Podcast appearances and mentions of Hector Berlioz

Hector Berlioz - Symphonie Fantastique: A BallSlovak Radio Symphony Orchestra Pinchas Steinberg, conductorMore info about today's track: Naxos 8.550093Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

This Day in Legal History: Louisiana Adopts State Constitution, McCarthy Dies, and Birmingham CampaignOn May 2, 1939, Louisiana adopted its current state constitution, known as the Louisiana Constitution of 1921, which at the time marked a significant overhaul of state governance. Though originally adopted in 1921, it underwent critical amendments and re-ratification processes culminating on this date to reflect broader federal constitutional principles, especially concerning civil rights and governance reforms. This version would go on to become one of the most amended constitutions in the U.S., highlighting Louisiana's complex political and legal environment, particularly around issues of race, voting, and economic regulation.On the federal level, on May 2, 1957, Senator Joseph McCarthy died, signaling the end of one of the most controversial chapters in American legal and political history. McCarthy had become the face of the post-war Red Scare, using Senate hearings and investigations to accuse numerous government officials and private citizens of Communist sympathies without substantial evidence. His tactics led to the coining of the term “McCarthyism,” representing the broader trend of reckless accusations without due process, a violation of basic legal protections. His downfall began with the 1954 Army-McCarthy hearings, where his aggressive questioning was televised, turning public opinion sharply against him.Also on May 2, 1963, during the Birmingham Campaign, hundreds of African American children and teenagers marched in Birmingham, Alabama, as part of a civil rights strategy to provoke mass arrests and draw national attention to segregation. The police response, using dogs and fire hoses on peaceful demonstrators, shocked the nation and galvanized support for federal civil rights legislation. These events laid crucial groundwork for the Civil Rights Act of 1964, which fundamentally altered American legal frameworks surrounding discrimination.Justice Ketanji Brown Jackson, never one to sugarcoat institutional danger, pulled no punches in a recent address where she warned that political attacks on the judiciary—particularly from Donald Trump and his orbit—aren't just angry outbursts. They're strategic. “Not random,” she emphasized, but seemingly calculated to chill the bench and warp the public's view of judicial independence. Speaking in Puerto Rico at a judges' conference, she framed the threats and harassment against judges as not merely inappropriate, but corrosive to democracy itself—an erosion of the rule of law masquerading as political speech.While Jackson didn't name Trump directly (a nod, perhaps, to judicial decorum), she acknowledged “the elephant in the room.” That elephant has been stomping around the judiciary for years, from defying court orders to demanding impeachments of judges who don't rule his way. Chief Justice John Roberts—no firebrand liberal—has already rebuked Trump this year for trying to undermine judicial authority. Jackson's remarks, which reportedly drew a standing ovation, echoed deeper concerns among legal scholars about an impending constitutional crisis fueled by executive overreach and coordinated judicial delegitimization.With a 6–3 conservative majority still holding firm on the Supreme Court, her comments are more than ideological protest. They're a pointed reminder that the judiciary's legitimacy isn't just under rhetorical attack—it's being targeted as a political obstacle. And in Jackson's view, the stakes couldn't be higher.US Supreme Court Justice Jackson criticizes Trump's attacks on judges | ReutersDonald Trump's judicial conveyor belt is up and running again. Today, May 1, 2025, he announced his first federal judicial nominee since retaking the White House: Whitney Hermandorfer, a conservative legal operative from Tennessee who's clerked for three sitting Supreme Court justices and currently works under the state's Republican Attorney General. If confirmed, she'll take a seat on the 6th U.S. Circuit Court of Appeals—a vacancy that lingered after Biden's nominee stalled amid GOP opposition from Tennessee's own senators.Trump's post on Truth Social didn't mince words: Hermandorfer is a “Fighter,” a term that doubles as both a branding strategy and a judicial philosophy. Her resume backs that up—she's defended Tennessee's abortion ban and fought Biden-era protections for transgender students. Translation: she's been in the legal trenches of the culture war and emerged as a reliable soldier for the right.This nomination is the opening salvo in what could be a new wave of over 100 judicial appointments in Trump's second term, offering him another shot at reshaping the federal bench after appointing 234 judges—including three Supreme Court justices—during his first. Hermandorfer is stepping into a seat vacated by Judge Jane Stranch, an Obama appointee, whose intended successor under Biden, Karla Campbell, never got her Senate vote thanks to a post-election deal between Democrats and Republicans to fast-track some trial court nominees at the cost of four appellate picks.The judicial arms race is back. And this time, the Senate arithmetic—and the vacancies left behind—may tilt even harder in Trump's favor.Trump makes first judicial nomination since returning to White House | ReutersGoogle's legal team is headed to federal court Friday to plead with Judge Leonie Brinkema not to yank apart its advertising tech empire. At stake is nothing short of the future architecture of online advertising. The DOJ is pushing to force Google to divest key parts of its Google Ad Manager, including the ad exchange and publisher ad server—core infrastructure for monetizing digital content. Think of it as ripping out the plumbing from the internet's ad economy.Judge Brinkema has already ruled that Google unlawfully tied its ad server and ad exchange, leveraging its dominance in a way that stifled competition and hurt publishers. Not exactly a glowing endorsement of their market behavior. Still, Google insists that a forced breakup isn't just excessive—it's legally unjustified. Their position is these tools do more than just hawk banner ads, and the DOJ's remedy would be a regulatory overreach.In the backdrop is another case in D.C., where the DOJ is toying with the idea of making Google sell Chrome—the browser—over its search dominance. Google clearly doesn't want a repeat of that nightmare here.So, the message from Mountain View is clear: Let's talk tweaks, not torpedoes. But Brinkema's already signaled she sees systemic harm. Whether that translates into structural remedies—or just more behavioral promises—now depends on how persuasive Google's lawyers can be without sounding like they're defending a monopoly.Google will seek to avoid ad tech spinoff in antitrust case | ReutersThis week's closing theme brings us into the fiery imagination of Hector Berlioz, the 19th-century French composer who lived as intensely as he wrote. Berlioz was a Romantic through and through—equal parts visionary, dramatist, and eccentric. His music defied convention, his orchestration exploded boundaries, and his literary obsession with Goethe's Faust gave rise to one of his most enigmatic and powerful works: La Damnation de Faust (The Damnation of Faust), completed in 1846.Not quite an opera, not quite a cantata, Berlioz called it a "dramatic legend"—a hybrid form that suited his unconventional style and theatrical flair. Drawing from Gérard de Nerval's French translation of Faust, the work traces the tortured scholar's tragic arc: from existential despair, to enchanted pastoral scenes, to infernal damnation, all wrapped in Berlioz's vivid orchestral color. Its fourth part, the “Ride to the Abyss” and “Pandemonium,” is especially striking—a blazing descent into hell that's often performed independently, particularly around Walpurgis Night on April 30 and May 1, when tales of witches' sabbaths and demonic revels echo the scene's imagery.At its premiere, The Damnation of Faust baffled audiences and bombed commercially, though it has since been recognized as one of Berlioz's masterpieces, showcasing his flair for narrative, his taste for the macabre, and his unmatched orchestral daring. It remains a high watermark for musical storytelling without staging—and an apt closer for a week shadowed by ambition, unrest, and devilish bargains.Without further ado, The Damnation of Faust, by Hector Berlioz. Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

In der spektakulären Bergwelt der italienischen Abruzzen gönnt sich Hector Berlioz einen Wanderurlaub. Aus den Bergen kehrt der Komponist als anderer Mensch zurück - und mit einer besonderen Sinfonie im Kopf: "Harold in Italien".

Dans un beau et passionnant livre intitulé, « Les musiciens et le pouvoir en France », (Gallimard), Maryvonne de Saint-Pulgent nous raconte ces liens, de Lully à Boulez. « Le rapport de Lully et Boulez au pouvoir et ses conséquences sur notre paysage musical ne sont pas des singularités, mais le fruit d'une exception française, due à la préférence nationale pour le mécénat d'État et les régimes politiques à exécutif fort », écrit l'auteure. Elle en parle avec passion dans IDÉES ce dimanche. Ancienne directrice de patrimoine au ministère de la Culture entre 1993 et 1997, professeure associée de musicologie à Paris IV, Maryvonne de Saint-Pulgent commence son histoire au temps de Louis XIV, par la place occupée par Lully « à qui la surintendance de la musique du roi avait permis d'exercer une forme de « dictature musicale » déplorée par Colbert ».L'auteure parcourt les siècles et note, avec de nombreux exemples, que ce soutien du pouvoir dépassait le mécénat classique qui se pratiquait « habituellement dans les cours européennes prédémocratiques ». Avec elle, nous avançons dans le temps ; la Révolution qui avait aussi ses musiciens et les régimes suivants, y compris la République qui « instrumentalisent l'art au service de leur propagande et favorisent une esthétique officielle ».Puis l'influence étatique passe du pouvoir aux Académies et naît la politique culturelle. Premiers jalons, ceux posés par Léon Blum, lors du Front populaire, « qui nourrit celle que mène ensuite un compagnon de route, l'écrivain André Malraux, lorsqu'il crée en 1959 le ministère des Affaires culturelles voulu par le général de Gaulle », écrit Maryvonne de Saint-Pulgent.Dernière étape, la seconde partie du XXè siècle et l'omnipotence de Pierre Boulez (dont on célèbre le centenaire en 2025) à qui plusieurs présidents de la République n'ont rien refusé.« Les musiciens et le pouvoir en France, de Lully à Boulez », Bibliothèque illustrée des histoires, Gallimard. Programmation musicale : Jean-Baptiste Lully (1632-1687) – « Atys – Ouverture », interprétée par l'ensemble musical Les Arts Florissants (direction : William Christie) « Ah ! Ça ira », interprété par Matthieu Lussier/ Les Jacobins Marie-Joseph Chénier (paroles) / Étienne-Nicolas Méhul (musique) – « Le chant du départ », interprété par l'orchestre de la Garde républicaine et le chœur de l'Armée française Hector Berlioz (1803-1869) – « La symphonie fantastique – Un bal », interprété par l'orchestre national de Lille (direction : Jean-Claude Casadesus) Gabriel Fauré (1845-1924) – « Requiem – Libera me », interprété par Simon Estes, l'orchestre de la Staatskapelle de Dresde et le Rundfunkchor de Leipzig (direction : Colin Davis) Pierre Boulez (1925-2016) – « Le marteau sans maître – Bel édifice et les pressentiments », interprété par l'ensemble InterContemporain (direction : Pierre Boulez) Maurice Ravel (1875-1937) – « Valses nobles et sentimentales – Assez animé », interprété par Ivo Pogorelich (piano).

