Podcast appearances and mentions of Georg Solti

durée : 00:23:00 - Disques de légende du lundi 03 mars 2025 : Carmen, avec Tatiana Troyanos, dir. Georg Solti (Decca) - A l'occasion du 150e anniversaire de la création de Carmen, le 3 mars 1875, écoutons l'œuvre enregistrée 100 ans après sa création par Georg Solti.

durée : 00:23:00 - Disques de légende du lundi 03 mars 2025 : Carmen, avec Tatiana Troyanos, dir. Georg Solti (Decca) - A l'occasion du 150e anniversaire de la création de Carmen, le 3 mars 1875, écoutons l'œuvre enregistrée 100 ans après sa création par Georg Solti.

Una setmana dedicada a grans mestres de la direcci

El 21 d'octubre de 1912 naixia a Budapest un dels millors directors de la hist

durée : 00:16:43 - Disques de légende du jeudi 30 mai 2024 - Sorti chez Decca en 1987, cet Enlèvement au Sérail de Mozart par Georg Solti est une parfaite réussite musicale.

Today I present to you the American lyric tenor Frank Lopardo, who from 1984 through 2014 appeared in all the major opera houses of the world, celebrated particularly for his Mozart and Rossini roles. Too often today these superb singers even from the recent past are forgotten by today's audiences, and my listeners know that it is always a mission of mine to celebrate great artists who, for whatever reason, are not in the forefront of the public's awareness. In Frank's case, I suggest it has absolutely nothing to do with his stellar voice and astounding technique. Some singers are content to do their job and live their lives and serve the music and the art form to the best of their considerable abilities without engaging in antics or self-destructive behavior. A quick glance at Frank's accomplishments and the musicians with whom he collaborated makes it immediately clear that his career unfolded naturally and organically at the highest levels. Today's episode explores the infinite variety of Lopardo's artistry and his impeccable musicianship and technique, which aided him in his pursuit of always discovering new aspects of the central roles in his career. Conductors with whom he collaborated (and as heard on the episode) include Georg Solti, Claudio Abbado, Ion Marin, Riccardo Muti, Robert Spano, and the late Seiji Ozawa. While Lopardo was never tempted to move outside the natural confines of his lyric voice, he did in the final years of his career, move into some of Verdi's larger lyric tenor parts, in operas like Un ballo in maschera and Simon Boccanegra, both of which are sampled here. We also hear Frank in duet with some of his favorite colleagues, including memorable Chilean sopranos Verónica Villarroel and Cristina Gallardo-Domâs. It was all I could do not to entitle this episode Lopardopalooza, ‘cause that's exactly what it is! 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.

I have been juggling a number of brand new episode ideas for the coming weeks, but when I discovered that Sunday April 7 was the birthday of Marvis Martin, one of my favorite sopranos, I put all those ideas on the back burner and eagerly put together this birthday tribute to a singer who not only is celebrated as possessing one of the most beautiful voices of her generation, but who has also had a long, successful, and unconventional career. For whatever arbitrary reason, Marvis Martin made only a handful of major label recording releases, but, for us lucky persons who live in the age of YouTube, there are a growing number of gorgeous live recordings available that feature this artist in her prime. In some ways she reminds me of Veronica Tyler, whose career I charted in a popular episode of the podcast a few months ago. In the case of the highly respected and frankly marvelous Marvis Martin, we are able to personally present her with the flowers that she so richly deserves. I have curated a wonderful setlist today of mostly live material that includes representative selections from each of the platforms on which her career was focused: opera, concert, and recital, everything from Mozart and Handel to Copland, Rorem, and Barber; from selections from Porgy and spirituals, to Tchaikovsky, Strauss, and Korngold. My dear friend Jerry Hadley appears as a duet partner in a rare live Idomeneo performance and conductors Georg Solti, Henry Lewis, Vladimir Ashkenazy, James Levine, Charles Mackerras, Eve Queler, and Libor Pešek, among others, support this magnificent singer from the podium. 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.

SynopsisHave you ever sent someone an email you regretted the second you hit send? Even in the 19th century, it was often prudent to sleep on a message before sending off words written in the heat of passion.On today's date in 1853, Giuseppe Verdi sent a barrage of short notes to friends after what he felt was the disastrous premiere of his latest opera at the Teatro la Fenice in Venice.“I am sorry,” Verdi wrote to his publisher, “but I cannot conceal the truth from you. Let's not investigate the reason. It happened. Goodbye, goodbye.” To another colleague Verdi wrote: “It was a fiasco. My fault. Or the singers? Time alone will tell.”But, apparently after a little more thought, he wrote to another friend, “The audience laughed. Well, what of it! Either I'm wrong or they are. I personally don't think that last night's verdict will be the last word.”After a year waiting for just the right cast, Verdi allowed his new opera to be restaged — in Venice once again, but this time at a different theater. Much to his satisfaction, this time, his new opera La Traviata was a big hit.Music Played in Today's ProgramGiuseppe Verdi (1813-1901): ‘La Traviata'; Royal Opera House, Covent Garden; Georg Solti, cond. London 448 119

