Podcasts about greer grimsley

Why has Carmen been, since 1875, one of the world's most popular operas? Seattle Opera Dramaturg Jonathan Dean introduces this beloved masterpiece with musical examples from Seattle Opera's archival recordings of Carmen: from 1995, with Greer Grimsley as Escamillo (conducted by Steven Sloane); from 2004, with Stephanie Blythe (Carmen) and Paul Charles Clarke (Don José), conducted by George Manahan; and from 2011, with Anita Rachvelishvili (Carmen), Fernando de la Mora (Don José), and Norah Amsellem (Micaëla), conducted by Pier Giorgio Morandi.

[@ 4 min] Alright, this week we go Inside the Huddle with Greer Grimsley. The American bass-baritone returns to Santa Fe Opera for Gregory Spears and Tracy K. Smith's "The Righteous," which receives its world premiere on July 13! [@ 33 min] Then…speaking of July 13, this Saturday is the 100th birthday anniversary of Carlo Bergonzi. Musicologist Brad Sisk, a former student of Bergonzi, takes a Free Throw on what made the great Italian tenor a quintessential Verdian. [@ 46 min] There's a Lot going on in France (and not all of it's good), but something good is happening in England. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Seattle Opera concludes its 24/25 season in May 2025 with TOSCA, Puccini's beloved thriller. Jonathan Dean introduces the charismatic characters, cinematic music, and wild story that have made TOSCA one of the world's favorite operas. Musical examples from Seattle Opera archival recordings of Tosca made in 2001 (Antonello Allemandi conducts Carol Vaness), 2007 (Vjekoslav Sutej conducts Lisa Daltirus, Frank Porretta, Jr., and Greer Grimsley) and 2015 (Julian Kovatchev conducts Ausrine Stundyte, Mary Elizabeth Williams, Marcy Stonikas, Stefano Secco, and Greer Grimsley. Special example featuring Korngold's score to CAPTAIN BLOOD.  

Bass-baritone Greer Grimsley discusses the Atlanta Opera's "Das Rheingold" production on stage at the Cobb Energy Performing Arts from April 29-May 7. Plus, Photographer Barbara Dombrowski details "Tropic Ice," her new exhibition at the Goethe-Zentrum German Cultural Center. And, our series, "Speaking of Music," spotlights singer-songwriter V Love.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Join Tomer Zvulun, the Artistic and General Director of The Atlanta Opera, as he speaks with opera singers Greer Grimsley and Nicholas Brownlee about their experiences singing the role of Wotan in Wagner's The Ring Cycle. 

On June 26 at 10 am PT, LA Opera On Air will return to KUSC radio station with a broadcast of "Billy Budd." With an all-male cast of 25 solo roles, and vast choral and orchestral forces, all conducted by James Conlon, it's the most grandly scaled of Britten's many operas. Liam Bonner, Richard Croft and Greer Grimsley take the leading roles. And, of course, June is also Lesbian, Gay, Bisexual, Transgender and Queer (LGBTQ+) Pride Month. Benjamin Britten, the composer, was an openly gay man in a time and place where homosexuality was illegal. In this Behind the Curtain conversation, LA Opera's Connects Vice President Stacy Brightman speaks with Dr. Mitchell Morris, UCLA's chair of Musicology and chair for LGBTQ Studies; Dr. Morris speaks about Britten, his work, and how or if this opera is relevant in relation to how far the LGBTQ community has come since the opera's premiere in 1951. Please note, this frank conversation touches on adult themes and may not be appropriate for all listeners.

Come down to the bassment and enjoy the deep sound of the bass and bass-baritone voices with Seattle Opera Dramaturg Jonathan Dean. Basses play dads, priests, kings, old bearded guys, God, and the Devil; they get to be evil, they get to be funny, and they always sing with great authority. Includes a 4-pack bass sampler from BORIS GODUNOV, a taste test of Hagens from GÖTTERDÄMMERUNG, and a buffo bass patter race. Musical examples feature favorite Seattle Opera basses and bass-baritones including Kevin Langan, Richard Best, Peter Rose, Ante Jerkunica, John Relyea, Gabor Andrasy, Nicolas Cavallier, Alexander Anisimov, Arthur Woodley, Eduardo Chama, Shenyang, Ashraf Sewailam, Greer Grimsley, Vladimir Ognovienko, baritone Marius Kwiecien, Alfred Walker, William Wildermann, John Macurdy, Simon Estes, John Del Carlo, Monte Pederson, Kevin Short, and Stephen Milling.

