Podcasts about Georges Bizet

Israel Remuiñán investiga en 'Economía de Bolsillo' qué sucede con los pisos de estudiantes cuando llega el verano. También repasa la figura de Georges Bizet cuando se cumplen 150 años de su muerte. 

Am 3. Juni jährt sich der Todestag von Georges Bizet zum 150. Mal. Das Forschungszentrum für unbekannte französische Musik des 19. Jahrhunderts „Palazzetto Bru Zane“ in Venedig sucht auch bei bekannten Komponisten nach unbekannten Perlen. Eine davon ist Bizets erste abendfüllende Oper „Le Docteur miracle“, die jetzt in Paris wiederaufgeführt worden ist. Elisabeth Richter war vor Ort.

Den Namen Georges Bizet verbindet man vor allem mit seiner berühmten Oper Carmen und seiner Arlésienne Suite. Bizet hat aber bereits als 17-jährig eine Sinfonie komponiert, ein Werk voller jugendlicher Frische und Spielfreude. Die C-Dur-Sinfonie entstand 1855 während seines Studiums am Pariser Konservatorium – als Übungsstück, das zu seinen Lebzeiten nie aufgeführt wurde. Erst 1935, fast 60 Jahre nach Bizets Tod, wurde die Partitur wiederentdeckt und in Basel (!) uraufgeführt. Die Sinfonie überrascht durch ihre Leichtigkeit und die melodischen Einfälle, die an Haydn und Gounod erinnern, aber auch bereits den unverwechselbaren Stil Bizets erkennen lassen. In vier Sätzen entfaltet sich ein farbenreiches Klangbild voller Esprit und Eleganz. Heute gilt die Sinfonie als eines der bedeutendsten Frühwerke der französischen Romantik. Zum 150. Todestag von Georges Bizet, der bereits im Alter von 37 Jahren verstorben ist, stehen in der Diskothek fünf Aufnahmen von Bizets Jugendwerk zur Diskussion. Gäste von Eva Oertle sind der Cellist Joachim Müller-Crepon und die Musikjournalistin Corinne Holtz.

durée : 01:29:11 - Une heure et plus un compositeur : Georges Bizet - par : Aurélie Moreau - Georges Bizet, génie précoce et compositeur au destin tragique, a marqué la musique française du XIXᵉ siècle. À seulement 36 ans, il laisse derrière lui un chef-d'œuvre, Carmen, mais son œuvre dépasse largement ce monument.

Georges Bizet - Carmen: Bohemian DanceSlovak Philharmonic OrchestraAnthony Bramall, conductorMore info about today's track: Naxos 8.550061Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Sie hat dem Stück seinen Namen gegeben und tritt kein einziges Mal auf: das Mädchen aus Arles – L'Arlesienne. Kein Wunder, dass die männliche Hauptfigur im Liebeskummer ertrinkt. Georges Bizet steuert den Soundtrack für dieses Schauspiel bei. An seinen Durchbruch glaubt niemand ... Von Michael Lohse.

Entrevista a Salvador Brotons, director titular de l'Orquestra Simf

durée : 01:28:21 - En pistes ! du mardi 13 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Toute cette semaine, En Pistes vous fait entendre des œuvres rares, des découvertes mais aussi des chef-d 'œuvres incontournables du créateur de Carmen ! Puis on quittera la France pour un détour par le Luxembourg, avant de rejoindre l'Angleterre avec le Trio Humana et Paul-Antoine Bénos-Djian.

durée : 01:28:21 - En pistes ! du mardi 13 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Toute cette semaine, En Pistes vous fait entendre des œuvres rares, des découvertes mais aussi des chef-d 'œuvres incontournables du créateur de Carmen ! Puis on quittera la France pour un détour par le Luxembourg, avant de rejoindre l'Angleterre avec le Trio Humana et Paul-Antoine Bénos-Djian.

Dall'opera di Georges Bizet al capolavoro di Roland Petit, scopriamo Carmen. Con il contributo di Vasilisa Berzhanskaya.Segui 2aTeatro il primo podcast e vodcast sul mondo teatrale con puntate dedicate alla danza, all'opera, alla musica classica e al teatro. Un progetto inedito, dal taglio divulgativo e coinvolgente, ideato e condotto in studio da Tabata Caldironi e Anna Olkhovaya.Di puntata in puntata scopri i balletti più iconici, le parole e i passi più famosi della danza con la Scuola di Ballo dell'Accademia Teatro alla Scala e le testimonianze di protagonisti di fama internazionale.Il progetto è reso possibile grazie alla collaborazione con A2A, Fondazione AEM e Banco dell'energia.

