POPULARITY
8 episodes with Grace Bumbry
7 episodes with Grace Bumbry
6 episodes with Grace Bumbry
3 episodes with Grace Bumbry
2 episodes with Grace Bumbry
2 episodes with Grace Bumbry
2 episodes with Grace Bumbry
What better way to start off this Black History Month 2025 celebration than with a birthday tribute to beloved African American diva Martina Arroyo, who turned 88 yesterday, February 2?! Though she is universally regarded as one of the premier Verdi spinto sopranos of the second half of the Twentieth Century, Arroyo was equally adept at a wide range of other composers as well. In this episode, which focuses on Martina in duet, many of those composers are represented as well, from Handel to Meyerbeer to Mascagni, with a little Wagner thrown in for good measure. And what an amazing line-up of duet partners, including two of our most beloved African American mezzos/sopranos, Shirley Verrett, and Grace Bumbry. Also heard are Franco Corelli, Carlo Bergonzi, Anna Moffo, Franco Bonisolli, Bernd Weikl, Gianfranco Cecchele, Sherrill Milnes, Ludmila Dvořáková, and Giorgio Lamberti. Raise a glass to this supreme soprano, and prepare your ears for a deeply satisfying experience! 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 or yearly support at whatever level you can afford.
Omo Bello is an acclaimed French-Nigerian operatic soprano , and in this episode we are focussing on her newly-released album “African Art Song” on Somm recordings with pianist Rebeca Omordia. Many of you heard my episode this past summer with pianist and curator of the African Concert Series, Rebeca Omordia, and I'll be linking that episode below for you. Omo talked to me about overcoming shyness and stage fright, her childhood and university years in Lagos, Nigeria, and some of her mentors including Grace Bumbry and Thomas Quasthoff. I was fascinated to gain insights from her life as an opera singer, and to learn about many of the composers from Africa and the African diaspora featured on this wonderful album, including Ayo Bankole, Fred Onovwerosuoke, Ishaya Yaron, Chirstian Onyeji and Shirley Thompson . Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/omo-bello Episode with Rebeca Omordia: https://www.leahroseman.com/episodes/rebeca-omordia-african-pianism African Art Song album: https://somm-recordings.com/recording/african-art-song/ Omo Bello website: http://www.omobello.com/about.html Omo Bello instagram: https://www.instagram.com/omo_bello Merch store to support this series: https://www.leahroseman.com/beautiful-shirts-and-more Buy me a coffee? https://ko-fi.com/leahroseman Newsletter sign-up: https://mailchi.mp/ebed4a237788/podcast-newsletter Catalog of Episodes: https://www.leahroseman.com/about Linktree Social Media: https://linktr.ee/leahroseman photo: Vincent Pontet Timestamps: (00:00) Intro (02:53) African Art Song album with Rebeca Omordia (09:12) Ayo Bankole (10:40) Ayo Banko's Adura fun Alafia Prayer for Peace (14:22) Ayo Bankole (17:00) Omo's childhood and university years in Lagos (32:22) Fred Onovwerosuoke, cultural context to interpret this music (39:13) excerpt of “Ngulu” by Fred Onovwerosuoke (40:11) the voice as instrument (44:49) other episodes you may like, and different ways to support this series (45:33) Grace Bumbry (53:44) Shirley Thompson (58:15) excerpt from Shirley Thompson's "Psalm to Windrush” (59:44) Omo Bello Music Foundation in Nigeria (01:07:47) Ishaya Yarison (01:10:26) excerpt from Ishaya Yarison's Ku zo, mu raira waƙa (01:11:54) Christian Onyegi, African Art Song album themes (01:15:34) Giri Giri by Christian Onyegi (01:17:31) percussionist Richard Olatunde Baker on the album, transmitting oral tradition of the music (01:20:46) challenges in music education in France (01:28:17) Thomas Quastoff, Des Knaben Wunderhorn album (01:34:21) challenges and joys of an opera singer
1. Martina Arroyo 2. Grace Bumbry 3. Montserrat Caballé 4. Anja Harteros 5. Gwyneth Jones 6. Anna Netrebko 7. Sondra Radvanovsky 8. Renata Scotto 9. Anna Tomowa-Sintow 10. Julia Varady
"Acting is behaving truthfully under imaginary circumstances.” This is how renowned acting teacher Sanford Meisner defined what it means to be an actor. This principle helps performers build empathy with our characters and forge meaningful connections onstage. But as our guest today reveals, this approach can also be a powerful guide for navigating life offstage. Dwayne Washington, with the help of the prestigious Juilliard School, mastered the craft of acting and singing, but life itself has been one of his greatest teachers. From his time as a retail manager to his work as a high school teacher, Dwayne has grown in unexpected ways. We talk about his time in London as well as his current role in a new Off-Broadway production, That Parenting Musical. And while the personal growth he's experienced over the years may not always be visible, he has certainly gained a depth and perspective that now enrich his performances as well. Hear the full performance by Simon Estes and Grace Bumbry of "Amonasro" from Aida. ---------- Subscribe to get early and ad-free access to full conversations with guests, including bonus auditions stories. Donate to WINMI and support podcast production with a one-time or ongoing contribution. If you'd like to support WINMI but have limited funds to do so, then contact me directly for reduced-price or even free access to the bonus content. Follow WINMI: Website | Instagram | Twitter | YouTube Why I'll Never Make It is an award-winning, Top Theater Podcast with actor and singer Patrick Oliver Jones and is a production of WINMI Media. Theme music created by Patrick Oliver Jones, and background music is by John Bartmann (used under a Creative Commons Attribution-NonCommercial 4.0 International License). Learn more about your ad choices. Visit megaphone.fm/adchoices
“A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points (passaggi).[1] Voice classification is most strongly associated with European classical music, though it, and the terms it utilizes, are used in other styles of music as well. A singer will choose a repertoire that suits their voice. Some singers such as Enrico Caruso, Rosa Ponselle, Joan Sutherland, Maria Callas, Jessye Norman, Ewa Podleś, and Plácido Domingo have voices that allow them to sing roles from a wide variety of types; some singers such as Shirley Verrett and Grace Bumbry change type and even voice part over their careers; and some singers such as Leonie Rysanek have voices that lower with age, causing them to cycle through types over their careers. Some roles are hard to classify, having very unusual vocal requirements; Mozart wrote many of his roles for specific singers who often had remarkable voices, and some of Verdi's early works make extreme demands on their singers.[2]” --- Send in a voice message: https://podcasters.spotify.com/pod/show/antonio-myers4/message Support this podcast: https://podcasters.spotify.com/pod/show/antonio-myers4/support
It is hard to believe that it's already been 13 years since the death of Shirley Verrett on November 5, 2010. It has also already been four years since I did a pair of episodes on this extraordinary and beloved artist, and this anniversary gives me the perfect excuse to revisit the work of this mezzo-soprano turned soprano who more than any other singer in my experiences (even soon-to-be birthday girl Maria Callas) was capable of singing nearly anything. This type of singer is sometimes referred to as a soprano sfogato (or a falcon, after the 19th century French mezzo-cum-soprano Cornélie Falcon. Since Verrett, like Falcon, sang both mezzo and soprano, I instead coin the term falcon sfogatissima to describe her vocal magic. This episode is chock full of examples of Verrett's impassioned yet technically-grounded vocalism, from art songs by Brahms and Pasatieri to operatic roles by Handel, Gluck, Cherubini, Bellini, Puccini, and Verdi (including both soprano and mezzo roles in Aida and the Messa da Requiem and soprano roles in Ballo in Maschera, Macbeth, Don Carlo, and Otello). I close the episodes with Verrett's astonishing but limited forays into the German operatic repertoire. Her collaborators on this episode include conductors Seiji Ozawa, Claudio Abbado, Bernard Haitink, Zubin Mehta, Eve Queler, Georges Prêtre, Sarah Caldwell, and the late Kenneth Montgomery; and fellow operatic greats Sherrill Milnes, Luciano Pavarotti, James McCracken, Robert Massard (last week's featured artist), and her frenemy the late Grace Bumbry. 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.