Dans un beau et passionnant livre intitulé, « Les musiciens et le pouvoir en France », (Gallimard), Maryvonne de Saint-Pulgent nous raconte ces liens, de Lully à Boulez. « Le rapport de Lully et Boulez au pouvoir et ses conséquences sur notre paysage musical ne sont pas des singularités, mais le fruit d'une exception française, due à la préférence nationale pour le mécénat d'État et les régimes politiques à exécutif fort », écrit l'auteure. Elle en parle avec passion dans IDÉES ce dimanche. Ancienne directrice de patrimoine au ministère de la Culture entre 1993 et 1997, professeure associée de musicologie à Paris IV, Maryvonne de Saint-Pulgent commence son histoire au temps de Louis XIV, par la place occupée par Lully « à qui la surintendance de la musique du roi avait permis d'exercer une forme de « dictature musicale » déplorée par Colbert ».L'auteure parcourt les siècles et note, avec de nombreux exemples, que ce soutien du pouvoir dépassait le mécénat classique qui se pratiquait « habituellement dans les cours européennes prédémocratiques ». Avec elle, nous avançons dans le temps ; la Révolution qui avait aussi ses musiciens et les régimes suivants, y compris la République qui « instrumentalisent l'art au service de leur propagande et favorisent une esthétique officielle ».Puis l'influence étatique passe du pouvoir aux Académies et naît la politique culturelle. Premiers jalons, ceux posés par Léon Blum, lors du Front populaire, « qui nourrit celle que mène ensuite un compagnon de route, l'écrivain André Malraux, lorsqu'il crée en 1959 le ministère des Affaires culturelles voulu par le général de Gaulle », écrit Maryvonne de Saint-Pulgent.Dernière étape, la seconde partie du XXè siècle et l'omnipotence de Pierre Boulez (dont on célèbre le centenaire en 2025) à qui plusieurs présidents de la République n'ont rien refusé.« Les musiciens et le pouvoir en France, de Lully à Boulez », Bibliothèque illustrée des histoires, Gallimard. Programmation musicale : Jean-Baptiste Lully (1632-1687) – « Atys – Ouverture », interprétée par l'ensemble musical Les Arts Florissants (direction : William Christie) « Ah ! Ça ira », interprété par Matthieu Lussier/ Les Jacobins Marie-Joseph Chénier (paroles) / Étienne-Nicolas Méhul (musique) – « Le chant du départ », interprété par l'orchestre de la Garde républicaine et le chœur de l'Armée française Hector Berlioz (1803-1869) – « La symphonie fantastique – Un bal », interprété par l'orchestre national de Lille (direction : Jean-Claude Casadesus) Gabriel Fauré (1845-1924) – « Requiem – Libera me », interprété par Simon Estes, l'orchestre de la Staatskapelle de Dresde et le Rundfunkchor de Leipzig (direction : Colin Davis) Pierre Boulez (1925-2016) – « Le marteau sans maître – Bel édifice et les pressentiments », interprété par l'ensemble InterContemporain (direction : Pierre Boulez) Maurice Ravel (1875-1937) – « Valses nobles et sentimentales – Assez animé », interprété par Ivo Pogorelich (piano).

This Day in Legal History: Jack Ruby ConvictedOn March 14, 1964, Jack Ruby was convicted of murdering Lee Harvey Oswald, the accused assassin of President John F. Kennedy. Ruby, a Dallas nightclub owner, had shot Oswald on live television two days after Kennedy's assassination, as police were transferring Oswald from the city jail. The highly publicized trial concluded with a guilty verdict, and Ruby was sentenced to death. However, in 1966, the Texas Court of Criminal Appeals overturned the conviction, ruling that improper testimony had been admitted and that the trial should not have taken place in Dallas, where impartiality was questionable. A retrial was ordered, but before it could proceed, Ruby died of lung cancer on January 3, 1967. His actions and their legal consequences remain a topic of debate, with some believing he was motivated by grief and others suspecting a broader conspiracy.Ruby testified before the Warren Commission in July 1964, providing a rambling account of his mental state and possible connections to figures of interest. Arlen Specter, a future U.S. Senator from Pennsylvania, was among those questioning him. The case highlighted due process concerns, particularly regarding venue changes in high-profile trials, and underscored the legal system's challenges in handling emotionally charged cases with national significance.Two federal judges, one in Maryland and another in California, have ordered the Trump administration to reinstate thousands of probationary federal workers who were fired as part of a sweeping effort to shrink the government. The rulings represent the most significant legal challenge yet to Trump and adviser Elon Musk's aggressive push to cut federal jobs. The Maryland case, led by 20 Democratic-led states, targeted 18 agencies accused of unlawfully dismissing workers without following required procedures. Judge James Bredar ruled that the firings amounted to mass layoffs requiring prior notice to state governments.In California, Judge William Alsup reached a similar conclusion, ordering reinstatement for workers at six agencies, including the Department of Defense. He criticized the U.S. Office of Personnel Management (OPM) for directing agencies to fire workers en masse without legal authority. The Trump administration argues that probationary employees have few job protections and can be terminated for nearly any reason. However, Democratic-led states claim the firings violated regulations requiring agencies to provide 60 days' notice before mass layoffs.At least 24,000 probationary workers have been fired since Trump returned to office, affecting agencies such as the EPA, Department of Education, and Homeland Security. The Merit Systems Protection Board has also intervened, recently ordering the Agriculture Department to temporarily reinstate nearly 6,000 workers. Meanwhile, unions and advocacy groups continue legal efforts to block further terminations, with the American Federation of Government Employees calling the rulings a victory against an administration aiming to cripple federal agencies. The Trump administration has vowed to fight back against the court orders, arguing they undermine presidential authority.Fired Workers at 18 Agencies Reinstated in Court Blow to TrumpUS judges order Trump administration to reinstate thousands of fired workersColumbia University has issued severe punishments to students involved in a pro-Palestinian protest that occupied a campus building last spring, including expulsions and temporary degree revocations. The announcement follows the Trump administration's decision to cancel $400 million in federal funding to the university, citing an inadequate response to antisemitism. Interim President Katrina Armstrong acknowledged the government's concerns and pledged cooperation. However, the university has not disclosed the number of students disciplined, nor their identities, citing privacy laws.Critics argue the crackdown is politically motivated, particularly since the expelled student union president, Grant Miner, was removed just before contract negotiations with the university. The Trump administration has escalated its efforts against what it labels "pro-Hamas" protests, detaining Columbia student Mahmoud Khalil, a protest leader, for deportation—though a federal judge has temporarily blocked the move. These actions raise serious concerns about the suppression of campus activism and whether the university's response was driven by financial and political pressure rather than an impartial disciplinary process.Columbia's handling of the protests appears to be shaped more by government pressure than by a genuine commitment to campus safety or free speech. The timing of expulsions, particularly targeting a union leader, suggests a broader effort to stifle dissent rather than uphold academic integrity. The federal crackdown on protesters further complicates the situation, blurring the line between addressing antisemitism and suppressing legitimate political expression.Columbia University punishes pro-Palestinian protesters who occupied building | ReutersNewsmax has paid $40 million to settle a defamation lawsuit filed by Smartmatic over false claims that the company helped rig the 2020 U.S. election for Joe Biden. The settlement was reached privately last year, but the amount was disclosed in a recent investor filing. Smartmatic sued Newsmax in 2021, alleging the network knowingly spread misinformation, falsely stating that its machines were hacked and that it was backed by corrupt regimes. Newsmax defended its reporting as protected by the First Amendment but later clarified its coverage and invited Smartmatic to respond on air, an offer Smartmatic declined.Smartmatic had initially sought between $400 million and $600 million in damages. Meanwhile, the company continues its $2.7 billion defamation lawsuit against Fox News, following a historic $787.5 million settlement Fox paid to Dominion Voting Systems. The Newsmax case underscores the financial and legal consequences media outlets face for amplifying election misinformation, particularly when it leads to measurable reputational and financial harm.Newsmax paid $40 million to settle defamation suit over US 2020 election claims | ReutersThis week's closing theme is by Hector BerliozOn this day in 1869, French composer Hector Berlioz passed away, leaving behind a legacy of bold orchestration, vivid storytelling, and groundbreaking compositions that pushed Romantic music to new heights. Born in 1803, Berlioz defied his family's wishes for him to become a doctor, instead immersing himself in the world of music, where his dramatic flair and innovative techniques set him apart. He was a master of programmatic music, crafting works that told intense, almost cinematic stories through sound.His most famous composition, Symphonie Fantastique, is a perfect example of this. Written in 1830, the symphony follows a tormented artist haunted by unrequited love, spiraling into madness and hallucination. The final movement, “Dreams of a Witches' Sabbath,” is a feverish nightmare of swirling strings, eerie bells, and grotesque dance rhythms, as the protagonist imagines his own funeral turned into a macabre celebration. The piece is filled with dark energy, blending horror and exhilaration in a way that was revolutionary for its time.Berlioz's influence stretched far beyond his own era, inspiring composers like Wagner, Mahler, and even film composers of the 20th century. Though he struggled for recognition during his lifetime, often facing resistance from conservative critics, his music eventually gained the admiration it deserved. His orchestral mastery and fearless storytelling continue to captivate listeners today.To close this week, we leave you with the chilling and electrifying "Dream of a Witches' Sabbath" from Symphonie Fantastique, a piece that perfectly embodies Berlioz's genius for the dramatic and the surreal.Without further ado, Hector Berlioz's “Dreams of a Witches Sabbath” from his Symphonie Fantastique. Enjoy!  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Hector Berlioz - The Damnation of Faust: Hungarian MarchHungarian State Symphony Orchestra Matyas Antal, conductorMore info about today's track: Naxos 8.550142Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

SynopsisAs today is International Women's Day, we thought we'd tell you about a wonderful French composer you may or may not have heard of before.Mélanie Hélène Bonis, or Mel Bonis as she preferred to be called, was a prolific composer of piano and organ works, chamber music, art songs, choral music, and several orchestral pieces. She studied at the Paris Conservatoire, where her teachers included César Franck. She was born in 1858 and died in 1937, so her lifetime spanned the age of Hector Berlioz to Alban Berg.In the 1890s, Bonis reconnected with her first love, a man she had met while still a student, who had encouraged her musical talent. So she left her husband, who did not encourage her, to devote herself full-time to her music. Initially performed and admired in Paris, after World War I her music was neglected, and she became bedridden from arthritis. Despite everything, she continued to compose up to the time of her death at 79.Among her works are seven piano portraits of women, collectively titled Femmes de Légende, or Legendary Women — some of which, like Salomé, she arranged for full orchestra.Music Played in Today's ProgramMel Bonis (1858-1937): Salomé; Orchestre du Capitole de Toulouse; Leo Hussain, conductor; Bru Zane BZ-2006