Georges Bizet (1838-1875) - Sinfonia in do maggiore1.       Allegro vivo                         [7:54]2.       Adagio                                [9:01]3.       Allegro vivace and Trio     [4:49] 4.       Allegro vivace                    [6:52] Royal Philharmonic OrchestraSir Thomas Beecham, conductor 

No século XIX havia um fascínio pela cultura ibérica e Georges Bizet criou uma das peças mais famosas da história. Ainda assim, a vida não permitiu que testemunhasse o sucesso em que se tornou.See omnystudio.com/listener for privacy information.

No século XIX havia um fascínio pela cultura ibérica e Georges Bizet criou uma das peças mais famosas da história. Ainda assim, a vida não permitiu que testemunhasse o sucesso em que se tornou.See omnystudio.com/listener for privacy information.

Nous sommes le 3 mars 1875, à Paris. C'est ce jour-là qu'est créée, sur la scène de l'Opéra-Comique, « Carmen », l'œuvre, en quatre actes, de Georges Bizet, l'un des compositeurs les plus reconnus de la période romantique, sur un livret d'Henri Meilhac et Ludovic Halévy, adapté d'une nouvelle de Prosper Mérimée. L'action se passe à Séville et dans ses environs, au début du XIXe siècle. Carmen, qui exerce l'activité de cigarière (elle fabrique des cigarettes à la main), est une jeune bohémienne a l'âme fougueuse. Elle séduit les hommes et provoque des bagarres. Emprisonnée, elle promet son amour au brigadier Don José afin s'évader. Mais une fois libre, elle oublie le soldat et tombe sous le charme du torero Escamillo. « Carmen » est bien une histoire d'amour et de sang. Aujourd'hui, l'opéra de Bizet est l'un des plus joués au monde. A l'époque de sa création, la réception fut mitigée : une partie de la critique et du public relevèrent son côté scabreux. On commente abondamment les femmes fumant la cigarette sur les planches, la représentation d'un monde de la corrida aussi festif que mortifère, un homme tuant son ancienne maîtresse sous les yeux des spectatrices et des spectateurs, la profusion et la richesse des décors et des costumes qui offrent une vision, à la fois, fantasmée et réaliste de l'Espagne. Et puis, on prend parti : pour ou contre Célestine Galli-Marié, interprète hors normes de la scandaleuse gitane, se déhanchant et amadouant les mâles, en jouant de son regard et de sa voix. Ainsi « Carmen » s'inscrit-elle dans l'histoire des arts et de leurs scandales retentissants, elle est imprégnée de la culture visuelle et littéraire de son temps où l'on croisent Manet, Courbet, Zola et Dumas. Quelles ont été les conditions de la naissance de l'opéra de Bizet ? Peut-on reconstituer les images vues par le public des années 1870 ? En quoi l'œuvre est-elle une rupture dans la manière de raconter les histoires sur scène ? Revenons, aujourd'hui, à Carmen … Avec les Lumières de : Hervé Lacombe, professeur de musicologie à l'Université Rennes 2. « Carmen à sa création – Une andalouse âpre et fauve » ; Actes Sud. Sujets traités : Carmen, Georges Bizet, opéra, Henri Meilhac, Ludovic Halévy, Prosper Mérimée, Séville , bohémienne, Célestine Galli-Marié, Manet, Courbet, Zola Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Bru Zane bringt zur Erinnerung an den 150. Todestag von Georges Bizet eine vierteilige CD-Edition heraus: Fünf Stunden Musik, die dem unbekannten Bizet gewidmet sind. Sieben Ersteinspielungen sind darunter, verschollene Operneinakter, Kantaten und Chorstücke, aber auch Lieder und Klaviermusik. Eine wahre Fundgrube fürs Repertoire, findet SWR-Kritikerin Eleonore Büning.

Deze uitzending voorziet in, gezangen aan St. Jozef gewijd, wiens feestdag we op 19 maart vieren, eveneens St. Patrick die op 17 maart wordt gevierd, eveneens voorzien wij een driedelig “Concerto Grosso” van G.F. Haendel, één deel uit de “Suite Antique” van John Rutter, het “Wolgalied” van Franz Léhar en bekende melodieën van Georges Bizet […]

Amorós sigue con su ciclo dedicado a este compositor francés que pese a tener una vida breve nos dejó grandes piezas como Carmen.

