Podcast appearances and mentions of giuseppe sinopoli

durée : 00:30:50 - Avec Laurent Feneyrou - par : Philippe Venturini - "Si je dis Giuseppe Sinopoli vous pensez au chef d'orchestre, chantre de l'école de Vienne, de Mahler, mort à 54 ans alors qu'il dirigeait Aïda. C'est un de ses textes traduit pour la 1ère fois en français par Laurent Feneyrou, que je vous propose de découvrir, nous mène à Venise" Philippe Venturini - réalisé par : Doria Zénine

durée : 01:28:40 - Giuseppe Sinopoli, l'exigence artistique et le refus de la routine - par : Aurélie Moreau - Pour le chef d'orchestre Giuseppe Sinopoli, "Ce n'est pas lorsque tout fonctionne – l'intonation, la précision, l'articulation – qu'une interprétation est réussie mais lorsqu'elle me fournit matière à méditer". Aujourd'hui : Wagner, Brahms, Puccini…

durée : 00:13:50 - Disques de légende du lundi 09 septembre 2024 - Aujourd'hui dans Les Disques de légende, le chef d'orchestre Giuseppe Sinopoli dirige la Staatskapelle de Dresde et les sopranos Luisa Castellani et Alessandra Marc dans un doublé Schönberg : le Pierrot lunaire et Erwartung.

durée : 00:13:50 - Disques de légende du lundi 09 septembre 2024 - Aujourd'hui dans Les Disques de légende, le chef d'orchestre Giuseppe Sinopoli dirige la Staatskapelle de Dresde et les sopranos Luisa Castellani et Alessandra Marc dans un doublé Schönberg : le Pierrot lunaire et Erwartung.

durée : 00:21:14 - Disques de légende du mercredi 07 février 2024 - Aujourd'hui, dans le Disque de Légende, une Salomé de Richard Strauss portée à l'incandescence par le chef italien Giuseppe Sinopoli et une distribution all-stars.

Terzo e ultimo atto dell’opera verdiana, dove la tragedia prende il sopravvento con la terribile scoperta di Rigoletto: il corpo nel sacco, che lui credeva essere del Duca, è quello di sua figlia Gilda. Un atto che contiene arie celebri come ’La donna è mobile’ e dal quale ascolteremo ’Bella figlia dell’amore’, eseguita dall’Orchestra dell’Accademia Nazionale di Santa Cecilia, diretta dal maestro Giuseppe Sinopoli. Tenore: Neil Schicoff (duca di Mantova) - Baritono: Renato Bruson (Rigoletto) - Soprano: Edita Gruberova (Gilda) - Contralto: Brigitte Fassbaender (Maddalena)See omnystudio.com/listener for privacy information.

durée : 00:20:28 - Disques de légende du mercredi 10 janvier 2024 - Martha Argerich, pianiste de légende et le chef d'orchestre Giuseppe Sinopoli

Siamo al secondo atto, quando il buffone di corte Rigoletto scopre che la sua bellissima figlia Gilda - scambiata per la sua amante - è stata rapita dai cortigiani e condotta in un luogo segreto. In questa puntata ascoltiamo proprio 'Cortigiani vil razza dannata', l'invettiva di Rigoletto contro i rapitori della figlia, eseguita dall'Orchestra dell'Accademia Nazionale di Santa Cecilia, diretta dal maestro Giuseppe Sinopoli. Maestro del coro: Norbert Balatsch - Baritono: Renato Bruson (Rigoletto).See omnystudio.com/listener for privacy information.

Arriviamo a Giuseppe Verdi, genio musicale italiano che affrontiamo con il ’Rigoletto’, opera basata su un libretto dalla lunga e complessa storia. Tratta dal dramma di Victor Hugo ’Le roi s’amuse’ (’Il re si diverte’), è una beffa nei confronti della regalità che ebbe diverse noie con la censura, al punto che Giuseppe Verdi dovette sostituire con il personaggio di fantasia del Duca di Mantova quello originario del re di Francia. Rigoletto è un carattere complesso e che nel’corso della storia si evolve, da buffone di corte odioso e adulatore, a figura patetica e drammatica. In questa puntata ascoltiamo l’aria ’Caro nome’, eseguita dall’ Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia, diretta da Giuseppe Sinopoli. Maestro del coro: Norbert Balatsch - Soprano: Edita Gruberova (Gilda)See omnystudio.com/listener for privacy information.