Gustav Mahler (1860 - 1911) - Sinfonia n. 1 in re maggiore00:00  Langsam, schleppend. Immer sehr gemächlich15:52   Kräftig bewegt, doch nicht zu schnell. Recht gemächlich23:42  Feierlich und gemessen, ohne zu schleppen – Sehr einfach und schlicht wie eine Volksweise – Wieder etwas bewegter, wie im Anfang35:21  Stürmisch bewegt – EnergischChicago Symphony OrchestraGeorg Solti, conductor

Estudiamos y analizamos la personalidad pisicológica y vocal de este auténtico malo. Escuchamos distintos fragmentos de esta cuarta ópera de la Tetralogía. Participan en el programa algunos de sus mejores servidores: Gottlob Frick, Emil List, Josef Greindl y Ludwig Weber. Y directores como Georg Solti, Hans Knappertsbusch y Wilhelm Furtwängler.Escuchar audio

durée : 00:17:07 - Disques de légende du mercredi 14 février 2024 - Georg Solti a été un grand verdien, pas dans le genre épanché, lascif, non, ce n'était pas le genre. Solti, c'est un Verdi flamboyant, rutilant, plein de vigueur, dynamique, façon grand spectacle.

This week's “Forgotten Diva” is the mezzo-soprano / contralto Gwendolyn Killebrew (26 August 1941 – 24 December 2021), who made an indelible contribution to opera in particular during the active years of her career (1965 – 2009). Though the majority of her career was centered at the Deutsche Oper am Rhein in Düsseldorf, she sang the world over with some of the most important opera companies (including the Metropolitan Opera, San Francisco Opera, the Salzburg Festival, Bayreuth, Washington Opera, Santa Fe Opera, La Monnaie, and the Bayerische Staatsoper), conductors (Pierre Boulez, Gary Bertini, Michael Gielen, Herbert von Karajan, Zubin Mehta, Georg Solti), and stage directors (Patrice Chéreau, Jean-Pierre Ponnelle, August Everding, Giancarlo del Monaco, Christof Loy, and John Dew). She had an enormous repertoire from Monteverdi and Handel to Henze and Fortner, excelling in particular in various Wagner roles. She was also a superb actor, who, through the use minimal gestures and stage business, made an enormous impact. This episode presents her in a wide range of material, including both live and commercial recordings ranging from Cavalieri to Zimmermann, alongside such fellow singers as Teresa Stratas, Carlo Bergonzi, Hermann Prey, Stuart Burrows, Sherrill Milnes, and Gail Gilmore led by conductors Leonard Bernstein, Gary Bertini, Bohumil Gregor, Berislav Klobučar, James Levine, Heinz Wallberg, and Eve Queler. Of special interest is a rare live recording of her prize-winning performance of “Asie” from Ravel's Shéhérazade at the 1967 International Voice Competition in Montréal. The episode opens with brief memorial tributes to soprano Wilhelmenia Fernandez and pianist Thomas Muraco. 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.

SynopsisOn today's date in 1853, Giuseppe Verdi's opera Il Trovatore (or The Troubador) had its premiere performance at the Teatro Apollo in Rome.It proved an immediate hit. True, some did complain at the time about its gloomy, complicated and downright confusing plot. But Verdi's music setting had such great tunes and such energetic verve that Il Trovatore quickly became the most popular of all his operas in the 19th century.Its tunes were soon heard emanating from street corner barrel-organs, and, as a true sign of popularity, there were even comic parodies of its melodramatic blood and thunder storyline.Reviewing a New York production in 1862, American composer and music critic William Fry had these observations: “Il Trovatore has a wonderful plot, beyond human comprehension. ... As to the music, there are some charming, popular, ingenious, artistic, great points; then, there are some others egregiously vulgar and rowdy. The ‘Anvil Chorus,' for example, is about equal to a scene of mending a sewer set to music.”And as for parodies, in the 1935 film A Night at the Opera, Il Trovatore — and opera, in general — receives a devastating sendup at the hands of the Marx Brothers.Music Played in Today's ProgramGiuseppe Verdi (1813-1902) [arr. Franz Liszt] Miserere, fr Il Trovatore; Daniel Barenboim, piano Erato 75457; and Anvil Chorus, fr Il Trovatore; Chicago Symphony and Chorus; Georg Solti, cond. London 466 075

Synopsis On today's date in 2002, Mariss Jansons led the Pittsburg Symphony in the premiere performance of the Second Symphony written by a then 32-year-old American composer named Michael Hersch. Hardly a child prodigy, Michael Hersch was introduced to classical music at age 18 by his brother Jamie, who showed him a videotape of Georg Solti conducting Beethoven's Fifth. That experience shook him. "It scrambled everything.” Hersch recalled. “That's when I knew that I was to be a composer... My whole life started over at that moment." Hersch certainly made up for lost time, exhibiting an uncanny ability to master both the piano and the intricacies of contemporary compositional techniques in less than a decade. His first success as a composer came when his Elegy for Strings won a major prize and was conducted by Marin Alsop at Lincoln Center in New York in 1997. Since then, his works have been commissioned and performed by many other leading orchestras and performers. Hersch's Symphony No. 2 has no stated program, but it was composed shortly after the events of September 11, 2001, and knowing that, it's hard to disassociate the score's violent opening and subsequent elegiac mood from that tragic moment in American history. Music Played in Today's Program Michael Hersch (b. 1971) Symphony No. 2 Bournemouth Symphony; Marin Alsop, conductor. Naxos 8.559281