In this special International Women's Day episode, host Tabitha Brasso-Ernst is joined by two powerhouses in classical music – pianist Perri Lo, and mezzo-soprano Emma Parkinson.Read the full article.Credits:Perri Lo - PianistEmma Parkinson - Mezzo-SopranoTabitha Brasso-Ernst - HostMack McGillivray - ProducerCover Illustration by @barryekkoMusic Credits:A Certain Peace from Tobin Stokes' Rattenbury, performed by Emma Parkinson and Perri LoQuintet from Georges Bizet's Carmen, performed by OperaBox Company with:- Perri Lo, Pianist- Luka Kawabata, Baritone – Dancairo- Katie McCullough, Soprano – Frasquita- Katie Miller, Mezzo-Soprano – Mercedes- Nolan Kehler, Tenor – Remendado- Emma Parkinson, Mezzo-Soprano – Carmen⁠Entr'acte II⁠ from Georges Bizet's Carmen, performed by Perri Lo

Georges Bizet (1838-1875) - Sinfonia in do maggiore1.       Allegro vivo [00:00]2.       Andante. Adagio [08:06]3.       Allegro vivace [19:29]4.       Finale. Allegro vivace [25:28] Netherlands Chamber OrchestraGordan Nikolić, conductor

El 3 de marzo de 1875 se estrenó "Carmen", una ópera dramática en cuatro actos con música de Georges Bizet y libreto en francés de Ludovic Halévy y Henri Meilhac, basado en la novela homónima de Prosper Mérimée.

In der Aufführungsstatistik spielt sie in der obersten Liga mit: „Carmen“ von Georges Bizet. Die Oper gehört zu den meistgespielten und populärsten Opern überhaupt. Am 3. März vor 150 Jahren hob sich der Vorhang für „Carmen“ zum ersten Mal. Eine Erfolgsgeschichte wurde sie erst später.

durée : 00:06:44 - Que représente Carmen dans la carrière d'une chanteuse lyrique ? - par : Flore Caron - "Carmen" de Georges Bizet fête ce 3 mars ses 150 ans. Généralement interprété par des mezzo-sopranos, plus rarement par des sopranos ou encore des contraltos, ce rôle emblématique est une étape importante dans la carrière d'une chanteuse lyrique. Quatre interprètes nous livrent leur témoignage.

Amorós inicia un ciclo dedicado a este gran compositor francés que fue un niño prodigio, con tan sólo 10 años ingresó en el conservatorio de París.

En 2025 se cumplen los 150 años del estreno de la ópera Carmen y de la muerte de su compositor Georges Bizet. Esta fue su última composición y a la vez la más conocida. Sin embargo, en su estreno las cosas no resultaron como se esperaba, casi un fracaso, y, como el sino trágico que se desvela en el acto segundo cuando leen las cartas a la protagonista, la muerte llegó al compositor mientras se presentaba la obra. La magia de la música, la psicología de sus personajes y la historia, hacen que sea una de las favoritas de todos los tiempos y es maravilloso descubrirla.

De gloednieuwe biopic Maria schetst de hallucinante laatste dagen van ‘La Divina' in haar Parijse appartement in september 1977. Huh, van wie? Van Maria Callas, de grootste sopraan en operaster ooit. Los van elkaar bezochten Joris en Guido de film in de bios. Tot de opname in de Pandora-podcaststudio startte, waren de heren niet op de hoogte van elkaars mening. En wat er toen gebeurde…Speellijst* W.A. Mozart, Non mi dir, uit: Don Giovanni, Maria Callas (sopraan), Orchestra della Maggio Musicale Fiorentino o.l.v. Tullio Serafin (Florence 1953)* I Showed Him the Diary* Panagiotis Toundas, Why I Snort Cocaine, Aggelina Papadopoulou, Erofili Panogiotarea, Lydia Koniordou * Vincenzo Bellini, Casta diva, uit: Norma, Maria Callas (sopraan), Orchestra del Teatro alla Scala di Milano o.l.v. Tullio Serafin (Milaan 1954)* Georges Bizet, Près des remparts de Seville, uit: Carmen, Maria Callas (sopraan), Orchestre National de la Radiodifussion Française o.l.v. Georges Prêtre (Parijs 1961)* Giacomo Puccini, Choro a boccha chiusa (‘Humming Chorus'), uit: Madama Butterfly, Budapest Scoring Orchestra & Choir o.l.v. Péter Illényi 