Loki chats with librettist/producer Portia Kamons and composer Ron Ramin about their joint venture with the Orlando Philharmonic Orchestra, designed to meaningfully engage Generation Z. Loki shares the reasoning behind his return to "traditional" orchestral engagements. Ron RaminPortia KamonsMore on SEVENTEEN"SEVENTEEN" PromoHungarian March from 'The Damnation of Faust' (by Hector Berlioz, perf. Queensland Symphony Orchestra)The Story Behind Shostakovich's Fifth Symphony ★ Support this podcast ★

Zu Gast in der zweiten Ausgabe unserer neuen Sendereihe ist Ulrich Lenz, der Intendant der Oper Graz. Marion Eigl hat sich mit ihm über die besondere Atmosphäre im Haus, den richtigen Riecher in seinem Metier, den großen Erfolg von Hector Berlioz' Les Troyens und die kommenden Produktionen unterhalten.Freuen Sie sich auf Mozarts Così fan tutte ab 1. März,  Franz Lehárs Schön ist die Welt ab 22. März und den Ballettabend Follia! im April.Alle Infos: Oper Graz - Radio Klassik

Start einer neuen Sendereihe auf radio klassik Stephansdom! Martina Raab führt immer am vierten Montag im Monat in die Oper Graz - unter dem Motto: Oper, öffne dich! In der ersten Aussgabe nimmt Vassilis Christopoulos, Chefdirigent der Oper Graz, die Zuhörerschaft mit auf eine Entdeckungsreise zu Hector Berlioz' monumentalem Werk Les Troyens, das zu den herausforderndsten und großartigsten Kompositionen des 19. Jahrhunderts zählt. Berlioz' beeindruckende Kunstfertigkeit in der Orchestrierung und seine Innovationskraft erschufen neue Klangwelten. Les Troyens behandelt universelle Themen wie Krieg, Flucht, Liebe und das menschliche Schicksal, die in ihrer Bedeutung und Relevanz weit über das 19. Jahrhundert hinausreichen. Der besondere Zauber dieses außergewöhnlichen Werkes wird erlebbar in Berlioz‘ Musik. 

 La vie trépidante du célèbre orfèvre Benvenuto Cellini le conduira Florence à Paris en passant par Rome. Elle avait tout pour séduire Hector Berlioz, lequel lui a d'ailleurs consacré son premier opéra dont la création s'est soldée par un échec retentissant.    Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Hector Berlioz - Le CorsairePolish State Philharmonic Orchestra, KatowiceKenneth Jean, conductorMore info about today's track: Naxos 8.553264Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Avui al Voltant i Girant: -A la primera part del programa parlarem de música, de música clàssica. En concret, d’òpera. De “Les Troyens”, d’Hector Berlioz, representada a l’Oper Graz, a Àustria. I ho farem perquè l’actuació de la mezzosoprano de l’Ampolla Anna Brull ha estat lloada per la crítica i pel públic que omplia el teatre. Parlarem de música, d’òpera i, en concret, d’aquesta obra i del seu personatge, Didon. -A la segona part del programa anirem fins a Deltebre, per conèixer un nou negoci d’estètica, en concret de manicura, que es diu Dream Nails by Andrea. Entrarem al món de l’estètica d’ungles amb la propietària, Andrea Chacón.

A la primera part del programa parlarem de música, de música clàssica. En concret, d’òpera. De “Les Troyens”, d’Hector Berlioz, representada a l’Oper Graz, a Àustria. I ho farem perquè l’actuació de la mezzosoprano de l’Ampolla Anna Brull ha estat lloada per la crítica i pel públic que omplia el teatre. Parlarem de música, d’òpera i, en concret, d’aquesta obra i del seu personatge, Didon.

A l'Al Dia Terres de l'Ebre d'avui dilluns, 27 de gener: - Obrim l'Informatiu, amb el repàs a l'actualitat d'avui i també del cap de setmana, a través de les nostres emissores col·laboradores, on el fort vent ha estat el protagonista. - A l'entrevista del Dia: amb Anna Brull, la mezzosoprano ebrenca vinculada des de fa més de deu anys a l'Òpera de Graz triomfa amb el seu paper de Didon de l’òpera ‘Les Troyens’ del compositor francès Hector Berlioz. - A de Poble en Poble: anem fins a Deltebre per conèixer l’obra de teatre “Aquelles que donen testimoni”, un repàs per la història a través de les dones que la van viure, que s’estrena el pròxim 1 de febrer a l’església de Sant Miquel de Deltebre. - Sector primari: les problemàtiques en el sector de l’apicultura i la importància de les abelles en el medi natural des de la Cala Ràdio. - Tanquem amb Economia de Butxaca: xx amb Txema Cardona des d’Amposta Ràdio.

A l'entrevista del Dia: amb Anna Brull, la mezzosoprano ebrenca vinculada des de fa més de deu anys a l'Òpera de Graz triomfa amb el seu paper de Didon de l’òpera ‘Les Troyens’ del compositor francès Hector Berlioz.

Năm 2025 đánh dấu 150 năm xây dựng Nhà Hát Opera Garnier, một trong những biểu tượng của Paris, là mái nhà chung của nhiều thể loại nghệ thuật sân khấu và cũng là chiếc nôi sáng tác của nhiều nghệ sĩ trên thế giới. Kiến trúc độc đáo của Nhà Hát Garnier là nguồn cảm hứng cho rất nhiều các công trình khác trên toàn thế giới, từ ở Úc đến Ukraina và mãi đến tận Brazil … Nhưng quen thuộc nhất với người Việt chúng ta là Nhà Hát Lớn ở Hà Nội, một phiên bản thu nhỏ của Opera Paris. Một dự án suýt chết yểuNgày 05/01/1875, sau 15 năm xây dựng với nhiều gian truân, Opera Garnier chính thức được khai sinh. Trong tiếng nhạc của khúc dạo đầu vở opera Guillaume Tell của nhạc sĩ người Ý, Gioachino Rossini, tổng thống Pháp Mac Mahon trịnh trọng đón 2.000 thượng khách từ khắp châu Âu đến dự lễ khánh thành Nhà Hát nhưng đã quên mời kiến trúc sư Charles Garnier, cha để của công trình đến dự. Charles đã phải tự mua vé vào cửa nhưng phải ngồi ở một góc khuất rất xa sân khấu. May mà có người nhận ra ông, nên Garnier cuối cùng đã có được một chỗ ngồi khả dĩ hơn.Ngược thời gian, năm 1860 Garnier đã đánh bại 170 đối thủ -mà trong đó có những tên tuổi lẫy lừng, như Viollet le Duc, để giành được dự án xây dựng Nhà Hát Lớn Paris. Đây là một kế hoạch của hoàng đế Napoléon III và đó phải là một công trình phản ánh quyền lực mềm của Nước Pháp. Charles Garnier khi đó mới 35 tuổi và chưa được mấy ai biết đến.Nhưng rồi Đệ Nhị Đế Chế Pháp sụp đổ sau thất bại ê chề trong trận đánh Sedan. Hoàng đế lưu vong Napoléon qua đời tại Luân Đôn năm 1873. Công trình xây dựng Nhà hát mà ông chủ xướng dở dang. Trong cuộc nổi dậy Công Xã Paris năm 1871 nhà hát đang xây dở thậm chí bị trưng dụng để chứa đạn dược và lương thực …1873 chẳng may opera trên con đường Le Pelletier, nơi các giới chức sang trọng của cả thủ đô Paris lui tới đã bị thần hỏa ghé thăm. Kinh đô ánh sáng cần có một nhà hát xứng tầm. Tổng thống Mac Mahon quyết định làm sống lại công trình mang tên kiến trúc sư Garnier. Cuối tháng 12/1874 Charles Garnier hoàn thành nhiệm vụ trong một thời gian ngắn kỷ lục 18 tháng.  Một viên ngọc sáng của Kinh Đô Ánh SángNgay những giờ phút bắt đần ngự tọa giữa lòng Paris, nhà hát mang tên kiến trúc sư Garnier đã chinh phục công chúng từ mặt tiền bề thế cho đến cấu trúc của giàn sân khấu.Cuối thế kỷ 19 nhà hát Paris là nơi duy nhất được thiết kế với ý tưởng, tự thân công trình kiến trúc này đã là một dạng sân khấu để bắt mọi người phải dồn hết chú ý về đây. Ý tưởng táo bạo thứ hai của Garnier là dựng ngay ở bên trong nhà hát những bậc cầu thang uy nghi để cả Paris cùng biết rằng ai đã có vé mời đi xem và nghe những vở opera nổi tiếng của từ Bizet đến Wagner, từ Rossini đến Bellini…Khán giả Pháp còn nhớ mãi buổi trình diễn để đời của nữ danh ca người Hy Lạp, Maria Callas năm 1964 trong vai Norma của vở opera cùng tên do nhà soạn nhạc người Ý Vincenzo Bellini sáng tác năm 1831. Vở Norma được xem là một trong những tác phẩm « đẹp nhất » của dòng nhạc Opera Ý và khán giả Paris nổi tiếng là khó tính đã chờ đợi rất nhiều ở diva Maria CallasNơi khai sinh bản Boléro Cũng tại nhà hát Garnier, tháng 11 năm 1928 nhạc sĩ Maurice Ravel ra mắt công chúng lần đầu tiên bản nhạc Boléro. Trên sân khấu, vũ sư người Nga Ida Rubinstein thể hiện vai một cô gái gitane trên một chiếc bàn ở quán rượu trong làn điều boléro lập đi lập lại như nỗi ám ảnh dục vọng.Người khen, kẻ chê chẳng ngờ bản Boléro của Ravel trở thành một hiện tượng : Ma lực của tác phẩm phầm này lan rộng ra khắp hành tình. Đến này cứ trung bình 10 phút, đâu đó trên thế giới bản Boléro lại được trỗi lên trên sân khấu.Thánh đường của nghệ thuật Opera Garnier là điểm giao lưu của nhiều thể loại nghệ thuật sân khấu, là chiếc nôi sáng tác cho nhiều thế hệ : Trường dậy múa ba-lê lâu đời của Pháp được nhà vua Louis thứ XIV lập ra từ năm 1713 đã được chuyển hẳn về nhà hát Garnier cho mãi đến năm 1987. Học viên của trường, thoắt ẩn, thoắt hiện, với những bước chân êm như nhung di chuyển trong các hành lang, tổng cộng dài đến 17 km bên trong tòa nhà được mệnh danh là lòng 17 « Les petits rats de l'Opéra ».Cũng nhà hát này nơi ngôi sao trên vòm trời nghệ thuật Liên Xô, vũ công ba-lê Rudolf Noureev tái sinh. Sinh ra và lớn lên tại Liên Xô, trong lần lưu diễn tại Paris năm 1961, Noureev đã vượt rào xin tị nạn tại Pháp. Với tài nghệ xuất chúng, ông thường xuyên là khách mời danh dự trong các chương trình của Opera Paris. Được xem là một trong những nhà biên đạo múa tài hoa nhất của thể kỷ XX, nghệ sĩ Liên Xô này được mời điều hành nhà hát Garnier trong thập niên 1980 và ông đã đặt thêm một viên đá cho thánh đường của nghệ thuật trên quê hương của Hector Berlioz.Điểm hẹn của nhạc-thơ và hội họaMột nghệ sĩ tài hoa khác đã cống hiến rất nhiều cho Nhà Hát Garnier là danh họa Marc Chagall (1987-1985). Là một người Do Thái, sinh ra tại Bélarus ông chạy trốn chế độ cộng sản Liên Xô, định cư rội nhập tịch Pháp năm 1937. Đến dự buổi gala vinh danh tổng thống Perou ở nhà hát Garnier năm 1960, tình cờ Chagall đã được bộ trưởng Văn Hóa Pháp André Malraux đề nghị ông khoác một chiếc áo mới cho trần nhà của phòng diễn của Opera đã bị màu thời gian che khuất.Chagall 77 tuổi đã quá nổi tiếng trong làng hội họa thế giới do dự nhưng rồi vì nể lời Malraux, một nhà văn lớn của Pháp mà ông luôn ngưỡng mộ … nên Chagall đã nhận lời.Họa sĩ Marc Chagall đã vẽ không công. Năm 1964 khi tác phẩm hoàn tất và được treo lên trần phòng diễn Opera de Paris, Chagall nhắc lại đây mà món quà danh họa người Belarus này hiến dâng cho nước Pháp để tỏ lòng biết ơn kinh đô ánh sáng đã mở rộng vòng tay cho một nghệ sĩ lưu vong đi tìm tự do.  Tác phẩm của Chagall thu gọn trong một vòng tròn 220 mét vuông chung quanh chùm đèn pha lê 8 tấn rưỡi. Những tiết họa của Chagall gợi lại những biểu tượng của nước Pháp từ Tháp Eiffel đến Nhà Hát Garnier. Là người say mê với âm nhạc, Marc Chagall dùng những sắc mầu tươi sáng để thổi hồn vào những tác phẩm của những nhà soạn nhạc mà ông ngưỡng mộ : từ Mozart đến Beethoven, từ Wagner đến Berlioz, Ravel, Debussy và đương ông đã không quên những nhạc sĩ lẫy lừng nhất của nền âm nhạc Nga như Tchaikovsky hay Moussorgski …Cần nói thêm rằng danh họa Chagall không chỉ giam mình trong hội họa. Ông là người đã vẽ phông cho sân khấu và những bộ trang phục cho biết bao nhiêu vở opera nổi tiếng ở những sàn diễn từ New York đến Paris. Ông cũng là tác giả của rất nhiều những tấm kính cửa sổ trang trí ở nhà thờ trên đất Pháp.Năm 1964 hoàn thành nhiệm vụ, nhà hát Garnier có một phông trần mới rực rỡ sắc mầu. Điều thú vị ở đây là vào thời điểm đó, trước khi công chúng và báo chí được tận mắt chiêm ngưỡng trần nhà mới ở Opera Garnier dưới những đường cọ của Chagall thì người họa sĩ nhập cư này đã bị chê bại thậm tệ. Người ta không ngần ngại chỉ trích Chagall « lầm cẩm » vẽ và pha màu một cách ngớ ngẩn như để « bôi tro trắt trấu » vào một tượng đài văn hóa của Paris …Cá nhân danh họa người Do Thái này đã hơn một lần bị xúc phạm. Người ta tấn công luôn cả vào André Malraux, người đã đặt hàng họa sĩ ChagallNhưng rồi ngày 23/09/1964, hai ngàn quan khách, các nhà báo, các nhà phê bình khét tiếng Paris ngỡ ngàng trước một tác phẩm vừa sống động vừa tràn ngập ý thơ đúng theo tinh thần của Charles Garnier năm nào : để « Cung điện Garnier » mãi mãi là thánh đường của các thể loại ghệ thuật kiến trúc, âm nhạc, hội họa và sân khấu…