[@ 3 min] Hurts. Mahomes. Lanza. Ramey. We handicap Super Bowl LVII teams Philly and KC based on their hustle on the opera stage… [@ 21 min] The gold paint is still wet on Sunday night's trophies. Viola Davis is EGOT-ed and Beyoncé has finally won more Grammys than Sir Georg Solti…  [@ 31 min] In the ‘Two Minute Drill'… George would do anything for the Villa Verdi, but he won't do THAT... We're back with an all-new show next week when tenor Andrew Morstein goes ‘Inside the Huddle'… Join us! SHOW NOTES Grammys: www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list Villa Verdi: www.theguardian.com/world/2023/feb/05/italian-opera-houses-plan-verdi-shows-to-help-government-buy-composers-home Good Call: www.santafenewmexican.com/pasatiempo/opera/that-rossini-company-opera-southwest/article_3bac8022-99bf-11ed-9a38-bf297f7261c9.html GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

The best artists in music of 2022 attended this year's 65th Grammys award show on Sunday. Held at Crypto.com Arena, Trevor Noah returned to host the biggest night in music. Taylor Swift, Doja Cat, Harry Styles, Lizzo, Adele, Cardi B, Bad Bunny, Jennifer Lopez and Beyoncé were just a few of the star-studded celebrities at the ceremony. A lot of history was made as well. Actress and author Viola Davis won a Grammy for “Best Audio Book, Narration, and Storytelling Recording” for her audiobook rendition of her memoir titled “Finding Me”, achieving the EGOT status meaning winning an Emmy, Grammy, Oscar and Tony award throughout her career. She is the 18th person and 3rd Black woman to earn the title. The star of the night, Beyoncé, won four Grammys including “Best Dance/Electronic Album” putting her Grammy winning total at 32, the most any artist has received. The “BREAK MY SOUL” singer surpasses Hungarian-British conductor and composer Georg Solti who previously held the record at 31 awards. By winning the 2023 Grammy for Best Pop Duo/Group Performance, Kim Petras became the first openly transgender woman to win a Grammy for her collaboration with Sam Smith's hit, "Unholy". Rosie discusses everything movies and films! From old classics to the latest thriller, you can “Go to the Movies with Rosie”. Host: Kadie Gurley Guest Host: Rosaura Montes Editors: Aidan Swanepoel, Kadie Gurley Producers: Leila Nunez, Isabel Silagy Like, comment, and follow us on your favorite platform for more content! Apple Podcasts https://podcasts.apple.com/us/podcast/beach-weekly/id1488484518?uo=4 Google Podcasts https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9kMzEwMjEwL3BvZGNhc3QvcnNz Spotify https://open.spotify.com/show/4HJaqJep02kHeIQy8op1n1 Overcast https://overcast.fm/itunes1488484518/beach-weekly

Elle est devenue hier la chanteuse la plus primée des prestigieux Grammy Awards ... Avec ses quatre nouveaux trophées, l'Américaine Beyoncé cumule désormais 32 récompenses, un de plus que le chef d'orchestre Georg Solti dans les années 1990. Retour sur le début de la carrière de la chanteuse à la voix d'or. Très jeune, la fillette, originaire du Texas, est repérée. Au début des années 90, alors qu'elle a à peine dix ans, elle participe à des concours locaux tout en étant scolarisée dans une école spécialisée autour de la musique. Entre la chorale de l'école et celle de l'église, la jeune Beyoncé se donne les moyens de son ambition. Quand elle intègre son premier groupe, Beyoncé a dix ans seulement. Avec cinq autres filles, chanteuses et danseuses, est créé "Girl's Tyme", un groupe mêlant R'n'B, rap, et pop : l'ancêtre des Destiny's Child.

En obtenant le 32ème Grammy Award de sa carrière dans la nuit de dimanche à lundi à Los Angeles lors de la 65ème cérémonie de ces "Oscars de la musique", Beyoncé est entrée dans l'Histoire. Avec 32 récompenses, elle bat le record du plus grand nombre de Grammys remportés dans une carrière, jusque-là détenu par le chef d'orchestre Georg Solti (31).   Beyoncé donnera deux concerts en France dans le cadre de sa tournée mondiale "Renaissance".   Jusqu'à 194 euros la place !   la mise en vente officielle est programmée pour le mardi 7 février à 10 heures. Une chose est sûre : il n'y en aura pas pour tout le monde. une deuxième date au Stade de France le 27 mai devrait être annoncée dans la foulée si la première affiche complet.       Paris - Stade de France : Carré... • La suite sur https://www.radiomelodie.com/podcasts/10609-beyonce-vient-dobtenir-son-32eme-grammy-award.html

Ela chegou a 32 prêmios e superou a marca anterior de 31 Grammys do maestro Georg Solti.