Parlem d'Òpera 532: "Homenatge a Grace Bumbry"
Despite facing racial bias within the opera world, soprano Grace Bumbry rose to international fame and created a sensation with her impactful performances in venues and festivals across the world. Find out more in the latest episode of the 'Rhapsody in Black' podcast.
Tutto nel Mondo è Burla stasera all'Opera - Recital di Grace Bumbry 2 parte
A cura di Paolo PellegriniGeorge Bizet – CarmenGrace Bumbry–CarmenJon Vickers–JosèJustino Diaz–EscamilloMirella Freni–MiacaëlaHerbert von Karajan–conductorWiener PhilharmonikerSalzburger Festspiele
Tutto nel Mondo è Burla stasera all'Opera - Recital di Grace Bumbry 1 parte
7.
Un recorrido biográfico por las interpretaciones icónicas de la gran mezzosoprano estadounidense Grace Bumbry recientemente fallecida. --- Send in a voice message: https://podcasters.spotify.com/pod/show/arturo-magaa-duplancher/message
Na de dood van schrijver Willem Frederik Hermans verschenen meterslange studies over allerlei aspecten van zijn leven. Toch bleef één eigenschap altijd onderbelicht: zijn speelse kant. Juist die speelsheid is de insteek van het nieuwe boek Het Universum van Willem Frederik Hermans, dat Hans Renders, Max Pam en Piet Schreuders samenstelden. Renders sprak erover bij Wat blijft met Lara Billie Rense. Verder aandacht voor operazangeres Grace Bumbry, Wim Kayzer met Anton de Goede, nieuwslezer en acteur Donald de Marcas en pianist Emahoy Tsegué-Maryam Guèbrou. In de podcastserie Wat blijft volgt Inge ter Schure het spoor terug van de eerste vrouwelijke politieagent van Nederland: Trees Keultjes. --- Redactie: Nina Ramkisoen, Noah van Diepen, Geerte Verduijn, Maartje Willems, Jessica Zoghary, Hella Dwars Eindredactie: Bram Vollaers
Matthew Bannister on The opera singer Grace Bumbry who broke down barriers by becoming the first black performer at the Bayreuth Festival. Don Short, the showbusiness journalist who coined the term “Beatlemania” and became good friends with the Fab Four. Dame Rosemary Cramp, the archaeologist who deepened our understanding of the Anglo Saxon period. And Wee Willie Harris, the flamboyant rock'n'roller name checked in Ian Dury's song “Reasons To Be Cheerful” Interviewee: David Brewer Interviewee: Daisy Dunn Interviewee: Professor Joanna Story Interviewee: Jonathan Wingate Interviewee: Tony Thorpe Producer: Gareth Nelson-Davies Archive used: Royal Visit to Kenya - First Stage of the Commonwealth Tour, British Pathe, 1952; A taste of Beatlemania in the 1960s, CBS News, CBS YouTube channel, uploaded 21/01/2014; Don Short interview about the writing of his memoir 'The Beatles and Beyond', The Surrey Edit, YouTube uploaded 24/03/2020; Rosemary Cramp interview, On Site, BBC Radio, 03/09/1967; Professor Rosemary Cramp interview, PM, BBC Radio 4, 29/05/1979; Rosemary Cramp, Professor of Archaeology at Durham University, talks to Sue Macgregor about her life and work, BBC Radio 4, 08/12/1988; Meet The Archaeologist: Rosemary Cramp, YouTube uploaded 04/07/2014; Wee Willie Harris – Still Rocking, Celluloid Tapestry, YouTube uploaded 29/06/2023.
This past week the world of opera was plunged in mourning at the news of the death of the unique, the irreplaceable Grace Bumbry (04 January 1937 - 07 May 2023), an artist equal parts daredevil and refined, whose artistry enchanted us for more than sixty years. In recent months many of us anxiously awaited news of her health after she suffered a stroke last October, from which she miraculously if temporarily rebounded. Though the news of her death was therefore not unexpected, it is both momentous and sombre in that it signals the end of an era. In October I produced a pair of episodes in her honor, the second of which, published exclusively on Patreon, celebrated her prowess as a Lieder singer. As such, she carried on the tradition and bore the mantel of the great Lotte Lehmann, her teacher and mentor; Bumbry said of her: “Lotte Lehmann will always remain for me the most important person in my entire musical life.” The episode features examples of Bumbry's Lieder singing over the course of more than forty years, with a particular focus on her rare 1976 EMI release with pianist Geoffrey Parsons of Songs by Schumann and Schubert, which is heard in its entirety. Though I am bereft at her passing, I celebrate her mastery of a subtle and refined art form which formed the cornerstone of her artistry. 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.
Gegužės 13 d. Basanavičiaus gimtinėje, Tautinio atgimimo ąžuolyne, lankytojų laukia konferencija „Kalbantys ąžuolai“. Kodėl svarbu išsaugoti ąžuolynus ir kaip tai padaryti?Lietuvos kompozitorių sąjungos rengiamame 2022 metų kūrinio konkurse dalyvauja kompozitorius Dominykas Digimas su savo kūriniu „Nocturne. re:dream“.Rubrikoje „Ką man skaityti?“ - net dvi knygos: „Kodėl zebrai neserga opalige“ ir „Gamtinė žemdirbystė“.Šių metų gegužės septintą dieną operos pasaulis neteko garsios afroamerikiečių operos solistės – vienos geriausių savo kartos mecosopranų, o karjeros pradžioje – ir pagrindinių sopranų – Grace Bumbry.Rubrikoje „Be kaukių“ vieši perkusininkas, instrumentų meistras, grupės „Subtilus“ narys Vytautas Švažas.Ved. Gerūta Griniūtė
Mariam al Sadiq Al Mahdi says the level of mistrust between the rival military factions is too deep. Also: Closing arguments have been heard in New York in the civil rape and defamation trial against former president Donald Trump, and the singer, Grace Bumbry, who was one of the first African Americans to become a star of international opera, has died in Vienna aged 86.
Migrants from South America, Africa and Asia are crossing the Darien Gap between Colombia and Panama at record rates. As the US prepares to lift Title 42 on May 11, many migrants believe their chances of getting into the US will increase. And, early Tuesday morning, the Israeli army targeted senior leaders of the militant group, Islamic Jihad, in an operation it says killed three senior leaders in Gaza. Also, amid ongoing fighting in the Sudanese capital Khartoum, many are still trapped at home, with limited supplies. Neighborhood committees have formed to bring in food and water, and check on people's welfare. Plus, legendary opera singer Grace Bumbry dies at the age of 86.
durée : 01:28:35 - Le chef d'orchestre István Kertész - par : François-Xavier Szymczak - Surnommée « Black Venus », la cantatrice américaine vient de nous quitter à 86 ans. Nous revenons sur quelques-uns de ses enregistrements historiques, de Vénus dans Tannhäuser à Bayreuth en 1962 jusqu'à son Aida de Verdi aux côtés de Placido Domingo.
Kriget i Ukraina präglar årets Pulitzerpris, recension av den belgiska filmen "Dalva", hör svenske koreografen bakom Finlands ESC-nummer och operastjärnan Grace Bumbry är död Programledare: Nina SjömanProducent: Andrea Valderrama
As violence continues in Sudan, looting is causing shortages of basic supplies. We'll hear from an activist just outside the capital Khartoum, about what she's seen and why she has stayed where she is. Also in the programme: Serbia's amnesty on illegal arms has seen around 1,500 weapons returned anonymously, as protests against the government's handling of two mass shootings take place in the capital Belgrade; and the American opera singer Grace Bumbry has died, aged 86. (Picture: Smoke billows in Sudan's capital Khartoum. Picture credit: AFP)
Grace Bumbry liebte den großen Auftritt: Bei den Bayreuther Festspielen überzeugte sie das kritische Publikum mit ihrem Timbre, vor den großen Bühnen der Welt sah man sie in luxeriösen Roben. Nun ist die Primadonna im Alter von 86 Jahren gestorben.