A week ago the extraordinary Hungarian-German soprano Julia Varady turned 82. As she is one of my favorite sopranos, I have presented her a few times on the podcast, but never on an episode devoted exclusively to her. There is no time like the present to rectify that situation. Varady had an exceptional and unusual career, centered mostly in Europe, where she was celebrated first as a Mozart soprano, later for her fearless portrayals of the full range of Verdi heroines. Elsewhere in the world, primarily because of her recordings, she was considered mostly a Strauss singer, who also dipped her toe into some of the Wagner jugendlich dramatisch heroines. As today's traversal proves, she was all that, but also much more: a singer with a gutsy dramatic instinct and a technique that allowed her to take on roles that might have been a few sizes too large for her vocally, but which she portrayed with vigor and fearlessness such as have been matched by only a few of the very greatest sopranos. It is also my objective in this episode to consider her accomplishment independently from that of Dietrich Fischer-Dieskau, her husband from 1977 until his death in 2012, regarded by many as one of the most significant baritones of the last century. But my (perhaps idiosyncratic) view is that, particularly because of their very different artistic personalities, her achievements, especially on the operatic stage, outrank his. See if you agree with me. We also hear contributions from tenors Siegfried Jerusalem and Franco Tagliavini, soprano Arta Florescu (Varady's teacher), and baritone Raimund Grumbach, along with pianists Elena Bashkirova and Aribert Reimann (whose compositional masterpiece Lear is also sampled), and conductors Wolfgang Sawallisch, Giuseppe Sinopoli, Algis Zhuraitis, Jesús López-Cobos, Neville Marriner, Herbert von Karajan, Francesco Molinari-Pradelli, and István Kertész. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Jess Gillam swaps favourite music with the mezzo-soprano Anne Sofie von Otter Anne Sofie is one of classical music's most celebrated singers with a huge back catalogue of recordings, and she's also known for her huge versatility and musical curiosity working with artists from conductors Claudio Abbado and Giuseppe Sinopoli to Elvis Costello, Brad Mehldau and Rufus Wainwright. Today though she's listening to other people's recordings, as she and Jess sat down together to listen to a Janacek fanfare and a headphone blasting piece of Verdi. Jess picks a Nina Simone track that left them both speechless, while Anne Sofie brought along a ravishing piece by Rameau and (quite literally) turned up the volume on a barnstorming Beyoncé track. Playlist: JANACEK: Sinfonietta, 1st mvt 'Sokol Fanfare' [Vienna Philharmonic, Charles Mackerras (conductor)] JÓHANN JÓHANNSSON: Good Night, Day [Hildur Guðnadóttir (cello), Air Lyndhurst String Orchestra, Anthony Weeden (conductor)] BEYONCÉ: Countdown RAMEAU: Les Boréades, Act 4 Entrée de Polymie [Les Musiciens du Louvre, Marc Minkowski (cond)] VERDI: Requiem, Dies Irae (into Tuba Mirum) [Coro y Orchestra dell'Accademia Nationale di Santa Cecilia, Antonio Pappano (conductor)] NINA SIMONE: Little Girl Blue BENGAN JANSON: I've Found a New Baby