Năm 2025 đánh dấu 150 năm xây dựng Nhà Hát Opera Garnier, một trong những biểu tượng của Paris, là mái nhà chung của nhiều thể loại nghệ thuật sân khấu và cũng là chiếc nôi sáng tác của nhiều nghệ sĩ trên thế giới. Kiến trúc độc đáo của Nhà Hát Garnier là nguồn cảm hứng cho rất nhiều các công trình khác trên toàn thế giới, từ ở Úc đến Ukraina và mãi đến tận Brazil … Nhưng quen thuộc nhất với người Việt chúng ta là Nhà Hát Lớn ở Hà Nội, một phiên bản thu nhỏ của Opera Paris. Một dự án suýt chết yểuNgày 05/01/1875, sau 15 năm xây dựng với nhiều gian truân, Opera Garnier chính thức được khai sinh. Trong tiếng nhạc của khúc dạo đầu vở opera Guillaume Tell của nhạc sĩ người Ý, Gioachino Rossini, tổng thống Pháp Mac Mahon trịnh trọng đón 2.000 thượng khách từ khắp châu Âu đến dự lễ khánh thành Nhà Hát nhưng đã quên mời kiến trúc sư Charles Garnier, cha để của công trình đến dự. Charles đã phải tự mua vé vào cửa nhưng phải ngồi ở một góc khuất rất xa sân khấu. May mà có người nhận ra ông, nên Garnier cuối cùng đã có được một chỗ ngồi khả dĩ hơn.Ngược thời gian, năm 1860 Garnier đã đánh bại 170 đối thủ -mà trong đó có những tên tuổi lẫy lừng, như Viollet le Duc, để giành được dự án xây dựng Nhà Hát Lớn Paris. Đây là một kế hoạch của hoàng đế Napoléon III và đó phải là một công trình phản ánh quyền lực mềm của Nước Pháp. Charles Garnier khi đó mới 35 tuổi và chưa được mấy ai biết đến.Nhưng rồi Đệ Nhị Đế Chế Pháp sụp đổ sau thất bại ê chề trong trận đánh Sedan. Hoàng đế lưu vong Napoléon qua đời tại Luân Đôn năm 1873. Công trình xây dựng Nhà hát mà ông chủ xướng dở dang. Trong cuộc nổi dậy Công Xã Paris năm 1871 nhà hát đang xây dở thậm chí bị trưng dụng để chứa đạn dược và lương thực …1873 chẳng may opera trên con đường Le Pelletier, nơi các giới chức sang trọng của cả thủ đô Paris lui tới đã bị thần hỏa ghé thăm. Kinh đô ánh sáng cần có một nhà hát xứng tầm. Tổng thống Mac Mahon quyết định làm sống lại công trình mang tên kiến trúc sư Garnier. Cuối tháng 12/1874 Charles Garnier hoàn thành nhiệm vụ trong một thời gian ngắn kỷ lục 18 tháng.  Một viên ngọc sáng của Kinh Đô Ánh SángNgay những giờ phút bắt đần ngự tọa giữa lòng Paris, nhà hát mang tên kiến trúc sư Garnier đã chinh phục công chúng từ mặt tiền bề thế cho đến cấu trúc của giàn sân khấu.Cuối thế kỷ 19 nhà hát Paris là nơi duy nhất được thiết kế với ý tưởng, tự thân công trình kiến trúc này đã là một dạng sân khấu để bắt mọi người phải dồn hết chú ý về đây. Ý tưởng táo bạo thứ hai của Garnier là dựng ngay ở bên trong nhà hát những bậc cầu thang uy nghi để cả Paris cùng biết rằng ai đã có vé mời đi xem và nghe những vở opera nổi tiếng của từ Bizet đến Wagner, từ Rossini đến Bellini…Khán giả Pháp còn nhớ mãi buổi trình diễn để đời của nữ danh ca người Hy Lạp, Maria Callas năm 1964 trong vai Norma của vở opera cùng tên do nhà soạn nhạc người Ý Vincenzo Bellini sáng tác năm 1831. Vở Norma được xem là một trong những tác phẩm « đẹp nhất » của dòng nhạc Opera Ý và khán giả Paris nổi tiếng là khó tính đã chờ đợi rất nhiều ở diva Maria CallasNơi khai sinh bản Boléro Cũng tại nhà hát Garnier, tháng 11 năm 1928 nhạc sĩ Maurice Ravel ra mắt công chúng lần đầu tiên bản nhạc Boléro. Trên sân khấu, vũ sư người Nga Ida Rubinstein thể hiện vai một cô gái gitane trên một chiếc bàn ở quán rượu trong làn điều boléro lập đi lập lại như nỗi ám ảnh dục vọng.Người khen, kẻ chê chẳng ngờ bản Boléro của Ravel trở thành một hiện tượng : Ma lực của tác phẩm phầm này lan rộng ra khắp hành tình. Đến này cứ trung bình 10 phút, đâu đó trên thế giới bản Boléro lại được trỗi lên trên sân khấu.Thánh đường của nghệ thuật Opera Garnier là điểm giao lưu của nhiều thể loại nghệ thuật sân khấu, là chiếc nôi sáng tác cho nhiều thế hệ : Trường dậy múa ba-lê lâu đời của Pháp được nhà vua Louis thứ XIV lập ra từ năm 1713 đã được chuyển hẳn về nhà hát Garnier cho mãi đến năm 1987. Học viên của trường, thoắt ẩn, thoắt hiện, với những bước chân êm như nhung di chuyển trong các hành lang, tổng cộng dài đến 17 km bên trong tòa nhà được mệnh danh là lòng 17 « Les petits rats de l'Opéra ».Cũng nhà hát này nơi ngôi sao trên vòm trời nghệ thuật Liên Xô, vũ công ba-lê Rudolf Noureev tái sinh. Sinh ra và lớn lên tại Liên Xô, trong lần lưu diễn tại Paris năm 1961, Noureev đã vượt rào xin tị nạn tại Pháp. Với tài nghệ xuất chúng, ông thường xuyên là khách mời danh dự trong các chương trình của Opera Paris. Được xem là một trong những nhà biên đạo múa tài hoa nhất của thể kỷ XX, nghệ sĩ Liên Xô này được mời điều hành nhà hát Garnier trong thập niên 1980 và ông đã đặt thêm một viên đá cho thánh đường của nghệ thuật trên quê hương của Hector Berlioz.Điểm hẹn của nhạc-thơ và hội họaMột nghệ sĩ tài hoa khác đã cống hiến rất nhiều cho Nhà Hát Garnier là danh họa Marc Chagall (1987-1985). Là một người Do Thái, sinh ra tại Bélarus ông chạy trốn chế độ cộng sản Liên Xô, định cư rội nhập tịch Pháp năm 1937. Đến dự buổi gala vinh danh tổng thống Perou ở nhà hát Garnier năm 1960, tình cờ Chagall đã được bộ trưởng Văn Hóa Pháp André Malraux đề nghị ông khoác một chiếc áo mới cho trần nhà của phòng diễn của Opera đã bị màu thời gian che khuất.Chagall 77 tuổi đã quá nổi tiếng trong làng hội họa thế giới do dự nhưng rồi vì nể lời Malraux, một nhà văn lớn của Pháp mà ông luôn ngưỡng mộ … nên Chagall đã nhận lời.Họa sĩ Marc Chagall đã vẽ không công. Năm 1964 khi tác phẩm hoàn tất và được treo lên trần phòng diễn Opera de Paris, Chagall nhắc lại đây mà món quà danh họa người Belarus này hiến dâng cho nước Pháp để tỏ lòng biết ơn kinh đô ánh sáng đã mở rộng vòng tay cho một nghệ sĩ lưu vong đi tìm tự do.  Tác phẩm của Chagall thu gọn trong một vòng tròn 220 mét vuông chung quanh chùm đèn pha lê 8 tấn rưỡi. Những tiết họa của Chagall gợi lại những biểu tượng của nước Pháp từ Tháp Eiffel đến Nhà Hát Garnier. Là người say mê với âm nhạc, Marc Chagall dùng những sắc mầu tươi sáng để thổi hồn vào những tác phẩm của những nhà soạn nhạc mà ông ngưỡng mộ : từ Mozart đến Beethoven, từ Wagner đến Berlioz, Ravel, Debussy và đương ông đã không quên những nhạc sĩ lẫy lừng nhất của nền âm nhạc Nga như Tchaikovsky hay Moussorgski …Cần nói thêm rằng danh họa Chagall không chỉ giam mình trong hội họa. Ông là người đã vẽ phông cho sân khấu và những bộ trang phục cho biết bao nhiêu vở opera nổi tiếng ở những sàn diễn từ New York đến Paris. Ông cũng là tác giả của rất nhiều những tấm kính cửa sổ trang trí ở nhà thờ trên đất Pháp.Năm 1964 hoàn thành nhiệm vụ, nhà hát Garnier có một phông trần mới rực rỡ sắc mầu. Điều thú vị ở đây là vào thời điểm đó, trước khi công chúng và báo chí được tận mắt chiêm ngưỡng trần nhà mới ở Opera Garnier dưới những đường cọ của Chagall thì người họa sĩ nhập cư này đã bị chê bại thậm tệ. Người ta không ngần ngại chỉ trích Chagall « lầm cẩm » vẽ và pha màu một cách ngớ ngẩn như để « bôi tro trắt trấu » vào một tượng đài văn hóa của Paris …Cá nhân danh họa người Do Thái này đã hơn một lần bị xúc phạm. Người ta tấn công luôn cả vào André Malraux, người đã đặt hàng họa sĩ ChagallNhưng rồi ngày 23/09/1964, hai ngàn quan khách, các nhà báo, các nhà phê bình khét tiếng Paris ngỡ ngàng trước một tác phẩm vừa sống động vừa tràn ngập ý thơ đúng theo tinh thần của Charles Garnier năm nào : để « Cung điện Garnier » mãi mãi là thánh đường của các thể loại ghệ thuật kiến trúc, âm nhạc, hội họa và sân khấu…