Continuamos nuestro recorrido por la obra y escuchamos, todavía dentro del Dies irae, el Recordare, el Ingemisco, el Confutatis y el Lacymosa en la versión dirigida por Carlo Maria Giulini en Londres con las voces solistas de Ilva Ligabue, Grace Bumbry, Sandor Konya y Raffaele Ariè (1964). El tan operístico Ofertorio cuenta con la dirección de Tullio Serafin. Versión grabada en 1939 en la que cantaban Maria Caniglia, Ebe Stignani, Beniamino Gigli y Ezio Pinza (total nada). Después, el Sanctus bajo la tensa dirección de Karajan (Viena, 1954). Cerramos con el mismo fragmento dirigido en este caso por Antonio Pappano con las huestes de Santa Cecilia de Roma (2009).Escuchar audio
Join us for a conversation with Kira Thurman, author of Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms, and Seattle Opera scholar-in-residence Dr. Naomi André. Drawing on her experience as a classically trained pianist who grew up in Vienna, Austria, Thurman traces the sweeping story of Black musicians performing in Germany and Austria over more than a century. As musicians like Marian Anderson and Grace Bumbry broke barriers on stage and in concert halls, they found opportunities in German-speaking Europe that were denied to them in the Jim Crow-era U.S. In doing so, they also challenged categories of Blackness and Germanness and complicated the public's understanding of how music is tied to racial and national identity.
Though the great diva Grace Bumbry has often been featured on Countermelody, I have not yet done a full episode on this incomparable artist. Today's episode seeks to remedy that, and to celebrate a singer whose contribution and influence extends back many decades and continues to this very day. Normally when I consider an artist so well-renowned, I try to offer a perspective that sheds different light on that singer. So today's Bumbry celebration considers three aspects of her artistry that have received somewhat less attention. While her successes in a wide range of mezzo soprano repertoire are well-known and well-documented, her soprano assumptions have been somewhat more controversial. I highlight numerous scenes and arias, including from Macbeth, Salome, Turandot, and Nabucco, in both live and studio performances, that shed light on the enormous prowess and fearlessness with which she confronted these roles. Alongside such larger-than-life impersonations are Bumbry's intimate and detailed performances as a Lieder singer, a tribute to her training under that matchless singer and teacher Lotte Lehmann, with whom Bumbry studied at the Music Academy of the West. Recordings of art song by Schubert, Schumann, Brahms, Strauss, Liszt, and Berlioz, made over the course of 45 years are also a testament to Bumbry's vocal longevity and technical prowess. In recent years, Grace Bumbry has devoted her time to the care, nurturing, and training of young singers under the aegis of a program she has named “The Bumbry Way.” The episode closes with a definitive performance of the song “My Way,” which incorporates and encapsulates all the colors of this extraordinary singer in all her fearlessness, self-assurance, determination, vulnerability, and strength. Evviva “The Bumbry Way!” 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.
Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms by Kira Thurman (Cornell University Press, 2021) is a truly interdisciplinary study. Dr. Thurman's work sits at the intersection of German Studies, History, and Musicology. Beginning in the 1870s with concerts given by the Fisk Jubilee Singers, Singing Like Germans covers a century of Black musicians performing classical music in Germany and Austria. This sprawling book takes on how and why Black musicians came to Central Europe to perform classical music from their homes in North America, Africa, or the Caribbean, and what their reception reveals about German ideas of race, nationhood, and musical culture. She traces how the political tumult of one hundred years of war, Nazism, and the division between East and West Germany contributed to the changing circumstances of Black musicians in the area, but also how ideas of race remained remarkably consistent in all that time. Performers such as Roland Hayes, Marian Anderson, and Grace Bumbry, among many others, found opportunities in Central Europe denied them in other places, but audiences and critics understood their musicianship through racialized stereotypes and local political and cultural conditions. Given Singing Like German's wide breadth—chronologically and as a work of scholarship—this conversation is in the form a roundtable rather than a traditional interview. Three hosts from the New Books Network have come together to interview Dr. Thurman. Kristen Turner from New Books in Music is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Emily Allen (@emmyru91) is a host with New Books in Music and New Books in Celebration Studies. She holds a Ph.D. in musicology from Florida State University. Her current research focuses on parade musics in Mobile, Alabama's carnival. Nicole Coleman from New Books in German Studies is Assistant Professor of German at Wayne State University. She tweets @drnicoleman. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms by Kira Thurman (Cornell University Press, 2021) is a truly interdisciplinary study. Dr. Thurman's work sits at the intersection of German Studies, History, and Musicology. Beginning in the 1870s with concerts given by the Fisk Jubilee Singers, Singing Like Germans covers a century of Black musicians performing classical music in Germany and Austria. This sprawling book takes on how and why Black musicians came to Central Europe to perform classical music from their homes in North America, Africa, or the Caribbean, and what their reception reveals about German ideas of race, nationhood, and musical culture. She traces how the political tumult of one hundred years of war, Nazism, and the division between East and West Germany contributed to the changing circumstances of Black musicians in the area, but also how ideas of race remained remarkably consistent in all that time. Performers such as Roland Hayes, Marian Anderson, and Grace Bumbry, among many others, found opportunities in Central Europe denied them in other places, but audiences and critics understood their musicianship through racialized stereotypes and local political and cultural conditions. Given Singing Like German's wide breadth—chronologically and as a work of scholarship—this conversation is in the form a roundtable rather than a traditional interview. Three hosts from the New Books Network have come together to interview Dr. Thurman. Kristen Turner from New Books in Music is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Emily Allen (@emmyru91) is a host with New Books in Music and New Books in Celebration Studies. She holds a Ph.D. in musicology from Florida State University. Her current research focuses on parade musics in Mobile, Alabama's carnival. Nicole Coleman from New Books in German Studies is Assistant Professor of German at Wayne State University. She tweets @drnicoleman. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms by Kira Thurman (Cornell University Press, 2021) is a truly interdisciplinary study. Dr. Thurman's work sits at the intersection of German Studies, History, and Musicology. Beginning in the 1870s with concerts given by the Fisk Jubilee Singers, Singing Like Germans covers a century of Black musicians performing classical music in Germany and Austria. This sprawling book takes on how and why Black musicians came to Central Europe to perform classical music from their homes in North America, Africa, or the Caribbean, and what their reception reveals about German ideas of race, nationhood, and musical culture. She traces how the political tumult of one hundred years of war, Nazism, and the division between East and West Germany contributed to the changing circumstances of Black musicians in the area, but also how ideas of race remained remarkably consistent in all that time. Performers such as Roland Hayes, Marian Anderson, and Grace Bumbry, among many others, found opportunities in Central Europe denied them in other places, but audiences and critics understood their musicianship through racialized stereotypes and local political and cultural conditions. Given Singing Like German's wide breadth—chronologically and as a work of scholarship—this conversation is in the form a roundtable rather than a traditional interview. Three hosts from the New Books Network have come together to interview Dr. Thurman. Kristen Turner from New Books in Music is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Emily Allen (@emmyru91) is a host with New Books in Music and New Books in Celebration Studies. She holds a Ph.D. in musicology from Florida State University. Her current research focuses on parade musics in Mobile, Alabama's carnival. Nicole Coleman from New Books in German Studies is Assistant Professor of German at Wayne State University. She tweets @drnicoleman. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies
Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms by Kira Thurman (Cornell University Press, 2021) is a truly interdisciplinary study. Dr. Thurman's work sits at the intersection of German Studies, History, and Musicology. Beginning in the 1870s with concerts given by the Fisk Jubilee Singers, Singing Like Germans covers a century of Black musicians performing classical music in Germany and Austria. This sprawling book takes on how and why Black musicians came to Central Europe to perform classical music from their homes in North America, Africa, or the Caribbean, and what their reception reveals about German ideas of race, nationhood, and musical culture. She traces how the political tumult of one hundred years of war, Nazism, and the division between East and West Germany contributed to the changing circumstances of Black musicians in the area, but also how ideas of race remained remarkably consistent in all that time. Performers such as Roland Hayes, Marian Anderson, and Grace Bumbry, among many others, found opportunities in Central Europe denied them in other places, but audiences and critics understood their musicianship through racialized stereotypes and local political and cultural conditions. Given Singing Like German's wide breadth—chronologically and as a work of scholarship—this conversation is in the form a roundtable rather than a traditional interview. Three hosts from the New Books Network have come together to interview Dr. Thurman. Kristen Turner from New Books in Music is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Emily Allen (@emmyru91) is a host with New Books in Music and New Books in Celebration Studies. She holds a Ph.D. in musicology from Florida State University. Her current research focuses on parade musics in Mobile, Alabama's carnival. Nicole Coleman from New Books in German Studies is Assistant Professor of German at Wayne State University. She tweets @drnicoleman. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms by Kira Thurman (Cornell University Press, 2021) is a truly interdisciplinary study. Dr. Thurman's work sits at the intersection of German Studies, History, and Musicology. Beginning in the 1870s with concerts given by the Fisk Jubilee Singers, Singing Like Germans covers a century of Black musicians performing classical music in Germany and Austria. This sprawling book takes on how and why Black musicians came to Central Europe to perform classical music from their homes in North America, Africa, or the Caribbean, and what their reception reveals about German ideas of race, nationhood, and musical culture. She traces how the political tumult of one hundred years of war, Nazism, and the division between East and West Germany contributed to the changing circumstances of Black musicians in the area, but also how ideas of race remained remarkably consistent in all that time. Performers such as Roland Hayes, Marian Anderson, and Grace Bumbry, among many others, found opportunities in Central Europe denied them in other places, but audiences and critics understood their musicianship through racialized stereotypes and local political and cultural conditions. Given Singing Like German's wide breadth—chronologically and as a work of scholarship—this conversation is in the form a roundtable rather than a traditional interview. Three hosts from the New Books Network have come together to interview Dr. Thurman. Kristen Turner from New Books in Music is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Emily Allen (@emmyru91) is a host with New Books in Music and New Books in Celebration Studies. She holds a Ph.D. in musicology from Florida State University. Her current research focuses on parade musics in Mobile, Alabama's carnival. Nicole Coleman from New Books in German Studies is Assistant Professor of German at Wayne State University. She tweets @drnicoleman. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms by Kira Thurman (Cornell University Press, 2021) is a truly interdisciplinary study. Dr. Thurman's work sits at the intersection of German Studies, History, and Musicology. Beginning in the 1870s with concerts given by the Fisk Jubilee Singers, Singing Like Germans covers a century of Black musicians performing classical music in Germany and Austria. This sprawling book takes on how and why Black musicians came to Central Europe to perform classical music from their homes in North America, Africa, or the Caribbean, and what their reception reveals about German ideas of race, nationhood, and musical culture. She traces how the political tumult of one hundred years of war, Nazism, and the division between East and West Germany contributed to the changing circumstances of Black musicians in the area, but also how ideas of race remained remarkably consistent in all that time. Performers such as Roland Hayes, Marian Anderson, and Grace Bumbry, among many others, found opportunities in Central Europe denied them in other places, but audiences and critics understood their musicianship through racialized stereotypes and local political and cultural conditions. Given Singing Like German's wide breadth—chronologically and as a work of scholarship—this conversation is in the form a roundtable rather than a traditional interview. Three hosts from the New Books Network have come together to interview Dr. Thurman. Kristen Turner from New Books in Music is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Emily Allen (@emmyru91) is a host with New Books in Music and New Books in Celebration Studies. She holds a Ph.D. in musicology from Florida State University. Her current research focuses on parade musics in Mobile, Alabama's carnival. Nicole Coleman from New Books in German Studies is Assistant Professor of German at Wayne State University. She tweets @drnicoleman. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies
She needs no introduction — but in magazine history, Tina Brown is rightly deemed a legend, reviving Tatler, Vanity Fair and The New Yorker, before turning to the web and The Daily Beast (where I worked for her). Her new book is The Palace Papers. We talked journalism, life and royals.You can listen to the episode right away in the audio player embedded above, or right below it you can click “Listen in podcast app,” which will connect you to the Dishcast feed. For two clips of our convo — on Meghan Markle’s epic narcissism, and why women make the best monarchs — head over to our YouTube page. Having Tina on the pod was the perfect excuse to transcribe our popular episode with Michael Moynihan, who used to work for Tina at The Daily Beast — which also hosted the Dish for a few years. So we’re all old friends. From the Moynihan chat:Andrew: I was talking to Tina Brown about this not that long ago, with the great days of the big magazines in the '80s and '90s. Really, when you look back on that time, it was an incredible festival of decadence and clearly over the top before the fall.Michael: I love Tina. I did a thing — you can look this up — an interview with her, when her Vanity Fair Diaries came out, for The Fifth Column. Just Tina and I sat down and talked for an hour and a half, and it was one of the best things I think we’ve recorded, and got one of the best responses. Because people miss those stories.Perhaps Bill Kristol should check out the clip with Moynihan on how to change your mind on stuff you get wrong:A listener looks back to last week’s episode:Wonderful interview with Douglas Murray, with the two of you riffing off each other with brilliant dialogue. Very warm and affirming as well. I particularly enjoyed your discussion of the religious dimension as one aspect of our present dilemma. I know you would want to provide variety for the Dishcast, but please consider having him on again.Another fan:This was the most memorable episode in a long time (although they are all great). Of course, your dialogue was choir-preaching, and so I need to be careful in avoiding confirmation bias. That said, I found Murray’s elegant way of encapsulating the obvious — which I fail to express myself — truly invigorating. I rewound and listened to many parts several times over. I ordered his book today.Another listener dissents:I find the armchair psychoanalysis regarding ressentiment — as the organizing principle of what is happening in our culture today — to be one of the least compelling arguments made in the episode. Why not go ahead and attribute our perpetual unwillingness in the West to recognize what is great about it to Christianity’s concept of original sin? Or maybe read psychoanalytic literature on why an individual or group of people who are objectively improving might hold onto beliefs of the self or society as rotten? These seem just as likely as Nietzsche’s argument. Ultimately, what a person speculates to be the primary motivator of another person or group reveals a lot. Your speculation that it’s mostly ressentiment suggests you want or need to demonize the CRT crowd. This is tragic given that this is precisely what you and Douglas accuse the CRT crowd of doing. Another listener differs:I don’t agree with everything you and Douglas Murray write, but thank you for talking about the resentment and bitterness that’s driving politics and culture today. It’s gone completely insane. I used to work for a small talent agency, and during the pandemic I coached some actors over Zoom. During the George Floyd protests, one of my clients was up watching the news all night, not getting any sleep. I told her, look, you want to be informed and want to help. But you have to take care of yourself first or you’re no help to anyone. Go to bed and catch up on the news tomorrow. People criticized me for this kind of advice, saying I was privileged, that I just wanted to look away and not examine myself for my own inherent racism, etc. I couldn’t understand why people were being so unreasonable.I’m also a Mormon. After George Floyd was murdered, our ward started to discuss racism. Mormonism has a checkered past when it comes to things like Black men and the priesthood. Or even language in some of the scriptures. These are important conversations that our church needs to have. There were good things that happened, like Black people in the ward shared more about their experiences during meetings. But almost immediately it became weird. The women’s group did a lesson on Robin DiAngelo’s “White Fragility,” for example. We didn’t actually ever talk about the things I was hoping we’d talk about — how Brigham Young stopped Black men receiving the priesthood, for example. We were just told we all needed to acknowledge our white privilege and feel guilty about it. There was a part about redlining. There was no acknowledgment that some of the white people in this ward lived in low-income housing, basically had nothing, and had been stressed even further by the pandemic. It just felt unnecessarily divisive. I have no idea what the Asian members made of this talk, because