In this interview with Tom Morris, a veteran of orchestra management whose career included leadership roles with the Boston Symphony and the Cleveland Orchestra, conductor Devin Patrick Hughes provides a comprehensive look at the inner workings of orchestral institutions, the evolution of their management, and the crucial role of music in their success. Morris's journey from a percussionist to a top-level administrator offers a unique perspective, and his reflections provide valuable lessons for anyone interested in the performing arts. One of the most compelling aspects of the interview is Morris's discussion of how his musical background shaped his management philosophy. He emphasizes his deep understanding of musicians' lives, having experienced firsthand the challenges and demands of performing in an orchestra. This empathy enabled him to build trust with musicians and approach labor negotiations with a unique perspective. Morris's belief that "ultimately these institutions are about the music" underscores the importance of passion and artistic integrity in organizational leadership. The episode also explores the historical evolution of orchestra management, particularly the Boston Symphony Orchestra. Morris recounts how, before the 1970s, the orchestra relied on simple postcards for subscription renewals. He explains that over the seventies and eighties, the percentage of the budget earned from ticket sales gradually fell. This shift necessitated the development of marketing and fundraising departments, leading to a significant increase in administrative staff.  Morris shares fascinating insights about the Boston Pops, emphasizing that it was founded in 1885, before Arthur Fiedler became its 17th conductor in 1929. The Boston Symphony created the Pops to provide more employment for musicians and to perform lighter music for a broader audience. He discusses how the Boston Symphony transformed Symphony Hall into a "beer hall" to accommodate a more informal setting for the Pops concerts. He explains that in the early days the Pops sold blocks of tickets to community groups and did not have to focus on individual ticket sales. He also recounts how the popularity of Arthur Fiedler was enhanced even further by the "Evening at Pops" television series. Morris details the process of selecting John Williams as Fiedler's successor, explaining that Williams was chosen for his musical integrity and knowledge of the symphony orchestra. Furthermore, the interview addresses the crucial dynamic between management, the music director, and the board of directors, which Morris refers to as the "Bermuda Triangle.” Morris suggests that this structure can function perfectly if the right people are in those roles and are bound by a common vision. He also emphasizes that having a collaborative culture is essential, but that collaborative decision-making should be avoided. Morris stresses the importance of clear lines of authority and not settling for "good enough" when hiring. He also shares that when hiring he uses Jim Collins' three C's: competence, character, and chemistry. These points underscore the need for strong leadership and a shared vision in any successful organization. Morris also touches on the importance of thoughtful programming. He humorously mentions his collection of "dumb programs" and emphasizes the importance of carefully considering the combination of pieces in a concert. He contrasts examples of bad programming with one of his favorites, a concert he organized with Christoph von Dohnányi, which combined pieces by Ligeti, Wagner, and Bruckner. This conversation highlights that thoughtful artistic direction is an essential element in the success of an orchestra. Thank you for joining us on One Symphony. Special thanks to Thomas Morris for sharing his life and leadership. You can pick up a copy of Always the Music: How a Lifelong Passion Framed a Future for Orchestras wherever you get your books. For a list of recordings played on today's episode, please check out our show notes. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music. https://www.alwaysthemusic.com Featured Music All music selections for this episode feature the Boston Pops.  Tchaikovsky's Serenade for Strings in C Major, Op. 48: Waltz. Conducted by Arthur Fiedler, from the album Fiedler: Greatest Hits.  L'Arlésienne Suite No. 2: Farandole. Composed by Georges Bizet. Conducted by Arthur Fielder, from the album Fiedler: Greatest Hits. “Manhattan Skyline.” From the album Disco Inferno / Manhattan Skyline. Conducted by Arthur Fiedler.  “I Got Rhythm, Embraceable You.” From the album Boston Pops Salutes Astaire, Kelly, Garland. Composed by George and Ira Gershwin. Conducted by John Williams.  “Flying Theme” from E. T. Composed by John Williams. Performed live by John Williams conducting the Boston Pops in 2002.  “America Medley: America.” From the album Salute to America. Composed by Leonard Bernstein. Lyrics by Stephen Sondheim. Conducted by John Williams.  “None But The Lonely Heart.” From the album Pops a la Russe. Composed by Pyotr Ilyich Tchaikovsky. Conducted by John Williams.  The Snow Maiden - Suite - Danse des Bouffons. Composed by Nikolai Rimsky-Korsakov. From the album Pops a la Russe. Conducted by John Williams.  Holst: The Planets, op.32: 3. Mercury, The Winged Messenger. From the album Boston Pops Orchestra: John Williams. Conducted by John Williams. Overture from The Merry Wives of Windsor. From the album Fiedler: Greatest Hits. Conducted by Arthur Fiedler.  “Pizzicato Polka.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  “Funeral March of a Marionette.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  

