudolf Friml, Edward German, Franz Lehár and an interview with former company member Melinda Thompson. Broadcast 6.2.12 on WCWS.

Featuring music by Gilbert & Sullivan, Franz Lehár, Leo Fall, Otto Nicolai, Jacques Offenbach and Sigmund Romberg. Broadcast 5.26.12 on WCWS.

¿La ópera puede llegar a ser tan sexy? La magnífica soprano Danielle de Niese nos muestra cómo, cantando la seductora aria "Meine Lippen, sie küssen so heiss" que traducida significa: "Mis labios besan con tanta pasión". De la opereta Giuditta de Franz Lehár y con el acompañamiento de Ingrid Surgenor.

Kann Operngesang so sexy sein? Die wunderbare Sopranistin Danielle de Niese beweist es mit ihrem Vortrag der koketten Arie "Meine Lippen, sie küssen so heiß" aus der Operette Guiditta von Franz Lehár. Begleitung: Ingrid Surgenor.