Just off campus, the Appalachian reports that the former bar and restaurant Cafe Portofino will prospectively be replaced by a hotel! The project, appropriately titled the Cafe Portofino Hotel, is being developed by the Winkler Organization as a 20-room, two-story building located at the site of the original Cafe. John Winkler, who applied for the project permit, said that he thinks it will bring a great deal to the Boone community to have another hotel downtown. In his words, “I think it'll help the parking situation, and people will be able to come into town and stay and walk and enjoy downtown Boone without having to come in, you know, a mile from out of town.” Maybe you'll stay there one day, listeners! In more prescient local news, the expansion of U.S. Highway 321/421 is projected to cost $92.6 million to accomplish, according to the Appalachian. While the project isn't slated to begin construction until 2027, with an estimated completion in 2030, residents are already beginning to worry about how this will affect them and their properties. There are three approaches in consideration as the Department of Transportation oversees the project: a left side expansion, a right side expansion, and a best-fit expansion, which would alternate sides of the road to be expanded depending on what works best. That seems to be the most popular of the three in interviews the Appalachian conducted. Here's hoping 421 can expand without impacting too many Boone residents, wildlife, and homes! Nationally, NPR reports that Beyonce is leading the nominations at the Grammys, which will be held on February 5th, 2022, at the Crypto.com center in LA. Beyonce is now tied with her husband Jay-Z for the most nominations by any artist, and is only three awards away from classical conductor Georg Solti for the most Grammy awards. She's up for 9 different awards across multiple categories, including her album “Renaissance” for album of the year. Bluegrass singer Molly Tuttle, a recent performer at the Appalachian Theater, is up for Best New Artist. Good luck to all the contenders, and listen to their music, listeners! Finally, the weather as ever from Boone Weather DOT COM. The cold streak continues with a high of 40 degrees today and a low of 23. Brrr

Fa 110 naixia a Hongria Georg Solti, un director molt exigent que va dirigir algunes de les formacions m

Que se passe-t-il dans la vie des stars ? Comment sont-elles devenues des phénomènes culturels ? Pourquoi nous fascinent-elles autant ? Plongez-vous dans la vie de ces stars qu'on adore détester.  A la suite de la dernière édition de la plus grosse cérémonie de remise de prix musicale américaine, Beyoncé Knowles se voit devenir l'artiste féminine la plus récompensée des Grammy Awards, avec 28 statuettes, à égalité avec Quincy Jones, juste derrière Georg Solti et ses 31 récompenses. Et parce qu'après papa et maman, le succès est une affaire de famille, sa fille Blue Ivy en a remporté un aussi. Mais Beyoncé était-elle destinée à briller ? Comment a-t-elle réussi à prendre autant d'ampleur au fil des années ? Quelle est sa particularité par rapport aux autres stars de la pop ? Ecoutez la suite dans cet épisode de "Maintenant vous savez - Culture". Un podcast écrit et réalisé par Jonathan Aupart. A écouter aussi : Pourquoi Marseille a-t-elle ses lettres géantes comme à Hollywood ? Quels sont les secrets autour du seigneur des anneaux ? Pourquoi le cinéma a-t-il fait tant de mal aux requins ? Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:28:49 - « Georg Solti, chef d'orchestre » (5/5) - par : François-Xavier Szymczak - Au lendemain de la mort d'Elizabeth II, nous revenons sur son couronnement en 1953, accompagné des musiques de Haendel, Walton, Elgar ou encore Britten...

durée : 01:28:24 - « Georg Solti, chef d'orchestre » (4/5) - par : François-Xavier Szymczak - Vingt-cinq ans après la disparition de ce musicien de légende, qui fut aussi un pianiste virtuose, retour sur l'exceptionnelle discographie de Solti, où l'on croise Renata Tebaldi, Christa Ludwig, Birgit Nilsson, Renée Fleming, Régine Crespin, Leontyne Price, Luciano Pavarotti, Placido Domingo...

durée : 01:28:13 - « Georg Solti, chef d'orchestre » (3/5) - par : François-Xavier Szymczak - Vingt-cinq ans après la disparition de ce musicien de légende, qui fut aussi un pianiste virtuose, retour sur l'exceptionnelle discographie de Solti, où l'on croise Renata Tebaldi, Christa Ludwig, Birgit Nilsson, Renée Fleming, Régine Crespin, Leontyne Price, Luciano Pavarotti, Placido Domingo...

durée : 01:28:24 - « Georg Solti, chef d'orchestre » (2/5) - par : François-Xavier Szymczak - Vingt-cinq ans après la disparition de ce musicien de légende, qui fut aussi un pianiste virtuose, retour sur l'exceptionnelle discographie de Solti, où l'on croise Renata Tebaldi, Christa Ludwig, Birgit Nilsson, Renée Fleming, Régine Crespin, Leontyne Price, Luciano Pavarotti, Placido Domingo...

durée : 01:28:41 - « Georg Solti, chef d'orchestre » (1/5) - par : François-Xavier Szymczak - Vingt-cinq ans après la disparition de ce musicien de légende, qui fut aussi un pianiste virtuose, retour sur l'exceptionnelle discographie de Solti, où l'on croise Renata Tebaldi, Christa Ludwig, Birgit Nilsson, Renée Fleming, Régine Crespin, Leontyne Price, Luciano Pavarotti, Placido Domingo...