This week on the Rock & Roll Hall of Fame Podcast, we honor the year in music for 1991, along with Rock and Roll Hall of Fame class of 1991 inductee Wilson Pickett. We also look at the case for putting Motorhead into the Rock and Roll Hall of Fame. Plus, our spotlight hall of fame is the Grammy Museum & Hall of Fame in Los Angeles, California & the Georges Bizet's opera inductee Carmen. Podcast Episode Music Playlist - youtube.com/playlist?list=PLSMDYrumQfYQhYBAold76d7ack4DTMYMW For more music history, subscribe to my YouTube Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday Rock and Roll Hall of Fame - RockHall.com Grammy Hall of Fame & Museum - GrammyMuseum.org --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Georges Bizet - Carmen: March of the Toreadors Slovak Philharmonic Orchestra Anthony Bramall, conductor More info about today's track: Naxos 8.550061Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Operina is a new opera podcast for kids, created and hosted by soprano Jessica Cambio. Each episode features children from around the world participating (in their own language) in a musical, historical, cultural, and linguistic educational adventure... with their parents' permission, of course.Opera, classical music, and linguistic studies are often neglected and/or not introduced to children at all, especially at the elementary school level. It has been scientifically proven that exposure to classical music, art, dance, culture, foreign languages, and even global travel at an early age encourages healthy brain stimulation and growth, a more peaceful upbringing, a stronger sense of community, and therefore, a better world. The Operina mission is to provide a fun, free, kid-friendly all-encompassing learning experience to enhance their musical and cultural education, expand their horizons, encourage them to think outside the box of their daily lives... all the while limiting their screen time. ;)Operina encourages kids to learn, grow, explore, and experience opera and classical music firsthand. The episodes, narrated by various musical guests worldwide, can be enjoyed in the comfort of your own home. Operina also encourages your children to make new friends, share information and opinions, learn new words in foreign languages, use their imagination and creativity, create a community, listen to the sounds of the human voice and orchestral instruments, design costumes and sets, dance, sing, and explore the stage, acting, and all the spectacle of opera from the inside.Operina features guests from all corners of the globe, stories extracted from operas that have survived hundreds of years, quizzes, foreign words integrated in the language of the opera being presented, and so much more. Join us on this new adventure!In this episode CARMEN PART TWO, I read the second half of the Metropolitan Opera Guild's 1938 edition of Georges Bizet's French opera Carmen, one of the world's most beloved and well-known operas. This version adapted by Robert Lawrence is taken from a volume of children's books for opera lovers. The pages are colorfully illustrated by Alexandre Serebriakoff, and the images can be seen on the Operina Instagram page @operinapodcast.If your child would like to be featured as a guest on future episodes, please send your submissions (in any language) to: operinapodcast@gmail.com.DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use.

Operina is a new opera podcast for kids, created and hosted by soprano Jessica Cambio. Each episode features children from around the world participating (in their own language) in a musical, historical, cultural, and linguistic educational adventure... with their parents' permission, of course.Opera, classical music, and linguistic studies are often neglected and/or not introduced to children at all, especially at the elementary school level. It has been scientifically proven that exposure to classical music, art, dance, culture, foreign languages, and even global travel at an early age encourages healthy brain stimulation and growth, a more peaceful upbringing, a stronger sense of community, and therefore, a better world. The Operina mission is to provide a fun, free, kid-friendly all-encompassing learning experience to enhance their musical and cultural education, expand their horizons, encourage them to think outside the box of their daily lives... all the while limiting their screen time. ;)Operina encourages kids to learn, grow, explore, and experience opera and classical music firsthand. The episodes, narrated by various musical guests worldwide, can be enjoyed in the comfort of your own home. Operina also encourages your children to make new friends, share information and opinions, learn new words in foreign languages, use their imagination and creativity, create a community, listen to the sounds of the human voice and orchestral instruments, design costumes and sets, dance, sing, and explore the stage, acting, and all the spectacle of opera from the inside.Operina features guests from all corners of the globe, stories extracted from operas that have survived hundreds of years, quizzes, foreign words integrated in the language of the opera being presented, and so much more. Join us on this new adventure!In this episode CARMEN PART ONE, I read the first half of the Metropolitan Opera Guild's 1938 edition of Georges Bizet's French opera Carmen, one of the world's most beloved and well-known operas. This version adapted by Robert Lawrence is taken from a volume of children's books for opera lovers. The pages are colorfully illustrated by Alexandre Serebriakoff, and the images can be seen on the Operina Instagram page @operinapodcast.If your child would like to be featured as a guest on future episodes, please send your submissions (in any language) to: operinapodcast@gmail.com.DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational, or personal use tips the balance in favor of fair use.

durée : 01:58:11 - Bizet et l'orchestre - par : Christian Merlin - Le fait que tout le monde soit capable de fredonner un air de Carmen a eu un effet pervers : faire oublier que Georges Bizet fut un musicien extrêmement subtil et raffiné, ce que montre en premier lieu son art de l'orchestration, d'une infinie délicatesse de touche et richesse de coloris. - réalisé par : Marie Grout

durée : 00:28:17 - Bizet et l'orchestre (4/4) : L'orchestre de Carmen (2) - par : Christian Merlin - Le fait que tout le monde soit capable de fredonner un air de Carmen a eu un effet pervers : faire oublier que Georges Bizet fut un musicien extrêmement subtil et raffiné, ce que montre en premier lieu son art de l'orchestration, d'une infinie délicatesse de touche et richesse de coloris. - réalisé par : Marie Grout