Un día como hoy, 20 de abril: Nace: 1893: Joan Miró, pintor español (f. 1983). 1943: John Eliot Gardiner, director de orquesta y músico británico. Fallece: 1912: Pedro Lira, pintor chileno (n. 1845). 1912: Bram Stoker, escritor irlandés (n. 1847). 2001: Giuseppe Sinopoli, compositor y director de orquesta italiano (n. 1946). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Synopsis On today's date in 1909, Richard Strauss's opera Elektra had its premiere in Dresden. The libretto, a free adaptation of the grim, ancient Greek tragedy by Sophocles, was by the Austrian poet and playwright Hugo von Hofmannsthal. In ancient Greek tragedies, violence occurred off-stage, and for his libretto, Hofmannsthal honored that tradition. But the music of Strauss evoking the tragedy's violence unleashed a huge orchestra with a ferocity that stunned early listeners. After its American premiere, one New York critic wrote of “a total delineation of shrieks and groans, of tortures physical in the clear definition and audible in their gross realism . . .Snarling of stopped trumpets, barking of trombones, moaning of bassoons and squealing of violins.” Even Strauss himself later admitted Elektra (quote) “penetrated to the uttermost limits of … the receptivity of human ears,” and what he called his “green horror” opera might cause him to be type-cast as a purveyor of creepy-crawly music. And so, Strauss prudently suggested to Hofmansthal “Next time, we'll write a MOZART opera.” Almost two years later to the day, on January 26, 1911, their “Mozart” opera, Der Rosenkavalier, or the The Rose Bearer premiered. It's set in 18th century Vienna, and for this opera Strauss included anachronistic, but eminently hummable waltz tunes. Music Played in Today's Program Richard Strauss (1864 –1949) Elektra Alessandra Marc, sop.;Vienna Philharmonic; Giuseppe Sinopoli, conductor. DG 453 429 Richard Strauss Der Rosenkavalier Waltz Suite Philadelphia Orchestra; Eugene Ormandy, conductor. Sony 60989 On This Day Births 1851 - Flemish composer Jan Blockx, in Antwerp; 1886 - German composer and conductor Wilhelm Furtwängler, in Berlin; 1911 - American composer and pianist Julia Smith, in Denton, Texas; 1913 - Polish composer Witold Lutoslawski, in Warsaw; 1921 - American composer and conductor Alfred Reed, in New York City; Premieres 1817 - Rossini: opera, "La Cenerentola" (Cinderella), in Rome at the Teatro Valle; 1902 - Franz Schmidt: Symphony No. 1, in Vienna; 1909 - R. Strauss: opera "Elektra," in Dresden at the Hofoper, conducted by Ernst von Schuch, with soprano Annie Krull in the title role; 1946 - R. Strauss: "Metamorphosen," in Zürich; 1957 - Walton: Cello Concerto, by the Boston Symphony conducted by Charles Munch, with Gregor Piatigorsky the soloist; 1963 - Karl Amadeus Hartmann: Symphony No. 8, by the West German Radio Symphony, Rafael Kubelik conducting; 1987 - Paul Schoenfield: "Café Music" for piano trio at a St. Paul Chamber Orchestra concert. Links and Resources On Richard Strauss More on Richard Strauss

Synopsis On today's date in 1900, Tosca, a new opera by Giacomo Puccini had its premiere at the Teatro Costanzi in Rome. Rome was, in fact, the opera's setting and those in the audience would have instantly recognized the real-life landmarks depicted on stage. Puccini composed Tosca at the height of the “verismo” or “realism” craze in opera. It might seem downright silly that a theatrical form as unreal and stylized as opera could ever be described as “realistic” – but the idea was to depict “a slice of real life” – even if that slice includes melodramatic characters like a sadistic, lecherous police chief and a beautiful opera diva he lusts for. To be as realistic as possible, Puccini visited Rome to listen to the early morning church bells from the ramparts of the Castel Sant'Angelo, the setting of his opera's third act and to consult with a Roman priest on the details of the liturgy for the Te Deum that concludes Act I. Some early audiences for Tosca thought Puccini had taken this realism thing way too far. One proper British reviewer wrote: “Those who were present were little prepared for the revolting effects produced by musically illustrating torture ... or the dying kicks of a murdered scoundrel.” Music Played in Today's Program Giacomo Puccini (1858 –1924) Tosca Soloists and Philharmonia Orchestra; Giuseppe Sinopoli, conductor. DG 431 775

Un día como hoy, 20 de abril: Nace: 1893: Joan Miró, pintor español (f. 1983). 1943: John Eliot Gardiner, director de orquesta y músico británico. Fallece: 1912: Pedro Lira, pintor chileno (n. 1845). 1912: Bram Stoker, escritor irlandés (n. 1847). 2001: Giuseppe Sinopoli, compositor y director de orquesta italiano (n. 1946). Una producción de Sala Prisma Podcast. 2022

Seit mehr als 50 Jahren gilt Neumarkt an der Raab, heute ein Ortsteil von St. Martin an der Raab, als DAS Künstlerdorf Österreichs. Namen wie Walter Pichler und Johannes Wanke, Giuseppe Sinopoli, Peter Handke oder Gerhard Rühm fallen in Verbindung mit Neumarkt. Sie waren auf Einladung des Kulturvereins zu Gast - und viele blieben als Wahlburgenländer. Bis heute finden hier Kunstkurse, Aussstellungen und Konzerte statt.

