Podcasts about French opera

Charlotte: Rita Gorr Sophie: Anne Elgar Werther: Nicolai Gedda Albert: Theodor Uppman Schmidt: Charles May Johann: Daniel Ferro Conductor: Robert Lawrence Friends of French Opera, Carnegie Hall 14 November 1965 In-house recording

In this episode we follow Chadwick Boseman into the seedy underbelly of LA in 2016's Message From The King. We discuss bike chains as weapons, South African accents, how seedy is too seedy and whether French Opera has a place in gritty revenge thrillers. Watch the film on Netflix and then join us for the discussion. Thanks for listening!

SynopsisSome things are best left to the imagination — at least that's what French Romantic composer Hector Berlioz came to think regarding opera. Berlioz didn't have the best of luck getting his operas staged during his lifetime, and, on the few occasions he did, the resulting performance fell far short of his ideal. Increasingly, Berlioz turned to what might be called the “Theater of the Imagination,” composing concert works that were, for all intents and purposes, operas minus the staging and costumes.One of these, which Berlioz called “a dramatic legend” and premiered in 1846, was The Damnation of Faust. It was based on the famous Faust plays of German poet Goethe. Like many of Berlioz's works, The Damnation of Faust proved an artistic success — but a box office failure — at its premiere as an unstaged concert piece at the Opera Comique in Paris.Some five decades later, on today's date in 1893, The Damnation of Faust was revived as a fully staged opera at the Monte Carlo Opera. It proved such a success that in short order it was staged in Milan, Moscow and Liverpool, and even reached the shores of America, courtesy of the French Opera in New Orleans.Music Played in Today's ProgramHector Berlioz (1803-1869): Dance of the Sylphs, fr La damnation de Faust; Baltimore Symphony; David Zinman, cond. Telarc 80164

Friends of French Opera at Carnegie Hall 12 March 1964 In-house recording Rachel: Suzanne Sarroca La Princesse Eudoxie: Micheline Tessier Eléazar: Richard Tucker Léopold: Jean Deis Le Cardinal de Brogni: Norman Treigle Ruggiero: Spiro Malas Conductor: Robert Lawrence

Soprano Angel Blue makes her Santa Fe Opera debut in concert Saturday, August 7, 2021.  Jane caught a spare moment with Angel upon her arrival in Santa Fe to learn more about who she is on stage, off stage, and in the practice room. Angel also shares strong opinions and guidance for young singers, who may fall into the comparison trap with “the greats” who've come before them. Angel's Bio:  Angel Blue has emerged in recent seasons as one of the most important sopranos before the public today. On September 23, 2019 she opened the Metropolitan Opera's 2019/2020 season as Bess in a new production of George Gershwin's Porgy and Bess. These performances followed her internationally praised French Opera debut and role debut as Floria Tosca at the Aix-en-Provence Festival in July of 2019. She has also been praised for performances in many other theaters, such as the Vienna State Opera, Semperoper Dresden, San Francisco Opera, Seattle Opera, Theater an der Wien, Oper Frankfurt, and San Diego Opera. In the current season, Ms. Blue will appear in concert at the Carmel Bach Festival and in galas in St. Petersburg and Santa Fe, with fall performances of Fire Shut Up in My Bones and Porgy and Bess at the Metropolitan Opera in New York. Mentioned in this Episode: HiHo Kids meet an opera singer video   CREDITS Destination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios. Mixed by: Edwin R. Ruiz Hosted by: Jane Trembley Featuring: Angel Blue, American soprano *** Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org. We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera.

In this episode of Let's Chat and Jam we have A Conversation With entrepreneur, producer, director, songwriter, Opera recording artist The Ambassador of The Arts Award Winning David Serero.I had the honor of speaking with The Ambassador of the Arts David Serero. One thing I can say is that David Serero is one talented and gifted artist. He has produced musicals and stage plays and numbers soundtracks. I suggest that you tap in to this talented French Opera singer. Check out David Serero on these platforms.YouTube:https://youtube.com/c/DavidSereroInstagram:https://www.instagram.com/davidserero You can find David Serero on all streaming platforms including Spotify and iHeartRadio.Check out The Culture News hosted by David Serero on iHeartRadio.**************************************Let's Chat and Jam can be found here https://www.letschatandjam.comThe Let's Chat and Jam podcast is available on Spreaker, iHeartRadio, Google Podcasts, Podcast Addict, Podchaser, Deezer, Jiosavvn , Syncify and Apple Podcasts.More platforms coming soon, thanks for watching and listening to our podcast.Let's Chat and Jam with Special Guest David Serero#interview #DavidSerero #letschatandjam #podcast #indieartist Hosted on Acast. See acast.com/privacy for more information.

There's nothing more wild yet utterly predictable than a child's tantrum. But in Maurice Ravel's opera L’enfant et les sortilèges, the consequences take the child completely by surprise. Vanderbilt Opera Theater's production of the piece is Nashville's latest example of how performing arts have pivoted to create new and interesting projects during the COVID-19 pandemic. In this episode of Classically Speaking hear from director Gayle Shay and music director Jennifer McGuire about how Vanderbilt students learned a whole new set of skills to put on this production.

Some things are best left to the imagination—at least that’s what the French Romantic composer Hector Berlioz came to think regarding opera. Berlioz didn’t have the best of luck getting his operas staged during his lifetime, and, on the few occasions he did, the resulting performance fell far short of his ideal. Increasingly Berlioz turned to what might be called the “Theater of the Imagination,” composing concert works that were, for all intents and purposes, operas minus the staging and costumes. One of these, which Berlioz called “a dramatic legend,” premiered in 1846, was entitled “The Damnation of Faust.” It was based on the famous Faust plays of the German poet Goethe. Like many of Berlioz’s works, “The Damnation of Faust” proved an artistic success—but a box office failure—at its premiere as an unstaged concert piece at the Opera Comique in Paris. Some five decades later, on today’s date in 1893, “Damnation of Faust” was revived as a fully staged opera at the Monte Carlo Opera. It proved such a success that in short order it was staged in Milan, Moscow, and Liverpool, and even reached the shores of America, courtesy of the French Opera in New Orleans.