Tosca, featured on "Seattle Opera Mornings on KING FM" on May 30,  is both a great opera for newbies to the art form and a rewarding piece to hear multiple times; it’s accessible—a ‘thriller’ as cinematic as any Hollywood classic—and also stacked with layers of sumptuous artistry to savor. Seattle Opera Dramaturg Jonathan Dean introduces Tosca, with musical examples from Seattle Opera archival recordings of Tosca made in 2001, 2007, and 2015 and featuring Stefano Secco and Frank Porretta, Jr. as Cavaradossi, Greer Grimsley as Scarpia, and Marcy Stonikas, Ausrine Stundyte, Lisa Daltirus, and Carol Vaness as Tosca. The chorus and orchestra of Seattle Opera were conducted by Antonello Allemandi in 2001, Vjekoslav Sutej in 2007, and Julian Kovatchev in 2015.

Tosca is both a great opera for newbies to the art form and a rewarding piece to hear multiple times; it’s accessible—a ‘thriller’ as cinematic as any Hollywood classic—and also stacked with layers of sumptuous artistry to savor. Seattle Opera Dramaturg Jonathan Dean introduces Tosca, with musical examples from Seattle Opera archival recordings of Tosca made in 2001, 2007, and 2015 and featuring Stefano Secco and Frank Porretta, Jr. as Cavaradossi, Greer Grimsley as Scarpia, and Marcy Stonikas, Ausrine Stundyte, Lisa Daltirus, and Carol Vaness as Tosca. The chorus and orchestra of Seattle Opera were conducted by Antonello Allemandi in 2001, Vjekoslav Sutej in 2007, and Julian Kovatchev in 2015.

Come down to the bassment and enjoy the deep sound of the bass and bass-baritone voices with Seattle Opera Dramaturg Jonathan Dean. Basses play dads, priests, kings, old bearded guys, God, and the Devil; they get to be evil, they get to be funny, and they always sing with great authority. Includes a 4-pack bass sampler from BORIS GODUNOV, a taste test of Hagens from GÖTTERDÄMMERUNG, and a buffo bass patter race. Musical examples feature favorite Seattle Opera basses and bass-baritones including Kevin Langan, Richard Best, Peter Rose, Ante Jerkunica, John Relyea, Gabor Andrasy, Nicolas Cavallier, Alexander Anisimov, Arthur Woodley, Eduardo Chama, Shenyang, Ashraf Sewailam, Greer Grimsley, Vladimir Ognovienko, baritone Marius Kwiecien, Alfred Walker, William Wildermann, John Macurdy, Simon Estes, John Del Carlo, Monte Pederson, Kevin Short, and Stephen Milling.

Why has Carmen been, since 1875, one of the world’s most popular operas? Seattle Opera Dramaturg Jonathan Dean introduces this beloved masterpiece with musical examples from Seattle Opera’s archival recordings of Carmen: from 1995, with Greer Grimsley as Escamillo (conducted by Steven Sloane); from 2004, with Stephanie Blythe (Carmen) and Paul Charles Clarke (Don José), conducted by George Manahan; and from 2011, with Anita Rachvelishvili (Carmen), Fernando de la Mora (Don José), and Norah Amsellem (Micaëla), conducted by Pier Giorgio Morandi.

What fun to welcome back bass-baritone Greer Grimsley as the Pirate King, and mezzo-soprano Luretta Bybee as Ruth in The Pirates of Penzance. (As Luretta points out at the end of this conversation with Dr. Nic, she made her professional debut with San Diego Opera as Mrs. Sedley in Peter Grimes 1984.) We catch up with this delightful husband-wife team in this wide ranging interview about life, love and opera. Enjoy!

Bass-baritone Greer Grimsley is back in one of his favorite roles: Scarpia in Puccini's Tosca. In this interview he talks about the character and reflects a bit on what it is that makes this role so fulfilling and downright fun for him to sing!

Our favorite bass-baritone returns for one of his favorite roles: Greer Grimsley sings Baron Scarpia in Puccini's Tosca. Greer has some definite ideas about who this character is, what motivates him and how to sing him. Tune in to our first podcast of the 2016 season!

Bass-baritone Greer Grimsley usually comes to town toting the role of a villain: Pizarro in Fidelio, Telramund in Lohengrin, Scarpia in Tosca, and last season, Mephistopheles in Faust. He returns this season as the one 'good guy', the shining light in Salome, Jochanaan (John the Baptist). In this interview with Nicolas Reveles, our Director of Education and Outreach, he talks about the role, the opera and his career. Enjoy!

In looking forward to bass-baritone Greer Grimsley's performance in our upcoming production of Gounod's FAUST, I thought it would be fun to look more closely at the role of Mephistopheles and the historic basses who sang the role.