ROTOCLASSICA - ..Claudio Ricordi da studio casalingo:..-addio a Milva: da Sanremo a Brecht con Strehler, fino alla Scala con Berio..-e Milva con Piazzolla..-il 25 aprile alla Scala (prima parte)..-un ricordo di Giuseppe Sinopoli a 20 anni dalla scomparsa, di Luca Chierici ..-Igor Stravinsky inventore di musica: Dumbarton Oaks, di Massimiliano Caldi..-ancora per la Giornata della Terra: il Ritratto Musicale della Natura di Justin Heinrich Knecht..-un buon sabato con la Terza Sinfonia di Sciostakovic detta "il Primo Maggio"

ROTOCLASSICA - ..Claudio Ricordi da studio casalingo:..-addio a Milva: da Sanremo a Brecht con Strehler, fino alla Scala con Berio..-e Milva con Piazzolla..-il 25 aprile alla Scala (prima parte)..-un ricordo di Giuseppe Sinopoli a 20 anni dalla scomparsa, di Luca Chierici ..-Igor Stravinsky inventore di musica: Dumbarton Oaks, di Massimiliano Caldi..-ancora per la Giornata della Terra: il Ritratto Musicale della Natura di Justin Heinrich Knecht..-un buon sabato con la Terza Sinfonia di Sciostakovic detta "il Primo Maggio"

Un día como hoy, 20 de abril: Nace: 1893: Joan Miró, pintor español (f. 1983). 1943: John Eliot Gardiner, director de orquesta y músico británico. Fallece: 1912: Pedro Lira, pintor chileno (n. 1845). 1912: Bram Stoker, escritor irlandés (n. 1847). 2001: Giuseppe Sinopoli, compositor y director de orquesta italiano (n. 1946). Una producción de Sala Prisma Podcast. 2021

1912 Muore Bram Stoker, autore del romanzo Dracula - 2001 A Berlino, mentre sta dirigendo Aida, muore Giuseppe Sinopoli

Giuseppe Sinopoli war nicht nur Musiker, sondern auch Mediziner und Archäologe. Bei Proben zitierte er aus antiken Werken und Lord Byron. Es war ein Schock für die Musikwelt, als er im 3. Akt von Verdis "Aida" in der Deutschen Oper Berlin zusammenbrach.

Es war ein Schock für die Musikwelt, als Giuseppe Sinopoli im 3. Akt von Verdis "Aida" in der Deutschen Oper Berlin zusammenbrach. In der Nacht starb er an den Folgen eines Herzinfarktes - mit nur 54 Jahren. Autor: Christian Kosfeld

durée : 00:58:23 - Giuseppe Sinopoli (2) - par : Aurélie Moreau - “Ce n’est pas lorsque tout fonctionne - l’intonation, la précision, l’articulation - qu’une interprétation est réussie mais lorsqu’elle me fournit matière à méditer.” - réalisé par : Vivian Lecuivre

durée : 00:58:24 - Le chef d'orchestre Giuseppe Sinopoli - par : Aurélie Moreau - "Ce n'est pas lorsque tout fonctionne - l'intonation, la précision, l'articulation - qu'une interprétation est réussie mais lorsqu'elle me fournit matière à méditer." - réalisé par : Vivian Lecuivre

durée : 01:58:23 - Relax ! du mardi 09 février 2021 - par : Lionel Esparza - Il y a 20 ans, le chef italien Giuseppe Sinopoli disparaissait, victime d'une crise cardiaque en pleine représentation. On revient sur le parcours de cet artiste attachant. Et à 16h, on écoute la célèbre version du Concerto pour flûte et harpe de Mozart, par Lily Laskine & Jean-Pierre Rampal. - réalisé par : Antoine Courtin

In Wien sozialisiert, war Claudio Abbado ein oft genannter Musterschüler des berühmten Hans Swarowsky, ganz so wie Mariss Jansons, Zubin Mehta, Giuseppe Sinopoli und Iván Fischer. Sind’s angenommene Wiener Gene, die seine Basis waren? Ein Orts-Besuch, auch beim Walzer. In schönen, wienerisch versüßten Aufnahmen.

Harry's Bar has long been frequented by famous people, and it was a favorite of Ernest Hemingway. Other notable customers have included Italian conductor Arturo Toscanini, inventor Guglielmo Marconi, Charlie Chaplin, Alfred Hitchcock, James Stewart, Richard Halliburton, Truman Capote, Orson Welles, Baron Philippe de Rothschild, Giuseppe Sinopoli, Princess Aspasia of Greece, Aristotle Onassis, Barbara Hutton, Peggy Guggenheim, Tareq Salahi, George Clooney, the Mundys and Woody Allen. Here is my take on a Chicken Soup served there. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thisgirltalks/support