Le 29 juillet 2022 est sorti Renaissance, le nouvel album de Beyoncé. Depuis, la chanteuse fait face à une polémique à cause de l'utilisation d'un terme stigmatisant envers les personnes souffrant de handicap moteur dans la chanson "Heated". Cela n'a, cependant, pas empêché "Break my soul", l'une des musiques de l'album, de se retrouver numéro 1 du Billboard Hot 100. Pourquoi Beyoncé est-elle devenue incontournable ?  A la suite de la dernière édition de la plus grosse cérémonie de remise de prix musicale américaine, Beyoncé Knowles se voit devenir l'artiste féminine la plus récompensée des Grammy Awards, avec 28 statuettes, à égalité avec Quincy Jones, juste derrière Georg Solti et ses 31 récompenses. Et parce qu'après papa et maman, le succès est une affaire de famille, sa fille Blue Ivy en a remporté un aussi. Mais Beyoncé était-elle destinée à briller ? Comment a-t-elle réussi à prendre autant d'ampleur au fil des années ? Quelle est sa particularité par rapport aux autres stars de la pop ? Ecoutez la suite dans cet épisode de "Maintenant vous savez - Culture". Un podcast écrit et réalisé par Jonathan Aupart. A écouter aussi : Quels sont les jeux de société préférés des français ? Pourquoi certains réalisateurs iraniens sont-ils emprisonnés ? Qui est La Jeune Fille à la perle de Vermeer ? Si vous souhaitez écouter les épisodes sans interruption, rendez-vous sur la chaîne Bababam+ d'Apple Podcasts : https://apple.co/3NQHV3I Abonnement Maintenant Vous Savez Culture : https://apple.co/3zkl9xd Learn more about your ad choices. Visit megaphone.fm/adchoices

Bharati was deeply troubled by the apparent disintegration of moral values that characterized his times, affecting both colonized and colonial societies. He found himself perpetually searching for alternative ideals - sources of integrity and optimism - within the Indian philosophical traditions that he studied so deeply, with their rich and long histories. The breadth and depth of his reading and research are reflected in the essay "The Siddha & the Superman," first published in 1915, which is discussed in this episode. Bharati had not only read Nietzsche, but he had also reflected deeply upon the social implications of the German writer's powerful and controversial work. Bharati explores the Nietzschean character of the "superman" as an archetype that reflects the "historic reminiscences and spiritual aspirations" of Europe - and he compares and contrasts the "superman" with an analogous archetype from Indian culture, that of the "siddha", which Bharati translates as "perfected man." By juxtaposing these two, fundamentally contrasting models of human development, Bharati argues for the adoption of ideals that will encourage humanity to aspire for a better future - above all, one free of violence. Music Credits: Richard Strauss, "Also sprach Zarathustra," Opus 30, performed by the Chicago Symphony Orchestra with conductor Georg Solti. Drums of India, Bickram Ghosh on Tabla and V. Suresh On Ghatam. Subscribe to Bickram Ghosh's youtube channel.  

Tom Service talks to Sir Bryn Terfel about an extraordinary life performing at opera houses and concert halls all over the world. He talks about how his career took flight after winning the Lieder Prize at Cardiff Singer of the World in 1989, as well as his partnerships with conductors like Georg Solti and Claudio Abbado and the composer Stephen Sondheim. Bryn Terfel brings drama to the stage through great characters such as Wotan, Scarpia, Sir John Falstaff and Leporello, with music by Wagner, Puccini, Verdi and Mozart. He tells Tom about the importance of being a great storyteller and gives advice on how to deal with the emotional intensity of the drama. Sir Bryn Terfel talks about how it all began, singing folksongs in Wales, and about how we can look forward to hearing him perform in the future as he prepares for The Flying Dutchman by Wagner at Grange Park Opera this summer and a UK tour in the autumn.