Hector Berlioz (1803 - 1869) - King Lear, Overtures Op. 4Staatskapelle DresdenSir Colin Davis, direttore******Otto Nicolai (1810 - 1849) - Die lustigen Weiber von Windsor (Ouverture dall'opera omonima)Bayerisches StaatsorchesterRobert Heger, direttore******Giuseppe Verdi (1813 - 1901) – Macbeth,  Ballabili dall'atto IIIOrchestra Sinfonica Nazionale della RaiRoberto Abbado, direttore******Petr Ilic Cajkovskij (1840-1893) - La Tempesta, op. 18Orchestra Filarmonica Nazionale di VarsaviaAntoni Wit, direttore

Laura Jackson, Reno Phil Music Director and Conductor, talks with Chris Morrison about the Reno Phil's “Symphonie fantastique” concerts, the third concerts of the orchestra's 2024-25 Classix season, on January 25 and 26, 2025. The program includes La valse by Maurice Ravel, the Cello Concerto No. 1 in A minor by Camille Saint-Saens, with cello soloist Sterling Elliott, and the Symphonie fantastique by Hector Berlioz.

durée : 01:28:32 - Une heure et plus, un compositeur : Hector Berlioz - par : Aurélie Moreau - - réalisé par : Doria Zénine

LES EMISSIONS DES ELEVES DU LYCEE HECTOR BERLIOZ PARTIE 1 *** GOOD MORNING PARIS Dans cette émission présentée par Chase, on reviendra sur 3 actaulités heureuses qui ont marqué la ville de Paris ces derniers temps : Camille parlera de la ré-ouverture de la cathédrale Notre Dame de Paris. Elle recevra ensuite Eléa et Elisa pour évoquer les retombées bénéfiques des Jeux Olympiques de cet été. L'émission se clôturera sur les activités liées aux fêtes de fin d'année, mises en place dans la capitale.  Présentateur : Chase  Journaliste : Camille  Invitées : Eléa, Elisa  Réalisateur : Ethan  Musique : All I want for Christmas - Mariah Carey x la Mano  *** CINEVOLUTION Cinévolution c'est l'émission ciné qui questionne la diversité dans le cinéma. Bryan recevra 4 invité.e.s, Lily Rose, critique cinéma, Roberto, chef opérateur, Jordan, membre d'une association qui lutte pour la visibilisation des jeunes acteur.rice.s issu.e.s de la diversité et Mattéo, sociologue. Ensemble, ils essaieront de comprendre si l'industrie du cinéma est plus inclusive ces dernières années.  Présentateur : Bryan  Invité.e.s : Lily Rose, Benjamin, Ismaël, Evan Réalisatrice : Clémentine Musique : Still Dre - Dr. Dre, Snoop Dogg *** EMISSION MUSICALE Marco et son équipe analysent avec vous les sorties rap français. Après la chronique de Cyprien sur le dernier album “Apocalypse” de Gazo, Alexandre recevra OCI, amateur de rap français qui questionnera l'évolution du rap depuis 2014.  Présentateur : Marco Chroniqueur : Cyprien  Journaliste : Alexandre Invité : Octave  Réalisateur : Eliott  Musiques : Birthday - Gazo *** Ces émissions ont été réalisées dans le cadre des ateliers d'initiation à la radio proposés par Radio Campus Paris.  Un atelier animé par Melissande Bry et Camille Masson. 

LES EMISSIONS DES ELEVES DU LYCEE HECTOR BERLIOZ PARTIE 2 *** RIRE ET SAVOIR Dans l'émission Rire et Savoir, présentée par Arthur (alias Kaki), il est question du rire nerveux, qui handicape le quotidien de certaines personnes. Dans sa chronique, Clara (alias Cerise) est professeure de yoga du rire et nous en apprend plus sur son métier. La journaliste Blanche (alias Clémentine) accueille ensuite Eline (alias Prune), elle-même touchée par des rires nerveux. L'émission est réalisée par Gloria. Musique : Ginger Root, de Loretta *** PUFF ADDICT Dans l'émission Puff Addict, présentée par Yoni, il est question des puffs et de leur impact sur les jeunes. Dans sa chronique, Tim expliquera le phénomène des puff. Ensuite, le journaliste Adam interroge Arthur, addict à la puff qui revient sur son expérience. En fin d'émission, c'est Tristan, lui aussi addict à la puff, qui revient sur son parcours. L'émission est réalisée par Martin. Musique : Reprise de De temps en temps, de Koba LaD par l'équipe de l'émission. *** ACTU POL Dans cette émission d'actualité politique américaine, présentée par Justine, il est question de la campagne électorale de Donald Trump. Manel et Faustine répondent aux questions d'Adèle, et Victor présente une chronique sur les répercussions des résultats de l'élection. L'émission est réalisée par Axel. Musique : XX // YY *** Un atelier radio "A vous les studios" animé le lundi 2 décembre 2024 par Marion Barbé et Pierre-Yves Lerayer.

Als "Triangelkonzert" hat ein Kritiker Liszts großen Wurf verspottet. Dabei hat er an keinem Werk länger gefeilt als an seinem Es-Dur-Klavierkonzert. Gegen das Vorurteil vom virtuosen Luftikus stellt er hier seine zukunftsweisende Kompositionstechnik unter Beweis. Von Michael Lohse.

Nous sommes le 7 août 1845. Dans l'hebdomadaire « La Belgique musicale », fondé quelques années plus tôt par une association d'artistes, dans un article consacré à Félix Godefroid, harpiste, pianiste et compositeur, on peut lire : « Les compositions qu'il a exécutées dans tous ses concerts sont sérieuses, grandioses, abondantes en pensées ; on y devine toujours aisément la science modestement déguisée sous les formes faciles et gracieuses d'une mélodie élégante et inspirée » La même année, « La Gazette du Rhin et de la Moselle » vante ses qualités d'interprète : « Un accompagnement de zéphir l'entoure comme les chuchotements les plus mystérieux des elfes. L'artiste nous a transporté dans un autre monde ; – on écoute, on s'étonne ! tout à coup les cordes semblent en proie à un orage, l'instrument paraît se transformer en un être animé, poursuivi et secoué par des passions terribles ». « Le ménestrel », revue musicale de Paris, dans son numéro du 13 février 1859, salue « cet art et ce soin que ce Benvenuto Cellini de la musique met à tout ce qui sort de ses habiles mains » ajoutant que « le célèbre artiste n'a rien moins qu'accompli une complète transformation dans la manière d'écrire la musique moderne de salon ». Or Félix Godefroid, quelques années auparavant, a regretté une vilaine manie de vouloir assimiler la harpe au piano : « C'est le jour et la nuit, selon lui, ce n'est ni la même sonorité, ni les mêmes effets, ni les mêmes moyens. Ce qui se joue sur l'un ne peut s'exécuter sur l'autre qu'avec une peine infinie, à moins de tout déranger : le ton, le doigté, les traits. » Hector Berlioz, lui-même, le déplore aussi : « à la honte de notre état musical, l'étude de la harpe, ce poétique et ravissant instrument, est aujourd'hui si dédaignée, que le premier harpiste de l'époque, c'est-à-dire le premier peut-être qui ait jamais existé, Félix Godefroid, se voit obligé, pour que sa pensée puisse avoir cours, d'écrire de la musique de piano, comme tout le monde » déclare le maître français dans le « Journal des débats » du 7 janvier 1852. Félix Godefroid, interprète, compositeur reconnu est aussi un pédagogue, en cela, il s'inscrit dans une tradition bien familiale. En effet, les Godefroid incarne une véritable dynastie musicale du XIXe siècle, en Belgique, en France et dans toute l'Europe. Partons sur leurs traces … Avec nous : Manuel Couvreur, membre de l'Académie royale de Belgique, secrétaire de la commission de la Nouvelle biographie nationale. Sujets traités : Félix Godefroid, musicien, harpiste, pianiste, compositeur, Belgique, Dynastie Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Hector Berlioz - Le CorsaireLyon National OrchestraLeonard Slatkin, conductor More info about today's track: Naxos 8.572886Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Os professores da Nova Acróopole, José Roberto e Danilo Gomes exploram os desafios da vida humana sob uma perspectiva filosófica, destacando a importância da filosofia natural para entender e superar tais desafios. A conversa aborda como a perda de identidade e de sentido na sociedade atual gera confusão e desarmonia. O episódio destaca a busca pela sabedoria, que transcende o mero conhecimento, como uma ferramenta fundamental para o desenvolvimento interior e a convivência harmoniosa. Através de exemplos históricos e filosóficos, os participantes discutem a relação entre o ser humano e o cosmos, e como a consciência da unidade pode levar a uma sociedade mais justa e fraterna. Eles também abordam a importância de compreender as dificuldades como oportunidades de crescimento e aprendizado, e como a filosofia pode ajudar na construção de um futuro mais luminoso. Participantes: José Roberto e Danilo Gomes Trilha Sonora: "Minuit de Fu Follet" de Hector Berlioz