Attribution: Roberto Fabbriciani and Roberto Paci Dalò, in “Usmaradio” for the radio program “Voci” by Roberto Paci Dalò, recorded at Usmaradio, Summer 2019, cc by-sa al Una conversazione appassionante e rivelatrice con uno dei più grandi musicisti della scena internazionale. Roberto Fabbriciani ci trasporta dal mondo della musica a quello del suono sottolineando l'importanza della cultura elettronica anche per un mondo acustico e strumentale. Tanti racconti "backstage" nella sua collaborazione con Gigi Nono e Aldo Clementi disegnando percorsi e ricerche di cruciale importanza per il nostro presente. ° Roberto Fabbriciani è internazionalmente riconosciuto tra i migliori interpreti. Originale ed artista versatile, Roberto Fabbriciani ha innovato la tecnica flautistica moltiplicando con la ricerca personale le possibilità sonore dello strumento. Ha collaborato con alcuni tra i maggiori compositori del nostro tempo: Luciano Berio, Pierre Boulez, Sylvano Bussotti, John Cage, Elliot Carter, Niccolò Castiglioni, Aldo Clementi, Luigi Dallapiccola, Luis De Pablo, Franco Donatoni, Jindřich Feld, Brian Ferneyhough, Jean Françaix, Giorgio Gaslini, Harald Genzmer, Adriano Guarnieri, Toshio Hosokawa, Klaus Huber, Ernest Krenek, György Kurtág, György Ligeti, Luca Lombardi, Giacomo Manzoni, Bruno Maderna, Olivier Messiaen, Ennio Morricone, Luigi Nono, Goffredo Petrassi, Henri Pousseur, Wolfgang Rihm, Jean-Claude Risset, Nino Rota, Nicola Sani, Giacinto Scelsi, Dieter Schnebel, Salvatore Sciarrino, Mauricio Sotelo, Karlheinz Stockhausen, Toru Takemitsu, Isang Yun, molti dei quali gli hanno dedicato numerose ed importanti opere. Con Luigi Nono ha lavorato a lungo, presso lo studio sperimentale della SWF a Freiburg, aprendo e percorrendo vie nuove ed inusitate per la musica. Ha suonato come solista con i direttori Claudio Abbado, Roberto Abbado, Bruno Bartoletti, Luciano Berio, Ernest Bour, Bruno Campanella, Aldo Ceccato, Riccardo Chailly, Sergiu Comissiona, José Ramón Encinar, Peter Eötvös, Vladimir Fedoseyev, Gabriele Ferro, Daniele Gatti, Gianandrea Gavazzeni, Gianluigi Gelmetti, Michael Gielen, Cristóbal Halffter, Djansug Kachidse, Bernhard Klee, Vladimir Jurowsky, Peter Maag, Bruno Maderna, Diego Masson, Ingo Metzmacher, Riccardo Muti, Marcello Panni, Zoltán Peskó, Josep Pons, Giuseppe Sinopoli, Arturo Tamayo, Lothar Zagrosek, e con orchestre quali l’Orchestra della Scala di Milano, l’Orchestra dell’Accademia Nazionale di Santa Cecilia, le Orchestre della Rai, London Sinfonietta, LSO, RTL Luxembourg, BRTN Brussel, Orchestre Symphonique de la Monnaie, WDR di Colonia, SWF Baden-Baden, Deutsches Symphonie-Orchester Berlin, Bayerischer Rundfunks, Münchener Philharmoniker. Ha effettuato concerti presso prestigiosi teatri ed istituzioni musicali: Scala di Milano, Filarmonica di Berlino, Royal Festival Hall di Londra, Suntory Hall di Tokyo, Sala Cajkowskij di Mosca, Carnegie Hall di New York e Teatro Colon di Buenos Aires ed ha partecipato a festivals quali Biennale di Venezia, Maggio Musicale Fiorentino, Ravenna, Londra, Edimburgo, Parigi, Bruxelles, Granada, Luzern, Warsaw, Salisburgo, Wien, Lockenhaus, Donaueschingen, Köln, München, Berlin, St. Petersburg, Tokyo, Cervantino. Ha inciso numerosi dischi molti dei quali premiati dalla critica ed è stato docente di flauto presso il Conservatorio “L. Cherubini” di Firenze e dei corsi di alto perfezionamento presso l’Università Mozarteum di Salisburgo. E’ autore di opere musicali e testi didattici adottati nei percorsi della didattica musicale internazionale, editi da Ricordi e Suvini Zerboni. Tra le sue recenti composizioni: Glacier in Extinction; Alchemies; Cantus; Suoni per Gigi; Quando sorge il sole; Zeus joueur de flûtes; Figaro il Barbiere (liberamente da Rossini); Grande, grande amore; Alluvione; Conversazione su Tiresia (di Andrea Camilleri).