durée : 00:28:27 - Bizet et l'orchestre (3/4) : L'orchestre de Carmen (1) - par : Christian Merlin - Le fait que tout le monde soit capable de fredonner un air de Carmen a eu un effet pervers : faire oublier que Georges Bizet fut un musicien extrêmement subtil et raffiné, ce que montre en premier lieu son art de l'orchestration, d'une infinie délicatesse de touche et richesse de coloris. - réalisé par : Marie Grout

durée : 00:28:15 - Bizet et l'orchestre (2/4) : Bizet orchestrateur - par : Christian Merlin - Le fait que tout le monde soit capable de fredonner un air de Carmen a eu un effet pervers : faire oublier que Georges Bizet fut un musicien extrêmement subtil et raffiné, ce que montre en premier lieu son art de l'orchestration, d'une infinie délicatesse de touche et richesse de coloris. - réalisé par : Marie Grout

durée : 00:28:28 - Bizet et l'orchestre (1/4) : Bizet symphoniste - par : Christian Merlin - Le fait que tout le monde soit capable de fredonner un air de Carmen a eu un effet pervers : faire oublier que Georges Bizet fut un musicien extrêmement subtil et raffiné, ce que montre en premier lieu son art de l'orchestration, d'une infinie délicatesse de touche et richesse de coloris. - réalisé par : Marie Grout

Carmen - die titelgebende Figur einer der populärsten Opern überhaupt. Komponiert von Georges Bizet, uraufgeführt 1875 in der Opéra-Comique zu Paris. Schauplatz der Handlung ist Sevilla. Das Libretto haben Henri Meilhac und Ludovic Halévy nach der gleichnamigen Novelle von Prosper Mérimée verfasst.

The Honourable Lady Rita Rae is a lawyer and judge, and the current Rector of the University of Glasgow. Early in her career she was a rare woman in the heavily male-dominated legal world. She went on to work on many high profile criminal cases over five decades as a solicitor, an advocate and subsequently a judge in Scotland's Supreme Court.Rita grew up in Plains, Airdrie, to the east of Glasgow. She was a shy child but earned the nickname ‘The Last Word' from her parents because of her need to argue her case when she felt something wasn't right. She was inspired to become a lawyer by her maternal grandfather, a noted advocate and anti-fascist from Naples.Her parents met in a munitions factory in Italy where her mother was working. Her father was a Scottish bomb disposal expert helping to dismantle munitions after the war. They married and moved to Scotland, but Rita and her brother were not accepted by her Scottish family because of their Catholicism. Rita became a solicitor in 1974, entering a world dominated by men. When told by a senior colleague that women were ‘emotionally unsuitable for court work', she set about proving him wrong. She became a partner in her firm at the age of 27, and was called to the bar in 1982, one of just 13 female advocates in Scotland at the time. She was made a Sheriff in 1997 and a Judge of the Supreme Courts in 2014.In 2021 she was elected Rector of the University of Glasgow, the first female working rector in the university's 570-year history.DISC ONE: Piano Concerto No. 2 in C Minor, Op. 18 - III. Allegro scherzando. Composed by Sergei Rachmaninoff, performed by Vladimir Ashkenazy (piano) and London Symphony Orchestra, conducted by André Previn DISC TWO: “Ah! Dite alla giovine” from Act 2 of La Traviata. Composed by Giuseppe Verdi, performed by Angela Gheorghiu (soprano), Leo Nucci (baritone) and Orchestra of the Royal Opera House, Covent Garden, conducted by Sir Georg Solti DISC THREE: Mamma - Beniamino Gigli DISC FOUR: Aranjuez mon amour - Massimo Ranieri DISC FIVE: Cheap Flights - Fascinating Aïda DISC SIX: “The Flower Song” (“La fleur que tu m'avais jetee”), Carmen, Act II. Composed by Georges Bizet, performed by José Carreras (tenor) and Orchestra of the Royal Opera House, Covent Garden, conducted by Jacques Delacôte DISC SEVEN: Ave Maria. Composed by Giulio Caccini (Arr. Brinums) and performed by Inessa Galante (Soprano), Latvian National Symphony Orchestra, conducted by Aleksandrs Vilumanis DISC EIGHT: Climb Ev'ry Mountain - Peggy WoodBOOK CHOICE: The Pursuit of Italy: A History of a Land, its Regions and their Peoples by David Gilmour LUXURY ITEM: A solar powered car CASTAWAY'S FAVOURITE: Mamma - Beniamino Gigli Presenter Lauren Laverne Producers Paula McGinley and Tim Bano