Do you know who Georg Solti is? On THIS DAY, May 4th with Chris Conley. See omnystudio.com/listener for privacy information.

durée : 00:25:08 - Georg Solti (5/5) - Monument de la direction d'orchestre, Sir Georg Solti fut anobli par la Reine d'Angleterre en 1972 pour ses services rendus à la musique classique. Cette semaine dans En Pistes, nous revenons sur son parcours.

durée : 00:27:14 - Georg Solti (4/5) - Monument de la direction d'orchestre, Sir Georg Solti fut anobli par la Reine d'Angleterre en 1972 pour ses services rendus à la musique classique. Cette semaine dans En Pistes, nous revenons sur son parcours.

durée : 00:26:47 - Georg Solti (3/5) - Monument de la direction d'orchestre, Sir Georg Solti fut anobli par la Reine d'Angleterre en 1972 pour ses services rendus à la musique classique. Cette semaine dans En Pistes, nous revenons sur son parcours.

durée : 00:28:28 - Georg Solti (2/5) - Monument de la direction d'orchestre, Sir Georg Solti fut anobli par la Reine d'Angleterre en 1972 pour ses services rendus à la musique classique. Cette semaine dans En Pistes, nous revenons sur son parcours.

durée : 00:28:25 - Georg Solti (1/5) - Monument de la direction d'orchestre, Sir Georg Solti fut anobli par la Reine d'Angleterre en 1972 pour ses services rendus à la musique classique. Cette semaine dans En Pistes, nous revenons sur son parcours.

Le 8 mars, c'est la Journée internationale des droits des femmes. Alors à cette occasion, Maintenant Vous Savez - Culture vous fait (re)découvrir ces femmes stars qui ont marqué ou qui marquent encore notre culture. Billie Holiday, Aya Nakamura, Beyoncé... Tout au long de la semaine, des épisodes qui célèbrent la culture au féminin !  Pourquoi Beyoncé est-elle devenue incontournable ?  A la suite de la dernière édition de la plus grosse cérémonie de remise de prix musicale américaine, Beyoncé Knowles se voit devenir l'artiste féminine la plus récompensée des Grammy Awards, avec 28 statuettes, à égalité avec Quincy Jones, juste derrière Georg Solti et ses 31 récompenses. Et parce qu'après papa et maman, le succès est une affaire de famille, sa fille Blue Ivy en a remporté un aussi. Mais Beyoncé était-elle destinée à briller ? Comment a-t-elle réussi à prendre autant d'ampleur au fil des années ? Quelle est sa particularité par rapport aux autres stars de la pop ? Ecoutez la suite dans cet épisode de "Maintenant vous savez - Culture". Un podcast écrit et réalisé par Jonathan Aupart. A écouter aussi : Quelle est la chanson la plus courte de tous les temps ? Quelle histoire se cache derrière la création de Naruto ? Quelle est l'incroyable histoire du hip-hop ? Vous pouvez réagir à cet épisode sur notre page Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