Musikrevyn recenserar Prokofjevs pianokonserter med solisten Olli Mustonen, Beethovens sena stråkkvartetter med Mosaiques-kvartetten och Richard Strauss opera Salome med Emily Magee i huvudrollen. Veckans skivor: SERGEJ PROKOFJEV Pianokonserter nr 2 och 5 Olli Mustonen, piano Finska radions symfoniorkester Hannu Lintu, dirigent Ondine ODE 1288-2 LUDWIG VAN BEETHOVEN De sena kvartetterna Mosaïque-kvartetten Naïve V5445 RICHARD STRAUSS Salome Emily Magee, Peter Bronder m.fl Hessiska radions symfoniorkester i Frankfurt Andrés Orozco-Estrada, dirigent Pentatone PTC 5186602 Referensen: Olli Mustonen vs Yuja Wang. Panelen jämför Olli Mustonens tolkning med en inspelning av Prokofjevs andra pianokonsert med Yuja Wang, tillsammans med Simon Bolivars symfoniorkester i Caracas under Gustavo Dudamels ledning. Deutsche Grammophon, 2013. Fler rekommenderade inspelningar: Pianisten Beatrice Rana spelar Sergej Prokofjevs andra pianokonsert tillsammans med orkestern Accademia di Santa Cecilia i Rom, under ledning av dirigenten Antonio Pappano. Warner, 2015. Pianisten Vladimir Ashkenazy spelar Prokofjevs alla fem pianokonserter med Londons symfoniorkester under ledning av André Previn, Decca.  Pianisten Jean-Efflam Bavouzet spelar Prokofjevs alla fem pianokonserter med BBC:s filharmoniker i Manchester under ledning av Gianandrea Noseda. Chandos.   Pianisten Michel Béroff spelar Prokofjevs alla fem pianokonserter tillsammans med orkestern Gewandhaus under ledning av dirigenten Kurt Masur i Leipzig. Warner, 1974.  Belcea-kvartettens inspelning av Beethovens samtliga stråkkvartetter. Alpha, 2016. Quartetto Italianos inspelning av Beethovens stråkkvartetter. 1960-talet, Philips.  Budapestkvartettens liveinspelningar från Library of Congress, 1940-60-tal Bridge Records. Busch-kvartettens inspelningar av Beethovens stråkkvartetter. 1930- och 40-tal. Salome med sopranen Cheryl Studer i huvudrollen. Tyska statsoperans orkester under ledning av Giuseppe Sinopoli, utgiven på Deutsche Grammophon, 1991. Salome med sopranen Hildegard Behrens i huvudrollen. Wienfilharmonikerna under ledning av Herbert von Karajan. Warner, 1977. Salome med Birgit Nilsson i huvudrollen. Wiens filharmoniker under ledning av Georg Solti. Decca, 1961. Johans val: Johan Korssell rekommenderar en ny inspelning av den franske tonsättaren Florent Schmitts symfoni nr 2, samt sviter ur baletten "Antoine och Cléopatre", med BBC:s symfoniorkester under ledning av Sakari Oramo, utgiven på Chandos.

El tercer acte estava a punt d’acabar quan el cor del director va dir que ja estava bé. Desorientat, va caure a plom en el fossat de l’orquestra i, d’inmediat, els músics demanaren l’assistència d’un metge. N’aparegueren 3, però poca cosa poguéren fer per ell. Un 20 d’abril, el músic italià Giuseppe Sinopoli moria d’un infart mentre dirigia el tercer acte de l’òpera Aïda.