Week four of celebrating what would have been Glenn Miller's 120th birthday March first, brings us to another album from a different orchestra playing music made famous by Miller. A couple of weeks ago I played an album by Bobby Hackett. THAT Bobby actually played with Glenn Miller before world war 2. Music you are about to hear features the Bobby Krane Orchestra. THIS Bobby…doesn't exist. So get ready to hear recordings that came from a sound-alike record label playing more of that famous clarinet over saxophone swing in Volume 169: Krane's Miller Tribute. More information about this album, see the Discogs webpage for it.  Credits and copyrights Bobby Krane His Trombone And Orchestra* – A Tribute To Glenn Miller Label: Bravo! Records – K-118 Series: Grand Prix Series Format: Vinyl, LP, Album, Stereo Released: 1962  Genre: Jazz, Pop Style: Big Band We will hear 6 of the ten songs from the album I've Got A Gal In Kalamazoo written by Mack Gordon and Harry Warren Jeannie With The Light Brown Hair written by Stephen C. Foster Volga Boatman A traditional Russian song Bill Finegan's jazz arrangement for the Glenn Miller band took the song to #1 in the US charts in 1941. Habanera Written aby Georges Bizet the 19th century French composer Anitra's Dance Written by Edvard Grieg the 19th century Norwegian composer Chattanooga Choo Choo  written by Mack Gordon and Harry Warren I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Paloma de Boismorel "La fin du sommeil" (Editions de l'Olivier)« Dormir, c'est ce que j'avais fait depuis le début. »Devenu malgré lui un architecte à la mode, Pierre-Antoine est le père de trois enfants indifférents et l'époux d'une galeriste surmenée. Au milieu d'une insomnie, ses yeux s'ouvrent sur une étrange révélation. La réalité lui apparaît désormais sous un jour nouveau. Le visage de sa fille, l'éclairage de sa cuisine, les mails de ses clients, le sourire de sa femme, les œuvres qu'il regarde… tout a changé. Alors qu'une simple allergie lui est diagnostiquée, le narrateur annonce à son entourage souffrir d'un cancer de la gorge.Cette ruse devrait lui laisser le temps d'écrire un roman, de retrouver l'amour de sa femme, la considération de ses enfants ainsi que le sens de cette existence burlesque.Comédie absurde et pleine d'esprit, le premier roman de Paloma de Boismorel se joue avec vivacité de la tyrannie du bien-être, des vanités et des faux-semblants.Musique:   "Dans le noir" de Juniore « Pêcheur de perle » de Georges Bizet. « Je crois entendre encore » interprété par Nicolai Gedda

durée : 01:27:58 - En pistes ! du jeudi 01 février 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Emilie et Rodolphe vous retrouvent ce matin en compagnie de la soprano espagnole Victoria de los Ángeles. Le label Warner lui rend hommage dans un coffret de 59 CD, nous écoutons ses plus belles interprétations dans Manuel de Falla, Ruperto Chapi, et dans la légendaire Carmen de Georges Bizet

Carmen is maybe the most famous heroine in all of opera. She's a woman of Romani descent living in 19th century Spain, sensual and self-confident, aware of the power she wields over men — and she enjoys it. In her signature aria, popularly known as the “Habanera,” she describes herself as a bird who can't be captured. True to her own word, Carmen — and what she represents — is hard to pin down.  When “Carmen” premiered in Paris in 1875, it was deemed wildly immoral. Carmen becomes intrigued by a soldier, Don José, who initially pays her no attention. She seduces him, Don José abandons his fiancée to run away with her, and one thing leads to another (this is opera, after all) — he winds up murdering Carmen in a fit of jealous rage. One interpretation is that this is the story of a man giving into temptation and meeting his downfall. A more modern view would position Carmen as a proto-feminist. She's a woman who refuses to be controlled, and that puts her life in danger.But perhaps Carmen's greatest irony is that she is both a complex character and a full-blown stereotype of Romani women. In this episode, host Rhiannon Giddens and guests unpack the myth and the magic of Georges Bizet's "Carmen," and Clémentine Margaine brings it home with a performance of “L'amour est un oiseau rebelle” from the Met stage.THE GUESTSFrench mezzo-soprano Clémentine Margaine first performed in “Carmen” as a member of the children's chorus. Shortly after graduating from the Paris Conservatory, she joined the ensemble of the Deutsche Oper Berlin, where she sang her first performances in the title role. Since then, she's performed Carmen at opera houses all over the world. Susan McClary is a pioneer in feminist music criticism. She's a musicologist at Case Western Reserve University whose research focuses on the cultural analysis of music, both the European canon and contemporary popular genres. She's authored 11 books, including "Feminine Endings: Music, Gender, and Sexuality" and the Cambridge Opera Handbook on “Carmen.”Ionida Costache is an assistant professor of ethnomusicology and an affiliate of the Center for Comparative Studies in Race and Ethnicity at Stanford University. She is of Romani-Roma descent, and her work explores the legacies of historical trauma inscribed in Romani music, sound, and art. Her family likes to pass on the story of the time her great-grandfather performed the cimbalom for Theodore Roosevelt at the 1939 New York World's Fair. Rosamaria Kostic Cisneros wears many hats. She is a professional dancer, dance historian and critic, Romani studies scholar, Flamenco historian, as well as a sociologist, curator and peace activist. A research-artist at Coventry University's Centre for Dance Research, she works to bring arts and culture to vulnerable groups. She was introduced to flamenco by her Spanish-Roma mother during their frequent trips to Seville.