Hector Berlioz - Summer Nights: The Spectre of the RoseElsa Maurus, mezzo; Lille National Orchestra Jean-Claude Casadesus, conductor More info about today's track: Naxos 8.557274Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Palpatine has returned, and author Katharine Coldiron joins me to discuss minutes 16-20 of The Rise of Skywalker. We talk about the logic of leitmotifs, songs vs. performances, Bugs, the storytelling matrix, conveying information through image vs. sound, and more.  Timestamps: 0:00 - Hello there! 4:51 - Microphone speculation. 13:55 - "Somehow, Palpatine returned." 21:34 - The logic of leitmotifs. Number of leitmotif statements in TLJ vs TROS. 29:09 - It's not just about leitmotifs. 33:30 - Song vs. performance. 35:42 - Do the generations of film composers after John Williams still listen to Tchaikovsky, Wagner, etc? 41:11 - Ostinato not on the soundtrack (was it added in a later cut of the film?). Bugs Bunny flourish. 47:14 - Force theme moment (1st time in these minutes) that Katharine isn't a fan of. 55:19 - Rey's theme and the storytelling matrix. 1:07:40 - Concert suites. 1:12:48 - Is this reminiscent of a Berlioz opera? 1:18:52 - "We Go Together" and the Friendship motif. 1:31:47 - Funny choir moment. 1:36:09 - Force theme moment that Katharine is a fan of. 1:40:14 - "70% of information is conveyed through image, whereas 30% is conveyed through sound. 70% of emotion is conveyed through sound and 30% through image." 1:46:39 - When leitmotifs do heavy information-lifting. 1:54:36 - Distributing the music, dialogue, and sound effects across the frequency spectrum. 1:55:52 - Knights of Ren theme (and why we like it). 2:06:51 - The grammar of Star Wars landing shots. 2:10:30 - J.J. Abrams, old-school film directing, camerawork trends, composer parallels. 2:26:15 - SWMM Questionnaire Things to Check Out: Sideways video: https://youtu.be/L_8-dWSLDWI?si=hA80Yu-67aI23AZ8 Les Troyens (opera by Hector Berlioz): https://youtu.be/JVuj-b0zXVE?si=tU7YPcEZpz8GEO7h Another Happy Landing: https://youtu.be/RAWYMxygeBk?si=roWNQk3qjjTGylf5 Star Wars Holiday Special (opening music): https://youtu.be/6hH8rxarVG8?si=uFXqoEg7EYnvEcg7&t=201 Hollywood Harmony (by Frank Lehman): https://franklehman.com/hollywood-harmony/ ESB 11: Free-Floating Motivic Particles (with Frank Lehman): https://youtu.be/N_jXuEWiaLY?si=d-JV7XH2e2X0-Gm5 My review of Pauline García Viardot's chamber opera: https://www.sfcv.org/articles/review/last-sorcerer-enchanting-fairy-tale-opera-resurrected Bizarre Albums Lapti Nek episode: https://podcasts.apple.com/ie/podcast/bizarre-singles-lapti-nek-from-return-of-the-jedi/id1471679636?i=1000473552119 Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/ Musical Themes: Sith Seduction Emperor Force Rey A (Theme A-Phrase) Friendship Knights of Ren (Slow Form) Where are we in the soundtrack?: FYC 3. "We Go Together" OST 9. "We Go Together" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Adventure. Heart. Saga. 2. What's something related to Star Wars music or sound that you want to learn more about? Is John Williams more of a genius or a craftsman? 3. What's a score or soundtrack you're fond of besides anything Star Wars? Gone Girl composed (by Atticus Ross and Trent Reznor). The Truman Show soundtrack. Fight Club (by the Dust Brothers). --------------- Guest: Katharine Coldiron Landing shots video: https://youtu.be/nbAcX60dSNs Website: https://kcoldiron.com/ Twitter: https://x.com/ferrifrigida Look at all the books she's written! https://kcoldiron.com/books-chapbooks/ ------------------ ⭐️ Join the Discord server by becoming a patron at any level! https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Spotify: https://open.spotify.com/show/652WVfMTLwJpVZ82i8uhFA Apple Podcasts: https://podcasts.apple.com/us/podcast/star-wars-music-minute/id1552988763 YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

Friedrich, Uwe www.deutschlandfunkkultur.de, Fazit

 La vie trépidante du célèbre orfèvre Benvenuto Cellini le conduira Florence à Paris en passant par Rome. Elle avait tout pour séduire Hector Berlioz, lequel lui a d'ailleurs consacré son premier opéra dont la création s'est soldée par un échec retentissant.    Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Der russische Komponist Michail Glinka ist überzeugt: "Das Volk schafft die Musik - der Komponist arrangiert sie nur!" Damit begründet er eine eigenständige russische klassische Musik - und seinen eigenen Weltruhm. Von Christoph Vratz.

Walpurgisnacht 2024 19th-20th Centuries We hear works by Felix Mendelssohn, Hector Berlioz, Alexander Dargomyzhsky, Charles Gounod, Modest Mussorgsky, Arrigo Boito, Sir Granville Bantock, Eugen Suchoň, and High Priest Peter H. Gilmore. 142 Minutes – Week of 2024 April 29

durée : 00:24:57 - Hector Berlioz, Les Nuits d'été - par : Anne-Charlotte Rémond - Dans quelles circonstances Hector Berlioz a t-il composé ses célèbres ''Nuits d'été'', sur les vers de Théophile Gautier ? C'est l'enquête que mène aujourd'hui Anne-Charlotte Rémond dans Musicopolis ! - réalisé par : Claire Lagarde