I programmet diskuteras uvertyrer och opera-intermezzon med Riccardo Chailly på pulten, blockflöjtmusik av Telemann samt Netrebko och Eyvazov i Puccinis Manon Lescaut. Mer opera I mindre skala. I panelen Andreas Parmerud (gäst), Evabritt Selén och Sara Norling som tillsammans med programledaren Johan Korssell betygsätter följande skivor: OVERTURES, PRELUDES & INTERMEZZI Musik av bl.a. Verdi, Puccini och Boito La Scala-operans orkester Riccardo Chailly, dirigent Decca 483 1148 GEORG PHILIPP TELEMANN J-M HOTTETERRE Musik för blockflöjt Giovanni Antonini, blockflöjt, ledare Il Giardino Armonico Alpha ALPHA 245 GIACOMO PUCCINI Manon Lescaut Anna Netrebko, Yusif Eyvazov m.fl Münchens Radioorkester Wiens statsoperas kör Marco Armiliato, dirigent DGG 479 68 28 Referensen Johan jämför med och refererar till Puccinis opera Manon Lescaut med Mirella Freni som Manon, Placido Domingo som des Grieux tillsammans med Philharmonia Orchestra, London, allt under ledning av Giuseppe Sinopoli på DG. I mindre skala Alexander Freudenthal och Johanna Paulsson spelar stor musik i mindre format. Idag är temat opera och vi serveras Wagner och Verdi i olika kostymer. Andra i programmet nämnda eller rekommenderade inspelningar: Riccardo Chailly dirigerar Puccinis Turandot på DVD med bl.a. Nina Stemme och La Scala-operans orkester. Inspelad på Decca. Telemanns blåsmusik med Musica Antiqua, Köln ledd av Reinhard Goebel på Archiv samt med Zefiro-ensemblen under Alfredo Bernardini inspelad på Arcana. Puccinis Manon Lescaut med Kiri te Kanawa och José Carreras i de stora rollerna samt med orkestern vid Teatro Comunale Bologna, ledda av Riccardo Chailly på Decca samt med Mirella Freni och Luciano Pavarotti tillsammans med Metropolitan-operans orkester dirigerade av James Levine på skivmärket Decca. Svepet Johan sveper över och spelar valda delar ur ett album där Olli Mustonen är solist i Prokofjevs tredje, första och fjärde pianokonserter. Detta tillsammans med Finska radions symfoniorkester ledda av Hannu Lintu på Ondine.

Nabucco is the opera that got Verdi back in the game after a long time away from composing, but its premiere almost didn't happen. Hear how it was saved and in an ironic twist of fate, how the opera shortened the career of the soprano who saved it. On this week's episode of He Sang/She Sang, mezzo-soprano Jamie Barton and dramaturg Cori Ellison discuss Verdi's connection to the plight of the Hebrew slaves, why this year's revival at the Metropolitan Opera is so special and the cultural significance of "Va, pensiero."  Cori Ellison's YouTube pick (Riccardo Muti, Opera di Roma) Merrin Lazyan's YouTube pick (Plácido Domingo and Liudmyla Monastyrska, The Royal Opera) This episode features excerpts from the following album: Verdi: Nabucco (Deutsche Grammophon, 1983)— Piero Cappuccilli, baritone; Plácido Domingo, tenor; Evgeny Nesterenko, bass; Ghena Dimitrova, soprano; Lucia Valentini Terrani, mezzo-soprano; Chorus and Orchestra of the Deutsche Oper Berlin conducted by Giuseppe Sinopoli

I programmet diskuterar panelen bl. a. Tobias Berndts tolkning av 28 Fanny Hensel-sånger samt kammarmusik av engelsmannen Gerald Finzi. Dessutom möter vi den unge pianisten Daniil Trifonov. I panelen Aurélie Ferrier, Hanns Rodell och Magnus Lindman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  FANNY HENSEL Goethe-sånger Tobias Berndt, baryton Alexander Fleischer, piano Querstand VKJK 1509 JOHANN SEBASTIAN BACH Cembalokonserter BWV 1052 1057 Andreas Staier, cembalo Freiburgs barockorkester Harmonia Mundi HMC 902181-82 GERALD FINZI Fem bagateller, Elegi, Preludium och Fuga m.m. Kölns kammarsolister MDG 903 1894-6ALEXANDER SKRJABIN Symfonier nr 3 och 4 Oslo filharmoniker Vasily Petrenko, dirigent Lawo LWC 1088Sofia möter pianisten Daniil Trifonov Sofia Nyblom mötte den unge konsertpianisten i samband med Stockholms-besöket och Nobelkonserten i Stockholms konserthus den 8 december 2015, då Trifonov framträdde som solist i Rachmaninovs tredje pianokonsert tillsammans med Kungliga filharmonikerna och dirigenten Franz Welser-Möst. Andra nämnda eller rekommenderade inspelningarBachs klaverkonserter med Trevor Pinnock och The English Concert på Archiv och DG; Pierre Hantaï tillsammans med Le Concert Francais på skivmärket Astree samt med cembalisten Lars Ulrik Mortensen och Concerto Copenhagen på CPO. Nytt Finzi-album Introit med Aurora Orchestra under ledning av Nicholas Collon på Decca. Fanny Hensel-Mendelssohns sånger med sopranen Susan Gritton ackompanjerad av Eugene Asti på märke Hyperion (tidigare recenserad i CD-revyn). Felix och Fanny Mendelssohns stråkkvartetter med Ebène-kvartetten på Virgin Classics (tidigare recenserad i CD-revyn). Skrjabins symfonier med New Yorks filharmoniker under Giuseppe Sinopoli på DG samt Londons symfoniorkester dirigerad av Valerij Gergiev på egna märket LSO Live samt med Philadelphia-orkestern under Riccardo Mutis ledarskap på EMI. SvepetJohan sveper över Brahms Ein Deutsches Requiem i en inspelning med sopranen Lore Binon och barytonen Tassis Christoyannis tillsammans med Flamländska radions kör allt under ledning av Hervé Niquet på skivmärket Evil Penguin.