Der russische Zar, der deutsche Kaiser, ein britischer Prinz: Sie alle liebten die schöne Otéro, Tänzerin und damals wohl die bekannteste Frau der Welt. Von Christiane Kopka.

Der französische Komponist Georges Bizet, geboren am 25.10.1838, schreibt seinen größten Erfolg kurz vor seinem Tod: Die Melodien der Oper "Carmen" sind Ohrwürmer. Von Sabine Mann.

Mark Fitzpatrick came to the Islanders as a highly-touted goalie prospect and quicky established himself as a fiery NHL-caliber netminder. But right before the 1990-91 season, the 21-year-old found himself in a Los Angeles hospital with swollen hands and arms, and feet the size of footballs. Even when doctors were able to name his ailment as a rare blood disease called eosinophilia-myalgia syndrome or EMS, Fitzpatrick's frightening and frustrating ordeal to reclaim his playing career was just beginning. After treatments and stops and starts on the ice, Fitzpatrick was able to play 30 games for an Islanders team with slim playoff hopes in 1992. He became the Islanders' second ever recipient of the Masterton Trophy for dedication to hockey, but more importantly, became a beacon of hope to others suffering from EMS all across the world. While Fitzpatrick was battling for his life and career, the Islanders of this time were an absolute trainwreck. Their scorers couldn't score, their defense wasn't consistent, their owner was an absentee cheapskate and their best player and only star wanted to be traded. Other than that, everything was great! It was all a far cry from where the team had been a decade earlier and a small taste of where things would go. And, yes, the use of Georges Bizet's “Habanera” aria as background music at times is an homage to Michael Richie's 1976 classic The Bad News Bears and a way to lighten the mood a little. Hearing it still makes me chuckle and picture a field of foul-mouthed kids who can't play baseball. That seems like an apt comparison to the early 1990's Islanders. Research and other assistance was provided by Kevin Schultz. Visit VintageIceHockey.com, where you can buy t-shirts, hoodies and mugs featuring the logos over over 100 classic hockey teams from all across North America, as well as our own Al Arbour tribute shirt. Use the code ANXIETY20 to get 20 percent off an order of two items. Our portion of the sales go directly to the Center for Dementia Research. This episode of Islanders Award Winners was written using archival material from Newsday, The New York Times, Sports Illustrated, 100 Things Islanders Fans Should Know and Do Before They Die by Arthur Staple and Pride and Passion: 25 Years of the New York Islanders by Stan Fischler and Chris Botta. Learn more about your ad choices. Visit megaphone.fm/adchoices

Georges Bizet - Petite Suite: Le BalNew Zealand Symphony OrchestraDonald Johanos, conductorMore info about today's track: Naxos 8.553278Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Philharmonic, conducted by Yannick Nézet-Séguin with Mezzo-soprano Elina Garanca as soloist. The Summer Night Concert was performed this year on June 8th, 2023. It is an annual open-air event, which has been held since 2008. The park of Schönbrunn Palace in Vienna/Austria is the magical setting for the concert. The illustrious conductors who have previously led the orchestra at this event are Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Lorin Maazel, Christoph Eschenbach, Zubin Mehta, Semyon Bychkov, Gustavo Dudamel, Daniel Harding, and Andris Nelsons.1. Georges Bizet, Suite Nr. 1 aus der Oper Carmen (Arrangement Ernest Guiraud 1885)             Nr. 5. Les Toréadors (Vorspiel zum 1. Akt)             Nr. 2. Intermezzo (Vorspiel zum 3. Akt)             Nr. 1a. Aragonaise (Vorspiel zum 4. Akt) 2. Georges Bizet, Habanera aus der Oper Carmen3. Lili Boulanger, D‘un matin de printemps. Fassung für Orchester 19184. Hector Berlioz, Ouvertüre zur Oper Le Corsaire op. 215. Charles Gounod, „O ma lyre immortelle“ Arie aus der Oper Sapho6. Maurice Ravel, Daphnis et Cloé. Suite Nr. 27. Camille Saint-Saëns, „Mon cœur s'ouvre à ta voix” Arie aus der Oper Samson et Dalila8. Maurice Ravel, BoleroHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).