This Day in Legal History: Happy Birthday RBG!On this day in legal history, March 15 marks the birth of an iconic figure in American jurisprudence, Justice Ruth Bader Ginsburg, born in 1933 in Brooklyn, New York. As the second woman ever appointed to the U.S. Supreme Court, Ginsburg's legal career was marked by a steadfast commitment to justice, equality, and the rule of law. Before her appointment to the Supreme Court in 1993 by President Bill Clinton, Ginsburg had already made significant contributions to the legal field, notably through her work with the Women's Rights Project of the American Civil Liberties Union during the 1970s. Her strategic litigation before the Supreme Court as an attorney broke down numerous legal barriers, leading to greater gender equality. Justice Ginsburg's opinions, both majority and dissenting, on the Supreme Court bench were known for their clarity, depth, and unyielding dedication to civil rights. Notably, her dissent in cases like Ledbetter v. Goodyear Tire & Rubber Co. inspired legislation to ensure fair wages for women, highlighting her influence extending beyond the judiciary to the legislative domain. Ginsburg's legacy is not only embedded in her monumental judicial writings but also in her role as a cultural icon, affectionately dubbed "Notorious RBG," symbolizing her enduring impact on generations of lawyers, activists, and ordinary citizens. Her passing in September 2020 was mourned across the nation, reflecting the profound loss of a legal titan who dedicated her life to advancing equality and justice for all Americans.The IRS, in collaboration with the Department of Justice, has initiated a significant enforcement push against crypto tax fraud, marking a new phase with the first standalone criminal charges in this domain. Frank Richard Ahlgren III from Austin, Texas, faced accusations of underreporting or failing to report over $4 million in Bitcoin sales for the years 2017 and 2019, along with significant capital gains derived from these transactions. This case is notable as the first instance where charges were made solely for failing to accurately report cryptocurrency earnings and gains on tax returns, signaling the IRS's increased focus on tax compliance within the cryptocurrency sector.The IRS has been enhancing its efforts in understanding and regulating the cryptocurrency market, issuing guidelines on crypto staking and proposing rules for broker reporting, which would mandate exchanges to report user transactions and identities. Experts see this as a major advancement for the IRS, reflecting years of building technical resources and expertise to tackle crypto tax fraud independently, without relying on other criminal investigations.Tax compliance for cryptocurrency can be complex due to the difficulty in tracking the purchase and sale history of digital assets, complicating the determination of tax obligations. Despite misconceptions about the anonymity of crypto transactions, the IRS is actively disproving this narrative, hiring industry experts to deepen its understanding of the space and strengthen its enforcement capabilities.The Ahlgren case, if it proceeds to trial, will pose a significant challenge in educating the jury about the intricacies of cryptocurrency, setting a precedent for future prosecutions. Legal and tax professionals are closely monitoring this development, anticipating more actions from the IRS as it continues to target underreporting and tax evasion within the rapidly evolving cryptocurrency market.IRS's First Crypto Tax Charge Signals Beefed-Up Enforcement PushWalt Disney Co. is employing an unconventional strategy in its fight against activist billionaire investor Nelson Peltz, by reviving the character Professor Ludwig Von Drake, Donald Duck's uncle, to influence its shareholders. In an effort to counter Peltz and nominees from the Trian Group and Blackwell, Disney launched a social media campaign urging investors to support only Disney's board nominees for the upcoming annual meeting on April 3. This marks a significant move by Disney to not just appeal to institutional investors but also to the retail ones, highlighting the importance of every vote through the creation of votedisney.com and engaging storytelling involving classic characters.Peltz, known for his aggressive proxy battles, including a notable one with Procter & Gamble, aims to instigate major changes within Disney, criticizing its lagging profit margins compared to other media giants and calling for restructuring across its business lines. Disney's campaign is a testament to the gravity with which it views Peltz's challenge, employing tactics like political-campaign-style videos to directly address and counter Peltz's and his allies' propositions.The company has gone further by attacking Peltz and other nominated board members, labeling some as "disgruntled former employees," thereby illustrating the personal stakes involved in this boardroom battle. Peltz, in response, has launched his own website and published a manifesto highlighting Disney's operational missteps under CEO Bob Iger, advocating for significant structural reforms, especially in its studio operations.The discourse between Disney and Peltz mirrors political campaigning, with both parties securing endorsements and presenting detailed plans for Disney's future. Disney has rallied support from significant figures, including members of the Disney family and influential business leaders, to bolster its position ahead of the shareholder meeting. The contention underscores the broader issues of governance and strategic direction at Disney, especially concerning succession planning and operational efficiency.Key to understanding the drama at Disney is the universal proxy card rule. The universal proxy card rule allows shareholders in a contested election to vote for a combination of management and dissident nominees using a single proxy card. This rule aims to ensure fairness and transparency in proxy voting by enabling shareholders to cast their votes more accurately according to their preferences, regardless of whether they attend the shareholder meeting in person or vote by proxy. By providing a unified method for proxy voting, the universal proxy card rule enhances shareholder democracy and facilitates more meaningful participation in corporate governance decisions. The rule enables institutional investors to consolidate their voting power across multiple shareholders, facilitating their ability to influence corporate governance decisions and effect significant changes within a company.The ongoing proxy fight, accentuated by the universal proxy card rule, represents a crucial juncture for Disney, reflecting the intricate dynamics of shareholder influence, corporate governance, and the power of narrative in determining the future trajectory of one of the world's most iconic entertainment companies. As the April 3 meeting approaches, both Disney and Peltz remain steadfast, each confident in their vision for the company's future.Disney Revives Donald Duck's Uncle for Showdown With BillionaireJustice Sonia Sotomayor's recent public comments about feeling "tired" and the workload on the Supreme Court have sparked quiet concerns among progressives, reminiscent of the anxiety surrounding Justice Ruth Bader Ginsburg's refusal to retire during Barack Obama's presidency. Despite Sotomayor nearing her 70th birthday, there's little pressure from progressives for her to step down before the November election, which could see a shift in control to the Republicans. This situation echoes past regrets over Ginsburg's decision to stay on the court, which ultimately led to a conservative shift following her death.The hesitance to call for Sotomayor's retirement stems from the sensitivity around advocating for the departure of the first woman of color on the Supreme Court. There's an ongoing conversation within progressive circles about the strategic timing of Supreme Court retirements, though public discussions are rare. The Supreme Court's role as a pivotal policy-making entity in the country adds to the complexity of suggesting a justice's retirement, as it feels akin to a personal attack on their legacy and contributions.Not everyone supports the idea of Sotomayor stepping down, considering she is not the oldest nor the longest-tenured justice on the bench. Concerns about her health, given her Type 1 diabetes diagnosis, don't seem to impact her ability to serve, yet there's speculation about whether she'll want to continue for several more years.Historical precedents of justices retiring under like-minded presidents, or due to health issues at politically inconvenient times, provide a mixed picture on the predictability of Supreme Court retirements. The possibility of Sotomayor retiring to ensure a successor aligned with her views is debated, especially considering the potential for political shifts in the Senate that could impact the confirmation process.Calls for Sotomayor's retirement are few, partly due to the fear of repeating accusations of bias that emerged during discussions of Ginsburg's tenure. The current political climate, with an upcoming tight presidential election and competitive Senate races, makes the timing of any retirement particularly consequential. Advocates for Sotomayor's retirement emphasize the strategic benefit of ensuring a like-minded successor, acknowledging the uncertainty of future political landscapes and health concerns. However, expecting a justice to retire in an election year is seen as unusual, highlighting the delicate balance between judicial independence and political strategy.Quiet Fears About Sotomayor Echo Ginsburg Retirement ConcernsA federal judge in Florida, U.S. District Judge Aileen Cannon, denied former President Donald Trump's request to dismiss a criminal case against him related to the possession of classified documents after leaving office. Trump's legal team had argued that the charges were vaguely defined, but Judge Cannon, appointed by Trump himself, found the issue warranted consideration but was not grounds for dismissal at this stage. Trump faces a 40-count indictment, accusing him of illegally retaining sensitive government documents post-presidency, marking one of four criminal cases against him as he campaigns for reelection.Judge Cannon also addressed Trump's claim that the documents were "personal" rather than government property, suggesting this argument could be explored during the trial rather than leading to an outright dismissal of the case. Trump has actively filed legal challenges across his multiple criminal cases, arguing, among other points, that a trial should be postponed until after the election. Notably, if reelected, Trump could potentially halt the federal cases against him, though state law cases would remain unaffected.The timeline for the trial remains uncertain, with Special Prosecutor Jack Smith proposing a July start, while Trump has suggested August, emphasizing his preference for a post-election trial. Trump's legal strategies have seen varied success in other cases, including a pause in a federal case about the 2020 election results pending a Supreme Court decision, and complications in a Georgia state election subversion case due to procedural issues. Additionally, Trump's New York state trial concerning hush money payments has faced potential delays.Judge denies Trump motion to dismiss classified-documents case | ReutersThis week's closing theme is by Hector Berlioz.​​The most famous classical piece associated with the Ides of March is likely the "Ides of March" movement from Hector Berlioz's "Symphonie Fantastique." This movement is part of a larger symphony that tells the story of an artist's obsession with a woman. The ominous and foreboding tone of the "Ides of March" movement captures the sense of impending doom often associated with the Ides of March, famously known as the date of Julius Caesar's assassination.Hector Berlioz, born in 1803, was a pioneering French composer, conductor, and music critic of the Romantic era. Renowned for his innovative orchestration and dramatic flair, Berlioz revolutionized symphonic music with his groundbreaking compositions. His masterpieces, such as the "Symphonie Fantastique" and the opera "Les Troyens," showcase his vivid imagination and emotional intensity, earning him a lasting place in the classical music canon. Berlioz's unique style, characterized by its grandeur and expressiveness, continues to inspire and captivate audiences worldwide, cementing his legacy as one of the most visionary composers of the 19th century.Without further ado, the second movement from Hector Berlioz's  “Symphonie Fantastique,” enjoy. Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

There are lots of bonkers classics on Criterion Channel right now and we wanted to pair pot with them before they show up on that "Leaving Criterion Channel" list in an episode we call "WHAT THE FUCK CRITERION." First up is THE DEVILS (1971), Ken Russell's masterpiece of blasphemy, demonic possession and religious persecution in 17th Century France. Oliver Reed is Urbain Grandier, an impossibly hot Jesuit priest, and Vanessa Redgrave is Sister Jeanne des Anges, a delusional nun who claims that she is possessed by the devil, and that devil works with Grandier. It's a gut-wrenching work that may be Russell's best. Continuing with the theme, our second feature is THE UNKNOWN (1927), a bizarre circus tale from FREAKS director Tod Browning. Lon Chaney, Sr. is Alonso, an armless knife-thrower who longs for Nanon, his fetching assistant played by a very young Joan Crawford. Nanon can't bear to be held in men's arms, so she should be perfect for Alonso, right? Well, all is not what it seems in this carnie world of deception, which motivates Alonso to go to sadistic and even masochistic extremes. What the fuck Criterion??? Man, we could've added a third feature here because PEEPING TOM is on the channel as well. Hopefully we'll get to that one soon. In the opener, Cory asks if it's even possible to create a cult movie these days where streaming has flattened everything out. Greg, Bob, and Philena all hold out hope. Hosts: Philena Franklin, Bob Calhoun, Cory Sklar and Greg Franklin Music: OMFYS Theme Song by Chaki the Funk Wizard "Black as the West" by "The Kiss and Crash Collective, courtesy of Kiss and Crash Collective and Sean Heskett "A Witches Sabbath" from Hector Berlioz's "Symphonie Fantastique" performed by the United States Marine Band, courtesy of Archive.org "Minor Lament for Solo Bass" by John Ptitucci courtesy of YouTube Audio Library BIRDEMIC trailer audio courtesy of archive.org. Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com Coming soon: Matt Zoller Seitz joins us again for Crazy for Kaiju with SON OF GODZILLA. Subscribe so you don't miss it.

SynopsisSome things are best left to the imagination — at least that's what French Romantic composer Hector Berlioz came to think regarding opera. Berlioz didn't have the best of luck getting his operas staged during his lifetime, and, on the few occasions he did, the resulting performance fell far short of his ideal. Increasingly, Berlioz turned to what might be called the “Theater of the Imagination,” composing concert works that were, for all intents and purposes, operas minus the staging and costumes.One of these, which Berlioz called “a dramatic legend” and premiered in 1846, was The Damnation of Faust. It was based on the famous Faust plays of German poet Goethe. Like many of Berlioz's works, The Damnation of Faust proved an artistic success — but a box office failure — at its premiere as an unstaged concert piece at the Opera Comique in Paris.Some five decades later, on today's date in 1893, The Damnation of Faust was revived as a fully staged opera at the Monte Carlo Opera. It proved such a success that in short order it was staged in Milan, Moscow and Liverpool, and even reached the shores of America, courtesy of the French Opera in New Orleans.Music Played in Today's ProgramHector Berlioz (1803-1869): Dance of the Sylphs, fr La damnation de Faust; Baltimore Symphony; David Zinman, cond. Telarc 80164

Hector Berlioz - Romeo and Juliet: Love ScenePolish State Philharmonic Orchestra, KatowiceKenneth Jean, conductorMore info about today's track: Naxos 8.550231Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

19th-20th CenturiesA Tribute to Seiji Ozawa and Peter SchickeleThis week we hear works by Hector Berlioz, P.D.Q. Bach, and Peter Schickele.131 Minutes – Week of 2024 February 12

Join us as we discuss the innovative masterwork from Hector Berlioz, Symphony Fantastic. Support the show

SynopsisBy 1837, the symphonies of Beethoven had become quite popular in Paris. Beethoven had been dead for 10 years, but surprisingly, much of his chamber music had yet to be performed publicly in Paris.So Franz Liszt organized a series of chamber concerts at the Salle Erard to introduce Beethoven's piano trios. Liszt would play the piano part, of course, joined by the finest Parisian violinist and cellist available.One of the programs fell on today's date in 1837 and was to feature, on the first half, one of Beethoven's Trios, then, on the second half, a new trio by contemporary German composer Johann Peter Pixis, whose works Liszt admired.At the last minute, the performers decided to reverse the printed order of the program, performing the new Pixis trio first. The audience (and critics), following the printed program, warmly applauded the Pixis, mistakenly thinking it was the Beethoven, and reacted coolly to the Beethoven, assuming it was by Pixis.Among the many newspaper critics who attended the concert, only one noticed the switch and wrote his review accordingly — and that music critic's name happened to be a famous composer, Hector Berlioz.Music Played in Today's ProgramLudwig van Beethoven (1770-1827) Piano Trio, Op. 1, No. 2; Kempff-Szeryng-Fournier Trio DG 453 751