it basically excluded them. There were so many holes in these theories, but I wasn’t brave enough to point them out.So it was a real relief to hear you and Murray talk about the way these ideas have infiltrated churches. The Mormon thing is typically like, “God wants you to be happy. Live this structured life, show compassion, work hard, love your family, and be happy.” But the DiAngelo ideas felt like, “you can’t even be saved, at least not if you’re white. Some people don’t deserve to be happy; they should only feel guilt.” It was easier to bring in a fad book and talk about property values than to talk about the awful passage in the Book of Mormon where it says dark-skinned people are cursed, but other people are “white and delightsome.” I felt like the second the door opened to have a serious conversation about the church and race, they immediately jumped the shark instead.From a fan of opera and ballet:Douglas Murray mentioned Jessye Norman and how her obituary was racialized. Well, in January of 1961, Leontyne Price made her Metropolitan Opera debut, and she and Franco Correlli received an ovation that was around 50 minutes long ... possibly the longest in Met history, or among two or three longest. There have been so many great black singers at the Met, such as Shirley Verrett, Kathleen Battle (who was loved by James Levine but whose voice I never liked), Eric Owens, Grace Bumbry, and many others. Here’s a snip of Price’s Met debut:Balanchine choreographed Agon (music by Stravinsky), arguably his greatest dance, for Diana Adams (white) and Arthur Mitchell (black) in 1957. They danced the pas de deux, which is an erotic tangle of bodies. Balanchine wanted the black/white tension. Here is a bit of it:And to my beloved Jessye Norman, whom I saw only once, here she is at her best:Another listener rolls out some poetry:I greatly enjoyed your conversation with Douglas Murray. He is fierce! Your mention of Clive James’s “The Book of My Enemy Has Been Remaindered” reminded me of a similarly minded poem from Nina Puro. (I suspect one of them inspired the other.) I LONG TO HOLD THE POETRY EDITOR’S PENIS IN MY HANDand tell him personally,I’m sorry, but I’m goingto have to pass on this.Though your pieceheld my attention throughthe first few screenings,I don’t feel it is a good fitfor me at this time. Please know it receivedmy careful consideration.I thank you for allowingme to have a look,and I wish youthe very best of luckplacing it elsewhere.Shifting away from the Murray episode, here’s a followup from a intrepid Dishhead:I was excited to see my letter published on the violent toll homelessness takes on communities recently. I’ll be listening to the podcast with Maia Szalavitz soon, and I’ve got Johann’s book on harm reduction to read as well. (I loved the episode with Johann, bought his new book, loved it, and stopped being so online for about a week before backsliding ...)Shortly after I wrote that last letter to you, I realized that I wasn’t satisfied with just writing indignant letters about the bloody cost of complacency on homelessness. It’s really the story of Ahn Taylor — a sweet 94-year-old lady stabbed by a homeless man as she was walking in her neighborhood — that made me understand that complaining is not enough.So I’ve started a non-profit, Unsafe Streets, to take on this challenge. It’s sort of a “Take Back the Night”-style public safety crusade. It’s early days still, but we have a website, including pages for NYC and San Francisco, a Twitter feed, and a crowdfunding campaign. Next on my agenda is to create a page for Los Angeles, a detailed policy platform, and then to recruit a board and apply for 501c3 status.I’ve been keeping up with the Dish when I can (LOVING the conversation with Jonathan Haidt, and I HIGHLY recommend this complementary Rogan episode.) I’ve been busy with the kids and trying to get Unsafe Streets going in my free minutes.She follows up:I just listened to Maia’s episode, and I am pretty unsatisfied with her proposed solutions. Non-coercive acceptance and decriminalization is fine for people who are using drugs they bought with their own money in the privacy of their home. But public drug use, public intoxication, and the associated “quality of life” crimes (public defecation, indecency, etc.) make public spaces unsafe and uncomfortable for everyone else. Laws against these crimes should be enforced, which means arresting people and taking them to jail or some kind of treatment. Injecting fentanyl and passing out on the sidewalk is a very antisocial and harmful behavior, and should not be “decriminalized.”I agree with Maia that this is a complicated mix of addiction and severe mental illness. But I don’t think the cost of housing argument holds up. (A brief scan of the news will show you that there in fact ARE homeless encampments in West Virginia.) I think she was unfair in her characterization of Michael Shellenberger’s proposal, which includes tons of resources to expand access to and quality of treatment. Overall, Maia’s perspective is very focused on the benefit to the addict, but discounts the costs to the surrounding community. Thanks for keeping a focus on this subject!Another listener looks to a potential future guest:Hello! You invite your readers to submit guest ideas here. I submit Kevin D. Williamson — another nuanced “conservative,” Roman Catholic, Never Trumper, and admirer of Oakeshott. Oh, and he was fired after five minutes at The Atlantic for a previous statement about abortion.Thanks for the suggestion. Lastly, because we ran out of room this week in the main Dish for the new VFYW contest photo (otherwise the email version would get cut short), here ya go:Where do you think it’s located? Email your guess to contest@andrewsullivan.com. Please put the location — city and/or state first, then country — in subject line. Proximity counts if no one gets the exact spot. Bonus points for fun facts and stories. The winner gets the choice of a VFYW book or two annual Dish subscriptions. If you are not a subscriber, please indicate that status in your entry and we will give you a free month subscription if we select your entry for the contest results (example here if you’re new to the contest). Happy sleuthing! Get full access to The Weekly Dish at andrewsullivan.substack.com/subscribe
Ce samedi 16 avril 2022, le Théâtre des Champs-Élysées met à l'honneur les voix lyriques d'Afrique. À travers les grandes voix du continent africain réunies sur scène, l'association « Women of Africa » offre une soirée exceptionnelle au profit des jeunes artistes lyriques africains autour de grands morceaux d'opéra et de chants traditionnels de l'Afrique. Parmi ses plus grandes voix, l'histoire du chant lyrique compte bon nombre de chanteuses afro-américaines de carrure internationale : depuis la pionnière, la contralto Marian Anderson, première chanteuse noire à chanter au Metropolitan Opera, Léontyne Price, Grace Bumbry, Jessye Norman, Barbara Hendricks ou Shirley Verrett ont interprété les plus grands airs sur les plus grandes scènes d'opéra du monde. Mais qu'en est-il des voix d'Afrique ? C'est pour leur donner toute leur place que l'association Women of Africa a lancé « Africa Lyric's Opera » et présente ce samedi (16 avril 2022) « Les voix lyriques d'Afrique » au Théâtre des Champs-Élysées. Sa présidente Patricia Djomseu est l'invitée de VMDN, en compagnie de deux des artistes qui seront sur scène samedi soir : la soprano d'origine camerounaise Elisabeth Moussous et de la mezzo Adriana Bignagni-Lesca qui est originaire du Gabon. Elle est la toute fraîche lauréate de la première édition du concours international de chant « Les grandes voix lyriques d'Afrique » organisée la semaine dernière au palais de la Porte Dorée à Paris. Reportage : Amélie Beaucour s'est glissée en coulisses de la première édition du concours international de chant « Les grandes voix lyriques d'Afrique » pour tendre son micro aux participants et participantes à une demi heure du début du spectacle, entre trac et vocalises.
National day the first week of 2022 is National World hypnotism day. We speak about ours singing soprano sensation Grace Bumbry and our word of the day is antithetical. This weeks question is: Are the majority of women attracted to men with money? This weeks scenario is: A young woman wants a man to provide for her but says if he gets sick she would find another man. Join in on the chat. Radio station: https://allflavasradio.com Here at “ALL FLAVAS RADIO” we provide a variety of musical genres, breaking news, current affairs and live interviews from around the world. ” Yes a new community to radio!” Why Not? We were tired of the way in which radio stations structure their shows and decided to recruit DJ's and Presenters from around the world to schedule live shows, reaching a global audience and bringing different cultures together. Presenters Natasha John-Baptiste AKA @wimbo77 https://www.instagram.com/wimbo77/ https://www.onethingabouthistory.com @naturally_lele https://www.instagram.com/naturally_l... --- Send in a voice message: https://anchor.fm/onethingabouthistory/message
Heute vor 85 Jahren wurde die amerikanische Opernsängerin Grace Bumbry geboren.
This week I feature nearly a century's worth of recordings of pop music by singers who also, and in some cases primarily, were great singers of art song. Many of my favorite singers figure into the mix, including Hermann Prey (who was the inspiration for this episode), Grace Bumbry, Helen Donath, Roberta Alexander, Elly Ameling, Peter Schreier, Lotte Lehmann, Gérard Souzay, Brigitte Fassbaender, Bryn Terfel, Richard Tauber, José van Dam, Peter Schreier, Leontyne Price, Donald Gramm, and many, many others. They perform everything from Broadway standards to jazz to Deutsche Schlager to tangos to the Great American Songbook to 80s power ballads. This episode was such a joy to put together and I hope that you will enjoy this cornucopia of vocal and interpretive bounty. 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.