"Els segons moviments" Tots els segons moviments dels concerts de per a piano i orquestra de Beethoven tenen elements comuns. Nom

 The first part of a marvelous live Macbeth from Berlin, 1980 under Giuseppe Sinopoli. Olivia Stapp and Renato Bruson (still singing close to age 80) are the evil pair, with Victor von Halen as Banquo and Veriano Luchetti as Macduff.  (51 nin.)

What do you have to keep in mind if you're and opera director and you're considering a soprano for the role of Salome? Well, quite a bit actually, according to Geisel Director of Education and Outreach Nicolas Reveles. Listen in as we discuss the role's musical and physical demands, and hear the final monologue of Strauss's opera with Cheryl Studer in the title role, Giuseppe Sinopoli conducting the Deutsche Oper Berlin Orchestra. 

Great Recordings of Salome: From Birgit Nilsson to Inge Nielson, from Georg Solti to Giuseppe Sinopoli, there have been terrific recordings of Richard Strauss's thrilling opera based on the play by Oscar Wilde. Let's explore a few of them; maybe there's one that will capture your interest during this survey that you'll want to download to your MP3 player or order from your favorite online store.

 Highlights from a Berlin 1980 Macbeth w.Olivia Stapp,  Renato Bruson, Veriano Luchetti, and Victor von Halem ,conducted by Giuseppe Sinopoli    (71 min.)   This is in celebration of dear Olivia's birthday on May 30.    

„Beethoven war der erste Komponist, der mich noch als Kind fasziniert hat“ - Giuseppe Sinopoli erinnert sich an seine Kindheit.Am 20. Januar 1989 charakterisierte ihn die „Frankfurter Allgemeine Zeitung“ auf folgende Weise: „Ein verdammt gut aussehender Dirigent. Ein Mann des Fin de siècle. Krause schwarze Haare, Vollbart überm Vatermörder, runde Intellektuellenbrille. Nicht groß. Sein Gang fast eine Karikatur: kleine Stampfschritte aus den Knien, Kinn nach oben, Rücken steif. Wenn er dirigiert, spreizt er gelegentlich den kleinen Finger ab: Giuseppe Sinopoli hat Stil“. Geboren wurde er am 2. November 1946 in Venedig. Von 1965 bis 1967 studierte er am Konservatorium "Benedetto Marcello" in Venedig Komposition, doch gleichzeitig auch an der Universität von Padua Medizin, später Psychiatrie und schließlich Archäologie. Im Jahre 1972 trat Sinopoli eine Dozentenstelle für zeitgenössische Musik am Konservatorium "Benedetto Marcello" von Venedig an. Zunächst betätigte er sich als Komponist – die berühmten Sommerkurse in Darmstadt besuchte er bereits ab 1968 - doch nach einigen Kompositionsversuchen entschied er sich für eine Dirigentenkarriere. Dies sollte sich auch bald als die richtige Entscheidung herauszustellen, denn innerhalb von nur wenigen Jahren standen ihm die berühmtesten Bühnen offen: unter anderem in Hamburg, Berlin, Wien und München, London und New York, Rom und Bayreuth. Schließlich nahm er 1992 auch die Stelle des Chefdirigenten der Sächsischen Staatskapelle Dresden an. Sein plötzlicher Tod unterbrach jedoch seine steile Karriere: am 20. April 2001 erlag Sinopoli in Berlin einem Herzinfarkt, der ihn während einer Opernaufführung überfiel. Der damalige Intendant der Dresdner Oper sagte am 24. April in einem Interview für „Die Welt“: „Er hinterlässt eine empfindliche Lücke.“ Und damit meinte er sicherlich auch noch die weiteren künstlerischen Pläne von Giuseppe Sinopoli. Im Oktober 2000 sprach DW-Redakteurin Inge Ivanovic mit Giuseppe Sinopoli unter anderem über die Zusammenarbeit mit der Staatskapelle Dresden und über seine Beziehung zum Werk von Johann Sebastian Bach.