Stéphane Bern raconte, à l'occasion des 220 ans de sa naissance, un grand nom de la musique, un compositeur de “symphonie fantastique” qui, pour certains, ne l'a pas toujours été, fantastique... Ou la véritable histoire de Hector Berlioz, le génie mal compris… En quoi Berlioz a-t-il révolutionné la musique ? Comment ses contemporains ont-ils accueilli son art ? Qui ont été ses héritiers musicaux ?Pour en parler, Stéphane Bern reçoit Bruno Messina, musicologue, directeur du Festival Berlioz, auteur de 'Berlioz' (Actes Sud)

Every once in a while, JF and Phil like to do a “song swap.” Each picks a song, and the ensuing conversation locates linkages and correspondences where none was previously thought to exist. In this episode, they are joined by the music scholar Meredith Michael – Weird Studies assistant, and co-host of Cosmophonia, a podcast about music and outer space – to discuss songs by Lili Boulanger, Vienna Teng, and Iron & Wine. Before long, this disparate assortment personal favourites occasions a weirdly focused dialogue on time, impermanence, control, (mis)recognition, and the affinity of art and synchronicity. Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies sountrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Iron and Wine, “Passing Afternoon” (https://www.youtube.com/watch?v=q0dP7iZv9K0&ab_channel=PsyPars) Vienna Teng, “The Hymn of Acxiom” (https://www.youtube.com/watch?v=QF-7WiLykGM&ab_channel=ViennaTeng-Topic), (and here is the live version (https://www.youtube.com/watch?v=tJyheSPtjoU&ab_channel=ViennaTeng)) Lili Boulanger, [Vieille Priére Bouddhique](https://www.youtube.com/watch?v=evn3bkK2W3o&abchannel=CHORWERKRUHR)_ Star Trek: Deep Space Nine (https://www.imdb.com/title/tt0106145/) Karol Berger, Bach's Cycle Mozart's Arrow (https://bookshop.org/a/18799/9780520257979) William Shakespeare, Hamlet (https://bookshop.org/a/18799/9780743477123) Charles Darwin, The Origin of Species (https://bookshop.org/a/18799/9780451529060) Immanuel Kant, Critique of Pure Reason (https://bookshop.org/a/18799/9780140447477) Vladimir Jankelevitch, Music and the Ineffable (https://bookshop.org/a/18799/9780691090474) Hector Berlioz, Fugue on “amen” from La Damnation du Faust (https://www.youtube.com/watch?v=ChgJsOdNYSo&ab_channel=JulesBastin-Topic) Slavoj Zizek, A Pervert's Guide to Idiology (https://www.imdb.com/title/tt2152198/) Federico Campagna, Technic and Magic (https://bookshop.org/a/18799/9781350044029) Shepard Tone (https://www.youtube.com/watch?v=BzNzgsAE4F0&ab_channel=J_II) Rudolf Steiner, The Influces of Lucifer and Ahriman (https://bookshop.org/a/18799/9780880103756) Special Guest: Meredith Michael.

SynopsisIn 1834, the great violin virtuoso Niccolo Paganini acquired a new Stradivarius viola. He approached 30-year-old French composer Hector Berlioz and commissioned him to write a viola concerto.What Berlioz came up with, however, was a Romantic program symphony with a prominent part for solo viola, Harold in Italy, inspired by Byron's narrative poem “Childe Harold.” Paganini was disappointed. “That is not what I want,” he said. “I am silent a great deal too long. I must be playing the whole time.”And so, when Harold in Italy was first performed, at the Paris Conservatory on today's date in 1834, it was an old classmate of Berlioz's, Chrétien Urhan, who was the soloist, not the superstar Paganini. The audience seemed to like the “Pilgrims' March” movement of the symphony, which was encored, but otherwise the performance was one train wreck after another.Four years later, however, Berlioz had the last laugh when Paganini, hearing the music he commissioned at a better performed concert, rose from the audience, mounted the stage and publicly declared Berlioz a genius, and, two days later, presented the stunned Berlioz with a check for 20,000 francs.Music Played in Today's ProgramHector Berlioz (1803-1869) Harold in Italy; Nobuko Imai, viola; London Symphony; Colin Davis, cond. Philips 416 431

David and Rachel discuss the hot mess of a life led by composer Hector Berlioz. Script by Stephen.

On est aujourd'hui habitué à voir le chef d'orchestre diriger ses musiciens. Juché sur son estrade, c'est lui qui, la baguette en main, donne le départ et signale, à chacun des musiciens, le moment d'intervenir dans la symphonie ou le concerto. Mais il n'en a pas toujours été ainsi. Jusqu'au XIXe siècle, en effet, les orchestres étaient des formations plus réduites que de nos jours. De vrais orchestres ne sont d'ailleurs pas apparus avant la fin du XVIe siècle. Aux XVIIe et XVIIIe siècles, par conséquent, les musiciens ce ces formations limitées pouvaient coordonner leur jeu sans l'intervention d'un chef d'orchestre. L'impulsion était simplement donnée par l'un des musiciens, le claveciniste ou le premier violon par exemple, qui intervenaient aussi, de temps à autre, dans le cours du morceau. L'archet du violoniste remplaçait ainsi la baguette du chef d'orchestre. L'apparition du chef d'orchestre Tous les spécialistes ne s'accordent pas sur la date exacte de l'apparition du chef d'orchestre, tel que nous le connaissons aujourd'hui, et sur le nom du premier d'entre eux. Celui de Hans von Bülow, pianiste et compositeur allemand du XIXe siècle, est cependant souvent cité. Il crée "Tristan et Isolde", de Wagner, en 1865, et épouse la fille de Franz Liszt, Cosima, qui devait devenir la femme et l'égérie de Wagner. Von Bülow, qui dirigea de nombreux orchestres dans sa vie, est donc considéré, par de nombreux musicologues, comme celui qui officialisa, en quelque sorte, la fonction de chef d'orchestre. Il faut dire que l'évolution de la taille des orchestres la rendait de plus en plus nécessaire. En effet, les symphonies composées par des musiciens comme Bruckner ou Mähler, demandaient, pour être jouées, la présence de nombreux musiciens. Pour se mettre au diapason de ces nouvelles œuvres, on dut créer des formations plus larges. L'orchestre symphonique, composé de 70 à 100 musiciens, était né. Pour diriger des exécutants aussi nombreux, il fallait bien un chef d'orchestre. Son art fut codifié par le compositeur Hector Berlioz, dans un ouvrage publié en 1856, et qui fait toujours autorité. Learn more about your ad choices. Visit megaphone.fm/adchoices

On est aujourd'hui habitué à voir le chef d'orchestre diriger ses musiciens. Juché sur son estrade, c'est lui qui, la baguette en main, donne le départ et signale, à chacun des musiciens, le moment d'intervenir dans la symphonie ou le concerto.Mais il n'en a pas toujours été ainsi. Jusqu'au XIXe siècle, en effet, les orchestres étaient des formations plus réduites que de nos jours. De vrais orchestres ne sont d'ailleurs pas apparus avant la fin du XVIe siècle.Aux XVIIe et XVIIIe siècles, par conséquent, les musiciens ce ces formations limitées pouvaient coordonner leur jeu sans l'intervention d'un chef d'orchestre.L'impulsion était simplement donnée par l'un des musiciens, le claveciniste ou le premier violon par exemple, qui intervenaient aussi, de temps à autre, dans le cours du morceau. L'archet du violoniste remplaçait ainsi la baguette du chef d'orchestre.L'apparition du chef d'orchestreTous les spécialistes ne s'accordent pas sur la date exacte de l'apparition du chef d'orchestre, tel que nous le connaissons aujourd'hui, et sur le nom du premier d'entre eux.Celui de Hans von Bülow, pianiste et compositeur allemand du XIXe siècle, est cependant souvent cité. Il crée "Tristan et Isolde", de Wagner, en 1865, et épouse la fille de Franz Liszt, Cosima, qui devait devenir la femme et l'égérie de Wagner.Von Bülow, qui dirigea de nombreux orchestres dans sa vie, est donc considéré, par de nombreux musicologues, comme celui qui officialisa, en quelque sorte, la fonction de chef d'orchestre.Il faut dire que l'évolution de la taille des orchestres la rendait de plus en plus nécessaire. En effet, les symphonies composées par des musiciens comme Bruckner ou Mähler, demandaient, pour être jouées, la présence de nombreux musiciens.Pour se mettre au diapason de ces nouvelles œuvres, on dut créer des formations plus larges. L'orchestre symphonique, composé de 70 à 100 musiciens, était né. Pour diriger des exécutants aussi nombreux, il fallait bien un chef d'orchestre.Son art fut codifié par le compositeur Hector Berlioz, dans un ouvrage publié en 1856, et qui fait toujours autorité. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hector Berlioz - Roman Carnival OverturePolish State Philharmonic Orchestra, KatowiceKenneth Jean, conductorMore info about today's track: Naxos 8.553264Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Professor Sharon Peacock is professor of public health and microbiology at Cambridge University. In March 2020 she set up the COVID-19 Genomics UK (COG-UK) Consortium to map the genetic sequence of the virus as it spread and mutated. Within a year COG-UK was leading the world in identifying mutant COVID strains, and this data was instrumental in helping the development of vaccines and treatments. Sharon was born in Margate and left school at 16 to work in her local corner shop. She moved on to become a dental nurse the following year and after that she trained to be a nurse at the Royal Sussex County Hospital in Brighton. After studying for A levels at evening classes, in 1983 she won a place to study medicine as a mature student at the University of Southampton. After further training and several years researching bacterial diseases in Thailand, she returned to the UK where she led the development of the Cambridge Infectious Diseases Initiative. In 2021 Sharon was awarded the MRC Millennium Medal, the Medical Research Council's most prestigious prize. DISC ONE: Fast Car - Tracy Chapman DISC TWO: A Boy and a Girl - Voces8 DISC THREE: Time Has Told Me - Nick Drake DISC FOUR: Title: Driving Home for Christmas - Chris Rea DISC FIVE: Take a Bow - Muse DISC SIX: Cantique de Jean Racine, Op. 11 (from Fauré's Requiem) Composed by Gabriel Fauré and performed by Choir of St. John's College, conducted by Andrew Nethsingha DISC SEVEN: Symphonie Fantastique by Orchestre Révolutionnaire et Romantique, composed by Hector Berlioz, performed by Orchestre Révolutionnaire et Romantique and conducted by John Eliot Gardiner DISC EIGHT: The Lark Ascending, composed by Vaughan Williams and performed by Tasmin Little (violin) BBC Symphony Orchestra and conducted by Sir Andrew Davis BOOK CHOICE: Oxford Textbook of Medicine LUXURY ITEM: A projector and photos CASTAWAY'S FAVOURITE: Time Has Told Me – Nick Drake Presenter Lauren Laverne Producer Paula McGinley