Through My Eyes…traces Andre Nirenberger's survival, struggles and successes. This 70.000 word memoir, told in Andre's own words, features 15 pages of memorabilia. Andre was born in Poland in 1939 to a Catholic mother and a Jewish father. His father was in Paris at the family's textile business when World War II started. Andre and his mother fled through Poland and Germany, often hiding and narrowly avoiding being taken to Auschwitz. After escaping from Poland with false Swedish diplomatic papers, Andre and his mother were able to start a seemingly normal life in Sweden. Later they moved to Switzerland. When Andre was nine, the family was finally reunited in Paris. Andre's high-fashion hairstyling career spanned two continents. His clients ranged from French Vogue models and ambassadors' wives to movie stars like Brigitte Bardot, Ginger Rogers and opera stars like Grace Bumbry. In The United States, Andre also worked as a buyer of lingerie, furs and diamonds. He became a citizen in 1965 and married in 1971. - www.amazon.com Now listen to all our XZBN shows, with our compliments go to: https://www.spreaker.com/user/xzoneradiotv or www.xzoneuniverse.com *** AND NOW ***The ‘X' Zone TV Channel on SimulTV - www.simultv.comThe ‘X' Zone TV Channel Radio Feed (Free - No Subscription Required) - https://www.spreaker.com/show/xztv-the-x-zone-tv-show-audio The ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com (Free)To contact Rob McConnell - misterx@xzoneradiotv.com
Through My Eyes…traces Andre Nirenberger's survival, struggles and successes. This 70.000 word memoir, told in Andre's own words, features 15 pages of memorabilia. Andre was born in Poland in 1939 to a Catholic mother and a Jewish father. His father was in Paris at the family's textile business when World War II started. Andre and his mother fled through Poland and Germany, often hiding and narrowly avoiding being taken to Auschwitz. After escaping from Poland with false Swedish diplomatic papers, Andre and his mother were able to start a seemingly normal life in Sweden. Later they moved to Switzerland. When Andre was nine, the family was finally reunited in Paris. Andre's high-fashion hairstyling career spanned two continents. His clients ranged from French Vogue models and ambassadors' wives to movie stars like Brigitte Bardot, Ginger Rogers and opera stars like Grace Bumbry. In The United States, Andre also worked as a buyer of lingerie, furs and diamonds. He became a citizen in 1965 and married in 1971. - www.amazon.com Now listen to all our XZBN shows, with our compliments go to: https://www.spreaker.com/user/xzoneradiotv or www.xzoneuniverse.com *** AND NOW *** The ‘X' Zone TV Channel on SimulTV - www.simultv.com The ‘X' Zone TV Channel Radio Feed (Free - No Subscription Required) - https://www.spreaker.com/show/xztv-the-x-zone-tv-show-audio The ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com (Free) To contact Rob McConnell - misterx@xzoneradiotv.com
Through My Eyes…traces Andre Nirenberger's survival, struggles and successes. This 70.000 word memoir, told in Andre's own words, features 15 pages of memorabilia. Andre was born in Poland in 1939 to a Catholic mother and a Jewish father. His father was in Paris at the family's textile business when World War II started. Andre and his mother fled through Poland and Germany, often hiding and narrowly avoiding being taken to Auschwitz. After escaping from Poland with false Swedish diplomatic papers, Andre and his mother were able to start a seemingly normal life in Sweden. Later they moved to Switzerland. When Andre was nine, the family was finally reunited in Paris. Andre's high-fashion hairstyling career spanned two continents. His clients ranged from French Vogue models and ambassadors' wives to movie stars like Brigitte Bardot, Ginger Rogers and opera stars like Grace Bumbry. In The United States, Andre also worked as a buyer of lingerie, furs and diamonds. He became a citizen in 1965 and married in 1971. - www.amazon.com Now listen to all our XZBN shows, with our compliments go to: https://www.spreaker.com/user/xzoneradiotv or www.xzoneuniverse.com *** AND NOW *** The ‘X' Zone TV Channel on SimulTV - www.simultv.com The ‘X' Zone TV Channel Radio Feed (Free - No Subscription Required) - https://www.spreaker.com/show/xztv-the-x-zone-tv-show-audio The ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com (Free) To contact Rob McConnell - misterx@xzoneradiotv.com
Through My Eyes…traces Andre Nirenberger's survival, struggles and successes. This 70.000 word memoir, told in Andre's own words, features 15 pages of memorabilia. Andre was born in Poland in 1939 to a Catholic mother and a Jewish father. His father was in Paris at the family's textile business when World War II started. Andre and his mother fled through Poland and Germany, often hiding and narrowly avoiding being taken to Auschwitz. After escaping from Poland with false Swedish diplomatic papers, Andre and his mother were able to start a seemingly normal life in Sweden. Later they moved to Switzerland. When Andre was nine, the family was finally reunited in Paris. Andre's high-fashion hairstyling career spanned two continents. His clients ranged from French Vogue models and ambassadors' wives to movie stars like Brigitte Bardot, Ginger Rogers and opera stars like Grace Bumbry. In The United States, Andre also worked as a buyer of lingerie, furs and diamonds. He became a citizen in 1965 and married in 1971. - www.amazon.com Now listen to all our XZBN shows, with our compliments go to: https://www.spreaker.com/user/xzoneradiotv or www.xzoneuniverse.com *** AND NOW ***The ‘X' Zone TV Channel on SimulTV - www.simultv.comThe ‘X' Zone TV Channel Radio Feed (Free - No Subscription Required) - https://www.spreaker.com/show/xztv-the-x-zone-tv-show-audio The ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com (Free)To contact Rob McConnell - misterx@xzoneradiotv.com
Today's is a mammoth episode on a mammoth topic: historical performances of Verdi's operas in German translation. I trace the historical and ongoing popularity of Verdi's works in Germany, and include discussions of the works of Friedrich Schiller as Verdian subject matter; the co-opting of Verdi's genius by the Third Reich; and the numerous African American Verdi singers, including Gloria Davy, Lawrence Winters, Lenora Lafayette, Betty Allen, and Grace Bumbry, who based their careers (or significant portions thereof) in German-speaking European countries. I include duets and trios from eight different Verdi operas; recordings featured were made between the years 1923 and 1973 and feature such native German-speaking singers as Richard Tauber, Margarete Teschemacher, Maria Cebotari, Josef Greindl, Meta Seinemeyer, Inge Borkh, Fritz Wunderlich, Annelies Kupper, Elisabeth Grümmer, Wolfgang Windgassen, Gottlob Frick, and Hilde Güden, among many others. Non-German singers such as Teresa Stratas, Sándor Kónya, Pilar Lorengar, Jess Thomas, Raymond Wolansky, and James King are also highlighted. This episode is an exploration of the greatest operatic composer of all time, but in unexpected garb. 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.
durée : 01:25:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Karoline Zaïdline - Avec Grace Bumbry - Réalisation Régine Barjou - réalisation : Virginie Mourthé
In the 60s,70s and 80s, the US gifted the opera world with something it hadn't yet been ready to see. Grace Bumbry and Shirley Verret, two black Mezzo-sopranos from working class families in the south, who eventually switched to singing soprano roles, were contending internationally with the biggest stars in the operatic world. The racist backlash they experienced for being stellar only served to catapult their careers. They became known as "die schwarze Venus" and "la nera callas" by their European fans. Nicole Joy Mitchell, Brooklynite and fierce contralto joins the discussion.
durée : 01:25:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Karoline Zaïdline - Avec Grace Bumbry - Réalisation Régine Barjou - réalisation : Virginie Mourthé
Today is the final episode of the Crossover Classics series and the final episode of Season One of Countermelody. The subject is US-American singers who spent significant portions of their lives and careers in Europe. I begin with an historical survey of early Twentieth Century singers who emigrated from the US to Europe (Geraldine Farrar, Mary Lewis) as well as from Europe to the US (Jarmila Novotná, Lotte Lehmann). Singers are featured in operetta (Barry McDaniel, Donald Grobe, Arlene Saunders), musicals (Reri Grist, Tatiana Troyanos, Wilbur Evans, Robert Trehy, Maria Ewing), jazz (Margaret Tynes, Charles Holland, Shirley Verrett), and pop, soul, and schlager (Lawrence Winters, Anna Moffo, Kenneth Spencer, Grace Bumbry, Felicia Weathers). The range of composers represented is enormous, from Cole Porter to Carrie Jacobs-Bond to Jimmy Webb to Rodgers and Hammerstein to ABBA to Duke Ellington to Gilbert Bécaud to J.B. Lenoir to Franz Lehár. The tone ranges from tongue in cheek to dead serious, from the quasi-bel canto pop vocalism of Muriel Smith to the intimate, Lieder-like shadings of Roberta Alexander to the raw blues stylings of Barbara Hendricks. Tune in next week for an sneak preview of Season Two. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available!