Some things are best left to the imagination—at least that’s what the French Romantic composer Hector Berlioz came to think regarding opera. Berlioz didn’t have the best of luck getting his operas staged during his lifetime, and, on the few occasions he did, the resulting performance fell far short of his ideal. Increasingly Berlioz turned to what might be called the “Theater of the Imagination,” composing concert works that were, for all intents and purposes, operas minus the staging and costumes. One of these, which Berlioz called “a dramatic legend,” premiered in 1846, was entitled “The Damnation of Faust.” It was based on the famous Faust plays of the German poet Goethe. Like many of Berlioz’s works, “The Damnation of Faust” proved an artistic success—but a box office failure—at its premiere as an unstaged concert piece at the Opera Comique in Paris. Some five decades later, on today’s date in 1893, “Damnation of Faust” was revived as a fully staged opera at the Monte Carlo Opera. It proved such a success that in short order it was staged in Milan, Moscow, and Liverpool, and even reached the shores of America, courtesy of the French Opera in New Orleans.

Formed by the merging of the disparate minds of composer-performers David Kulma and Dorian Wallace, Trystero is a duo brought together to perform Robert Ashley’s Perfect Lives and other Awesome Music. Trysteropod is a podcast where we talk about music, and apparently politics.

durée : 00:13:16 - Le Disque classique du jour du vendredi 19 juin 2020 - Une très belle voix, celle de Marina Rebeka. La soprano lettone chante en français dans son nouvel album dans lequel elle s'empare des grands airs de l'opéra français avec sa voix de velours et son timbre charnel. Impressionnant récital par une artiste complète !

My beautiful vocal coach Michelle pours her heart out in light of the intertwining of music and soul. So grateful for her guidance and brilliance in humble teaching a complete musical novice like me. Stay encouraged!

Anna and Julia have returned to the recording cupboard for Series 2, wine in hand and ready to talk about more incredible women. Anna plays it very uncool when talking about her favourite comedy writer Mindy Kaling, head writer for The Office (US) who also plays the character of Kelly Kapoor. Inspiring stuff for anyone needing some confidence in getting shit done, or just looking to find your new favourite TV programme (Spoiler alert: It's the Mindy Project). Julia lays out the true-ish tale of Julie D'Aubigny, a 17th century French swordswoman-opera singer-nun-actor whose swashbuckling escapades made her a favourite of the French court. An LGBTQ+ icon, Julie was often mistaken for a man as she wore men's clothes and many thought she was "too good at duelling". And that's before we even get to the arson, beating up lecherous men and progressing French Opera for women...

Founder of French Opera.

OPERA FOR ALL presents Gounod's opera "ROMEO & JULIETTE", one of the jewels of French Opera

OPERA FOR ALL presents Gounod's opera "ROMEO & JULIETTE", one of the jewels of French Opera

In this episode we visit the phantoms of the opera!! Listen to the real stories of the French Opera house Garnier that inspired the story the Phantom of the Opera (Jade’s favorite story). Or hear the horrifying story of Elvira, the tragic tale of the ghost stuck in the Woodstock opera house. Make sure to … Continue reading Phantoms of the Opera! – Paranromal Partners Ep.16

From Lully to Rameau, Bizet to Berlioz, Massenet to Messiaen, French composers have given us some of the most beautiful and important works in the operatic canon. What makes French opera so unique and special? What are the musical highlights we should listen for, and the operatic conventions that set these works apart? In this episode, we have Guild lecturer and podcast co-host Naomi Barrettara in an excerpt from our recent sold out series “Opera Boot Camp: An Introduction to French Opera.”

French Opera with Musicologist Diana Hallman by Research Communications

Baroque, 1665-1725: Though born the son of a humble miller in Florence, Italy, Jean Baptiste Lully was destined to become the "Father of French Opera." His work and influence took this Italian art form and imbued it with French opulence and pageantry.

This week, French tenor Gilles Ragon works through Don José's aria, "La fleur que tu m'avais jetée", from Carmen with us. We concentrate on the letter "e" and how to tell whether it's the open epsilon [ɛ], the closed lower case [e] or the schwa [ə]. We talk about the accent grave (è) and accent circonflex (ê) which both open the vowel to [ɛ] and the accent aigu (é) which closes it to [e]. The libretto for Carmen can be found at the Opera Guide. Make sure to click on L for libretto and F for French (because it seems to default back every time, and in that order, because it will keep reverting!) and then scroll down to No.17 Duo--the aria is just a little beyond that indication. The diction book I mentioned in this episode is the second edition of Jason Nedecky's French Diction for Singers: A Handbook of Pronunciation for French Opera and Mélodie, available from the University of Toronto bookstore. It's a great resource, which includes a list of common spellings and their pronunciations as well as over 7,000 proper names with their phonetic transcriptions! The YouTube that I promised to post is this one, of Gérard Souzay singing "Clair de lune" with Jacqueline Bonneau on the piano. Please feel free to comment below, I would love everyone's opinion as to whether or not you think he is singing "les" open or closed (there are a whole bunch of "les" starting at about 1:55) :-) With questions, comments or suggestions, you can get in touch with me here, at the Facebook page, on Twitter or directly at ellen@ellenrissinger.com