We begin with a famous (and very beautiful) aria from the Abduction from the Seraglio K. 384 by Wolfgang Amadé Mozart (Mozart nerd alert: he never called himself “Amadeus,” ever, and we aren't going to either). It's from the beginning of Act 3, as the tenor hero, Belmonte, prepares to rescue his kidnapped bride Konstanze and her companion Blöndchen from the palace of Basha Selim. We are in an obviously sticky–and potentially deadly–situation. The music, beginning with a serene yet at times painfully dissonant introduction in the winds, takes listeners to a different place, where, although time moves at different speed, things sound absolutely familiar.Much ink has been spilled on Mozart's relationship to the music of his native Austria's near neighbours, the Turks. Tom suggests here that, in the late eighteenth century, the sound of the Islamic world was not far away at all, especially not from Vienna, the city in and for which Mozart wrote the Abduction. In fact, while writing the opera Mozart was living right in the middle of an unstable and fluid borderland between the “West” and its Ismamic “others.” The Ottoman Empire was only a few days' journey away. Today you could cover the distance in a matter of hours. In fact if you map the performances of the Abduction in its early years, you see the routes of the traveling troupes who made the opera a hit across Europe heading closer and closer to the Islamic world that lay on Mozart's doorstep. Thinking about Belmonte's aria as a musical sign of the “in-between” opens up new historical perspectives on a beloved opera and, potentially, on how sound divides (or links) people who share the occupation of geographical spaces.The theme of shared space takes us East for our second postcard, to contemporary Singapore. Drawing on recent fieldwork by the Singapore musicologist Tong Soon Lee, Chris explores how the Islamic call to prayer, repeated five times daily across the Muslim world, delineates sonic space in the city-state, which, like the borderlands of Austria two centuries previously, has a long history complicated by empire, commerce, migration and ethnic/religious diversity. The difference is that cities are smaller, tighter, and sonically far more dense than are the sprawling pastures, fields, and forests of agriculture. In the urban cityscape, borders can be perceived between neighborhoods, streets, or even individual people in their houses. Since independence, Singapore's semi-democratic/semi-authoritarian government has found itself playing the role of sonic referee, seeking to leave room for the city's Islamic majority population to live their beliefs in public via the Call to Prayer, while preserving a soundscape with uninvaded spaces for everyone. Referencing Lee, Chris talks us through how the Call to Prayer itself has implicated contested claims to  public religious sound in Singapore's multi-ethnic environment, and the ways that new conceptions of “space,” technology, and privacy yield renewed modes of religious expression. In Singapore, via the direction/redirection of the Call's loudspeakers (first outward toward the city, and then later inward toward the mosque), and subsequently via the broadcast of the Call, on its five-times-daily schedule, on radio and then television, Muslims can enter shared sonic space–a “virtual mosque” whose religious community is real and renewed. When competing imperial, democratic, or authoritarian soundscapes collide, as Tom suggested and Chris elaborates, there are no easy answers. But some of the solutions, both past and present, offer fascinating clues to how sound makes, unmakes, and reinvents community.In a fascinating preview of an upcoming episode, Chris and Tom pivot to a related discussion of the power of electronic media–and specifically of radio–to create not only a shared “virtual” environment (for Muslim worship, for example) but even a new national identity. Colonial and postcolonial sounds are a key theme in the podcast, so we chat briefly about the great singer Umm Kulthum (1898-1975), an icon of modernizing Egypt who used powerful Cairo-based radio, and then television and film, to forward a vision of the nation whose political power its second president, Gamal Abdel Nasser (1918-70) himself recognized and exploited. On Thursday nights during her broadcasts, traffic would halt in the streets, and shops would open their doors, as the broadcast voice of Umm Kulthum poured forth across the Arab world, literally sounding a new Egyptian nation into being.When competing imperial, democratic, or authoritarian soundscapes collide, as Tom suggested and Chris elaborates, the sonic consequences can be complex. But listening carefully to sound as history, both past and present, can offer fascinating clues to how what we can hear makes, unmakes, and reinvents community.Key PointsIt is easy to fall into overly black-and-white categories when thinking about how people define themselves in sound. If you take a closer look, mapping soundworlds across political spaces, sometimes you can come to surprising and historically enlightening conclusions.Mozart's Abduction from the Seraglio K. 384 (1782) is sometimes thought of as an “East vs. West” kind of piece. We argue that the opera can also be understood to reveal how much the European and Islamic worlds had in common, and–even more significantly–how much they saw themselves as sharing a common geography.Contemporary cities yield complex soundscapes. Attempts to regulate public religious sound, for example the Islamic call to prayer in Singapore, indicate how delicate the politics of a shared soundscape can be.Electronic media has a huge power to make new identities across borders, and disrupt older ones. One great example is the Arab-language singer Umm Kulthum, whose special brand of song and music played an enormous role in the birth of Egypt as a nation after decolonization.ResourcesIf you are interested in mapping eighteenth century music, run, don't walk, to the Twitter feed of the music historian Austin Glatthorn (@AJGlatthorn).The work of Tong Soon Lee, who teaches at Lehigh University, is indispensable to understanding the soundscapes of contemporary Singapore.The Guardian UK has a good retrospective biography of Umm Kulthumm, and of her continuing symbolic impact across the East.Charles Hirschkind's The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics presents a complementary and sophisticated “take” on the use of another modern technology, the audio cassette, as a means of virtual community in the modern world.The go-to book on Mozart's use of Turkish musical materials is Matthew Head's, Orientalism, Masquerade and Mozart's Turkish Music.You can't go wrong with the classic 1987 recording of the Abduction from the Seraglio conducted by Georg Solti and featuring stars such as Editha Gruberová, Kathleen Battle, and Hans Zednik. Available on Apple Music and many other services.Speaking of strange and wonderful productions of the Abduction, we highly recommend the Pacific Opera Project's 2016 Star Trek (!) version.All of the books mentioned in the episode can be found in our Sounding History Goodreads discussion group. Join the conversation!

Niemcy wybierają, świat patrzy. Nowy kanclerz przejmie Niemcy, które decydują o kształcie Unii Europejskiej i liczą się na świecie, a równocześnie zmagają się z dramatycznymi opóźnieniami w dziedzinie cyfryzacji i nie potrafią unowocześnić źródeł pozyskiwania energii. Jakie będą nowe Niemcy? I dlaczego wszyscy kandydaci przekonują wyborców, że są podobni do Angeli Merkel? Gwałtowne wzrostu cen energii w całej Europie. Skąd bierze się ten kryzys i jak z niego wybrnąć? W Dubaju z pandemicznym opóźnieniem rozpoczyna się EXPO 2020. Przy organizacji wystawy pracowały tysiące robotników najemnych. Jak są traktowani w krajach Zatoki Perskiej? Straż graniczna w Teksasie deportuje tysiące Haitańczyków nie dając im prawa do złożenia wniosków o azyl. Czy i w tej dziedzinie prezydent Biden kontynuuje politykę poprzednika? I jeszcze: co zrobić, gdy grupa młodych ludzi głoduje w obronie Ziemi i istot na niej żyjących? Rozkład jazdy: (2:13) - Georg Solti, Wiener Philharmoniker - Die Walkure (5:21) - Adam Traczyk o wyborach w Niemczech (24:53) - Jakub Wiech o gwałtownym wzroście cen prądu (42:37) - Moonlight Benjamin - Nap chape (45:51) - Świat z boku - Grzegorz Dobiecki o strajku głodowym w Niemczech (50:08) - Podziękowania (54:11) - Anna Dudzińska o EXPO 2020 w Dubaju (1:12:38) - Joanna Gocłowska-Bolek o deportacjach Haitańczyków z Teksasu (1:28:22) - Robin Alexander o karierze politycznej Angeli Merkel (1:47:46) - Do usłyszenia (1:48:31) - Kraftwerk - Abzug