Become a supporter of the podcast: https://www.patreon.com/atpercussion Watch here Listen below 0:00 Intro and hello. Casey: Intro music contest results. Thanks and congratulations to:1st Reese Maultsby, 2nd Antek Olesik, 3rd Bartek Miler, Fox Sebastian Lopez, and Luigi Morleo. 4:56 Welcome to Marianna Bednarska 8:00 What is the Polish marimba sound? So many successful female Polish percussionists? 22:16 Your collaboration with Anders Koppel? 27:14 How is life different now that you've graduated? 29:15 How does one start a performing career like yours? 36:05 Maintain life and career balance? 42:00 Karli: Pre-performance rituals 57:50 Casey: history - Grace Bumbry 1:06:15 Future plans?
Another nation, la belle France, has a birthday right around the corner, and today I hoist the Tricolore to celebrate La Fête Nationale. I had planned this episode several weeks ago but when the worldwide #BlackLivesMatter protests began, I felt the need to respond in kind with two episodes featuring music of protest and hope. Today I present the first of two consecutive episodes on French Glamour, for after all, who does Glamour better than the French? I also consider the manner in which exoticism and imperialism make an appearance in French opera in particular. I present a veritable mad rush of great French singers, all possessed of personal poise and vocal appeal. Singers range from such classical artists as Mady Mesplé (whose recent passing we belatedly acknowledge), Régine Crespin, Janine Micheau, Germaine Cernay, Emma Calvé, Renée Doria, Jennie Tourel, Denise Duval, Andrée Esposito, Germaine Féraldy, Françoise Pollet (as well as exemplary Belgian sopranos Emma Luart and Fanny Heldy) to pop singers Joséphine Baker (French by adoption!), and Maurice Chevalier. We allow such non-French interlopers as Geraldine Farrar, Giuseppe di Stefano, Grace Bumbry, Mary Lewis, Teresa Żylis-Gara, Lisette Oropesa, and my beloved Shirley Verrett, many of whom also lived extensively in France, to make their contributions in song to this celebration. And who better than the late Jessye Norman to cap the episode with her rousing rendition of La Marseillaise, as she did in 1989 for the French Bicentennial? 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 classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.
durée : 00:14:48 - Disques de légende du mardi 26 mai 2020 - Un spectacle mythique ! En 1961, le chef d'orchestre allemand Wolfgang Sawallisch dirige Tannhäuser de Richard Wagner à Bayreuth, dans une mise en scène de Wieland Wagner, avec l'Orchestre du Festival et un casting vocal prestigieux : Victoria de Los Angeles, Grace Bumbry & Dietrich Fischer Dieskau.
Episode 5: Shirley Verrett: La Nera Callas I. Falcon or Verdi soprano? This episode is the first of two on one of my favorite singers, the Zwischenfachsängerin Shirley Verrett. Renowned in the United States for her performances of Verdi mezzo-soprano parts, particularly Azucena in Il Trovatore and Eboli in Don Carlo, the late singer commanded an enormous repertoire, comprising bel canto and French roles, on which she left her indelible stamp. I focus in particular on the French roles she performed at the Opéra de Paris from the mid-1980s through the early 1990s, as well as her Verdi soprano roles, including Amelia in Un ballo in maschera and the title role in Aida. Known in the Italian press as La Nera Callas [The Black Callas], Verrett is heard in this episode singing Brahms, Gluck, Saint-Saëns, and Verdi roles for both soprano and mezzo-soprano. Special attention is paid to her newsworthy appearances with fellow African American mezzo-cum-soprano, Grace Bumbry, the first of which, a joint Carnegie Hall concert in 1982, honored the iconic contralto Marian Anderson on the occasion of her 80th birthday.
Show NotesRoberto Devereux is an opera by Gaetano DonizettiBeverly SillsUniversity of Cincinnati, College-Conservatory of Music (CCM)Franco Corelli, Luciano Pavarotti, Martina Arroyo, Grace Bumbry, Joan SutherlandElijah is an oratorio by Felix MendelssohnSarah BernhardtEvans and Henri briefly discuss Cincinnati Opera’s 2018 production of La Traviata, which featured soprano Norah Amsellem as Violetta.Pagliacci is a one-act opera by Ruggero LeoncavalloCincinnati Opera produced Richard Wagner’s The Flying Dutchman in 2018Henri mentioned that these were the most rewarding operas he has worked on: Die Meistersinger von Nürnberg, Nixon in China, Elektra, Salome, and FidelioNorma and Ariadne auf NaxosLady GagaThe Oxford Introduction to Proto-Indo-European and the Proto-Indo-European WorldGoogle Maps
Sara Mohr-Pietsch meets two American singers - the opera icon Grace Bumbry and the broadway star Audra McDonald. Plus a conversation with the sound artist Bill Fontana in Snape, Suffolk, where he's created an installation modifying sounds from the reedbeds, marshes and the Maltings' industrial past, for this year's Aldeburgh Festival. Grace Bumbry's career was launched when she won a competition at the tender age of 17. She was sought after across Europe and the USA as a mezzo soprano and later a soprano. Now aged 80, still actively coaching young singers, she's one of the jurors for the BBC Cardiff Singer of the World 2017. She talks about her life on stage and in the concert hall, and passes on the wisdom of her career.
More mulling over James Levine's future at The Met...Seattle Opera unveils plans for new enormo-dome...Next season has first opera by a female composer in a jillion years. This week in Oliver's Corner we listen to historically important recordings featuring Grace Bumbry, Shirley Verrett, Simon Estes, and Dorothy Maynor. This week features Michael, The OC and Doug Dodson.
Today’s episode features an engaging interview with a mezzo soprano turned soprano who just celebrated the 50th anniversary of her Met debut, Grace Bumbry. In the interview hosted by the Met Guild’s Executive Director of Program Development, Paul Gruber, Ms. Bumbry talks about some of the challenges and triumphs she experienced throughout her career that includes over 200 Met performances and countless operatic appearances and recitals around the world.
I hope I am not inundating you too much with all these compilations, but I do think they are fun. 1. Fedora Barbieri Trovatore "Stride la vampa." 2. Daniele Barioni La Rondine aria (with nice interpolation at end.) 3. Lina Bruna Rasa Cavalleria Rusticana "Voi lo sapete" ( Insane chest!) 4. Grace Bumbry Don Carlo "Oh don fatale." 5. Maria Callas La Gioconda "Suicidio" 6. Enrico Caruso "Vesti la giubba" 7. Regine Crespin/Carlo Bergonzi Ballo in Maschera Duet 8. Gilda Cruz-Romo Attila Cabaletta 9. Giuseppe de Luca Tanhauser Evening Star (in Italiano.) 10.Bernardo de Muro Isabeau (Mascagni) aria 11.Ghena Dimitrova "Vissi d'arte" 12.Placido Domingo Tanhauser Rome Narrative 13.Nicolai Gedda/Fernando Corena Elisir Duet 14.Mario Filippeschi "Messun Dorma" (LOUD!) 15.Elina Garanca Cosi Fan Tutte" Dorabella aria 16.Leyla Gencer Adriana Lecouvreur Act 3 Phedre Narration 17.Marcello Giordani Huguenots aria 18.Thomas Hampson/Sam Ramey Duet from Verdi's "Un Giorno di Regno" 19.Susan Graham Komponist aria from Ariadne 20.Hei-Kyung Hong "Che bel sogno di Doretta" (Rondine) 21.Marilyn Horne Cabaletta from Meyerbeer's "Le Prophete" 22.Kiri Te Kanawa "Summertime"
I sincerely hope you are enjoying these pot-pourris. Here is no.12. Remember, anyone who has comments or suggestions, e-mail me at Placido21@aol.com. I am unable to use the comments section here, because it results in outside advertisements. 1. Rysanek/London Aida Nile duet (in Deutsch) 2.Licia Albanese La Wally "Ebben,ne andro lontana." 3.Ivar Andresen Gotterdamerung Hagen's Watch 4.Agnes Baltsa Cenerentola Final aria 5. Piot Beczala I Lombardi aria (My favorite tenor of today, as you know.) 6. Joel Berglund Tannhauser "Evening star." 7.Grace Bumbry Andrea Chenier "La Mamma morta." 8.Emma Calve Herodiade "Il est doux." 9.Enrico Caruso "L'alba separa dalla luce l'ombra" (Drives me crazy!) 10.Antonietta Stella Mme.Butterfly "Che tua madre." 11.Franco Corelli (Apr.8 birthday) Favorita "Una vergine" 12.Montserrat Caballe Trovatore "D'amor sull'ali rosee" 13.Mario DelMonaco Trovatore "Di quella pira" 14.Fernando de Lucia Iris "Apri la tua finestra" 15. Nicolai Gedda Pearl Fishers aria (Mio Dio!!!) 16. Marcello Giordani Adriana "La dolcissima effigie."