Franz Bartolomey war rund 40 Jahre lang Solo-Cellist bei den Wiener Philharmonikern. Und er geht einem sehr seltenen Hobby nach: er sammelt Dirigentenstäbe. Die Sammlung kommt auf über 40 einzigartige Objekte – sie stammen aus den Händen von Koryphäen wie Georg Solti, Herbert von Karajan oder Riccardo Muti. In unterschiedlichen, in jedem Fall sehr abgegriffenen Weißtönen verbergen sie das eine und andere Dirigenten-Geheimnis...

durée : 00:30:01 - Disques de légende du mardi 25 mai 2021 - En 1981, le chef d'orchestre Georg Solti enregistre "Les Noces de Figaro" de Wolfgang Amadeus Mozart avec l'Orchestre philharmonique de Londres et une distribution exceptionnelle : Kiri Te Kanawa, Lucia Popp, Frederica von Stade, Thomas Allen et Samuel Ramey... Un disque superbe !

This week, Stefano Flavoni sits down with Michael Morgan, music director of the Oakland Symphony for the past thirty years, to discuss his perspectives on the classical music industry, both as the protege of some of the greatest musicians of all time (including Georg Solti, Leonard Bernstein, and Seiji Ozawa) and as one of the most prominent living African-American musicians. Maestro Morgan has appeared with some of the most prominent music institutions, including the Chicago Symphony Orchestra, New York Philharmonic, New York City Opera, San Francisco Symphony, Vienna State Opera, and more. He is also the face and brain behind San Francisco Symphony's "Currents" series, which examines the cultural diversity and artistic sound worlds of the Bay Area and United States at large.

Começamos a primeira temporada de nosso podcast falando sobre as Suítes, uma das formas musicais mais conhecidas e simples. As suítes também são o tema do primeiro concerto da série Fora de Série deste ano, apresentado no dia 14 de fevereiro de 2020. Rafael Alberto, percussionista, e Joanna Bello, violinista, apresentam este episódio. Neste programa, você ouve trechos de: Suíte nº 4 em Ré maior, de Johann Sebastian Bach. Interpretada pela NDR Symphony Orchestra, com regência de Thomas Hengelbrock Suíte de O Cavaleiro da Rosa, de Richard Strauss. Interpretada pela Philadelphia Orchestra, com regência de Eugene Ormandy Suíte de Danças, de Béla Bartók. Interpretada pela London Symphony Orchestra, com regência de Georg Solti. Suíte Masquerade, de Aram Khatchaturian. Interpretada pela Scottish National Orchestra, com regência de Neeme Järvi Esta temporada é realizada pelo Instituto Cultural Filarmônica, com o oferecimento da Aliança Energia.

Inge Borkh, Hildegard Hillebrecht, Regina Resnik, Donald McIntyre and James King, conducted by Georg Solti.

Conducted by Georg Solti with Christiane Eda-Pierre, Lucia Popp, Barbara Hendricks, Jan DeGaetani, Helen Watts, Kenneth Riegel, William Walker, and Donald Gramm.

Today is the birthday of conductor Georg Solti, born in Hungary in 1912.  In addition to his work as a conductor with the Chicago Symphony Orchestra, today's Classical Day in the Life explores his work as an accompanist as well as a commissioner of modern music.  

Today is the birthday of conductor Georg Solti, born in Hungary in 1912.  In addition to his work as a conductor with the Chicago Symphony Orchestra, today's DITL explores his work as an accompanist as well as a commissioner of modern music.      

Kirsty Young's castaway is the opera director John Copley. Throughout his sixty year career he's worked with all the greats at the major opera houses of the world. He introduced Luciano Pavarotti to a London audience, charmed Georg Solti with his piano playing and was even called upon to stand in for Maria Callas. He was just ten years old when he first saw an opera and he loved it straight away; "I caught opera," he says, "like the measles".Record: Janet Baker singing Handel's Ariodante Book: Grove's Operatic Dictionary of Music Luxury: My 49-year-old double bed. Producer: Leanne Buckle.

Kirsty Young's castaway this week is the soprano, Dame Felicity Lott. She is one of Britain's best known and best loved singers and has given performances in opera houses the world over under the batons of such notable conductors as Bernard Haitink, Carlos Kleiber and Georg Solti.As a child, she had always loved singing, but was, she says, a shy, gawky girl who didn't have sharp enough elbows to get to the top. She tried her hand at teaching, but found she was so crippled with nerves that she had to abandon the idea. By good fortune she was delivered to a singing teacher who spotted her talent and gave her encouragement. It was exactly what she needed - she has enjoyed a career spanning more than 30 years and over that time has won a large and loyal army of fans.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Moonlight Music - the prelude to the final scene of Capriccio by Richard Strauss Book: Les Miserables by Victor Hugo Luxury: Lots of champagne and pistachio nuts.