This is the second compilation from early files. You might use them for an opera party, in which you give out cheap gifts to the winner(s). ENJOY! (app.70 min.) 1. Grace Bumbry Turandot: "In questa reggia" 2. Fiorenza Cossotto Trovatore: "Condotta" (Sounded "miked' in the theatre. An amazing singer.) 3. Nadezda Kniplova Walkure: "Hojotoho" 4. Cornell MacNeil/Renata Scotto Rigoletto: "Si vendetta" (WOW!!) 5. Lina Bruna Rasa Andrea Chenier : " La mamma morta." (An example of over-done chest voice. She supposedly dived into the orchestra pit!!!) 6. Aprile Millo Ernani: "Ernani involami." 7. Maxim Mironov L'Italiana in Algeri: Fabulous rendition of Lindoro's Aria. 8. Elena Nikolaidi Semiramide: "Bel raggio" 9. Birgit Nilsson/Richard Tucker Ballo in Maschera: Love duet 10. Eugenia Burzio Saffo aria (less-known wonderful soprano.) 11. Piotr Beczala Land of Smiles: "Dein ist mein ganzes herz." (His new album of operetta arias just received a big prize, and deservedly so.) 12. Giuseppe Di Stefano Faust: The legendary "Salut demeure" with the phenomenal high C dimuendo.
Here is a comparison podcast of some wonderful mezzos and contraltos singing the Ulrica Scene from Verdi's "Un Ballo in Maschera." The singers,in order, are: Bruna Castagna, Grace Bumbry, Jean Madeira, Susanne Resmark, Marian Anderson, Ewa Podles, Giulietta Simionato, Ebe Stignani, Regina Resnik, Fedora Barbieri, and last (and least), Sylvia Sawyer (66 minutes)
Recognized worldwide as one of today's most exciting vocal stars, Denyce Graves continues to gather unparalleled popular and critical acclaim in performances on four continents. USA Today identifies her as "an operatic superstar of the 21st Century," and the Atlanta Journal Constitution exclaims, "if the human voice has the power to move you, you will be touched by Denyce Graves."Her career has taken her to the world's great opera houses and concert halls. The combination of her expressive, rich vocalism, elegant stage presence, and exciting theatrical abilities allows her to pursue a wide breadth of operatic portrayals and to delight audiences in concert and recital appearances. Denyce Graves has become particularly well-known to operatic audiences for her portrayals of the title roles in Carmen and Samson et Dalila. These signature roles have brought Ms. Graves to the Metropolitan Opera,Vienna Staatsoper, Royal Opera, Covent Garden, San Francisco Opera, Opéra National de Paris, Lyric Opera of Chicago, The Washington Opera, Bayerische Staatsoper, Arena di Verona, Deutsche Oper Berlin, Opernhaus Zürich, Teatro Real in Madrid, Houston Grand Opera, Dallas Opera, Teatro Colón in Buenos Aires, Los Angeles Opera, and the Festival Maggio Musicale in Florence. Patrick D. McCoy, "The African-American Voice in Classical Music" will speak with Ms. Graves about her special friendship with the late contralto Marian Anderson, the role of African-American Church in her development as a singer and her role in the special commemorative recital honoring the historic Grace Bumbry White House recital during the Kennedy administration.
Grace Bumbry &, Shirley Verrett, Concert in Honor of Marian Anderson, Verdi: Aida, Cilea: Adriana Lecouvreur, Verdi: Otello, Bellini: Norma. Encore of Norma duet, Opera Orchestra of New York, Eve Queler. Carnegie Hall, New York, 31 January 1982.
Grace Bumbry &, Shirley Verrett, Concert in Honor of Marian Anderson, Verdi: La battaglia di Legnano, Ponchielli: La Gioconda, Verdi: Macbeth, Spontini: La Vestale, Donizetti: Anna Bolena, Opera Orchestra of New York, Eve Queler. Carnegie Hall, New York, 31 January 1982.
Scenes from Verdi's Ernani, featuring some of the greatestsingers of the past: Anita Cerquetti, Leontyne Price, Zinka Milanov, Grace Bumbry,Leyla Gencer,Caterina Mancini, Gino Penno, Mario del Monaco,Placido Domingo (past and also present), Flaviano Labo,Leonard Warren, Mario Sereni, Ettore Bastianini, Leonard Warren,Cornel MacNeil, Piero Cappuccilli, Lando Bartolini, Cesare Siepi,Nicolai Ghiaurov. (76 minutes)
A Compilation of interpreters of the role of Azucena in Verdi's "Il Trovatore." The podcast features: Bruna Castagna, Ebe Stignani, Irene Minghini-Cattaneo,Elena Nikolaidi, Regina Resnik, Cloe Elmo, Grace Bumbry,Irene Kramarich, Dolora Zajick, Elena Obratsova,Fiorenza Cossotto, Fedora Barbieri, (pictured) Shirley Verrett,Giulietta Simionato, and finally, the great Sylvia Sawyer. Assisting artists include Leonard Warren, Franco Corelli, Carlo Bergonzi, Luigi Ottolini, Roberto Alagna,Gino Sarri, and Matteo Manuguerra. (88 minutes)
Soprano Grace Bumbry performs scenes from Salome and Elektra.
Since Marian Anderson made her Met debut as Ulrica in 1955, several Afro-American artists have followed; in addition,several black artists of the past must be recognized for their fine singing: Marian Anderson (photo),Leontyne Price,Paul Robeson, Dorothy Maynor,Grace Bumbry,Shirley Verrett,Florence Quivar,Angela Brown, Lawrence Brownlee
Wagner's epic of sacred and profane love stars Wolfgang Windgassen, Victoria de los Angeles, Grace Bumbry, Dietrich Fischer-Dieskau and Josef Greindl. Wolfgang Sawallisch conducts this live performance from the Bayreuth Festival, 1961.
Wagner's epic of sacred and profane love stars Wolfgang Windgassen, Victoria de los Angeles, Grace Bumbry, Dietrich Fischer-Dieskau and Josef Greindl. Wolfgang Sawallisch conducts this live performance from the Bayreuth Festival, 1961.
Wagner's epic of sacred and profane love stars Wolfgang Windgassen, Victoria de los Angeles, Grace Bumbry, Dietrich Fischer-Dieskau and Josef Greindl. Wolfgang Sawallisch conducts this live performance from the Bayreuth Festival, 1961.
Roy Plomley's castaway is soprano Grace Bumbry.Favourite track: Impromptu In G Flat Major by Franz Schubert Book: Letters by Guiseppe Verdi Luxury: Perfume
Roy Plomley's castaway is soprano Grace Bumbry. Favourite track: Impromptu In G Flat Major by Franz Schubert Book: Letters by Guiseppe Verdi Luxury: Perfume
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