Podcasts about Il trovatore

It's Pride Month, and what better time to focus on queer musical culture in all its various manifestations! As far back as I can remember, I have been an Opera Queen, and today I kick off our queer celebrations with the a tribute to one of our favorite divas, the late Grace Bumbry. The chutzpah that she demonstrated throughout her career found particularly thrilling manifestation when she began transitioning to soprano roles in the early 1970s. Always an intrepid singer, Bumbry had a confidence, a fearlessness that swept all before it. Sometimes her reach exceeded her grasp, but even so, the results were always breathtaking, more often than not in a good way. I am not going to make the tired claim that Bumbry should have remained a mezzo and that when she started singing soprano, she destroyed her instrument. This tired trope is belied by the evidence at hand, including an active singing career that lasted more than 60 years. A while back I did a version of this episode featuring her studio recordings of the soprano repertoire, but there's a wild, abandoned quality to her soprano singing that is especially compelling in live recordings. So today I have sought out live performances captured on recordings between 1971 and 2007 (at a seventieth birthday concert) which reveal La Bumbarina at her most thrilling, including excerpts from Tosca, La Gioconda, Il Trovatore, Nabucco, Porgy and Bess, Ernani, L'Africaine, Aida, Salome, and Anna Bolena with such co-stars as Franco Corelli, Norman Bailey, Louis Quilico, and her beloved frenemy Shirley Verrett. If you love Grace, you don't want to miss this episode. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Directly after the disastrous November election in the United States, I compiled a setlist for two episodes self-explanitorially entitled “Mezzos on the Verge” and “Mezzos in Extremis.” One of the featured singers was the great Russian mezzo-soprano Irina Arkhipova, whose 100th birthday on January 2 of this year was one of the few positive things to happen in January! I happened to have a number of LPs featuring Arkhipova, and this episode features material from a number of those records, plus a CD reissue from a few years back entitled “The Art of Irina Arkhipova,” which features the 1970 recording of Mussorgsky and Rachmaninov songs that the singer made in Moscow with my teacher John Wustman while they were judges in that year's Tchaikovsky Competition. Arkhipova is also featured in songs by Tchaikovsky; Russian opera arias by Rimsky-Korsakov and Mussorgsky; and selections from both Carmen and Il Trovatore, which feature tenors Zurab Andzhaparidzye and Vladislav Piavko, the latter of whom was also Arkhipova's protégé (and later husband). Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

The Royal Ballet and Opera House in London continue their access programme with three up-coming opera productions this spring and summer with audio described performances, touch tours and introductory notes for blind and partially sighted people. RNIB Connect Radio's Toby Davey was joined from the Royal Opera House by Jack Blue, Executive Assistant to the Directors of Opera and Senior Project Co-Ordinator Elliott Henry to find out more about three great audio described opera productions. Highlighted opera productions included: Bizet's ever-popular opera Carman will be audio described on Monday 21 April at 2pm with a touch tour at 1pm on the main stage of the Royal Opera House. Telemann's rarely performed comic opera Pimpinone will be audio described on Sunday 11 May at 2pm with a touch tour at 12.45pm and on Thursday 15 May at 7.15pm with a touch tour at 6pm at the Royal Opera House's Linbury Theatre. And returning to the Royal Opera House's main stage Verdi's Il Trovatore will be audio described on Thursday 17 July at 7.30pm with a touch tor at 6.30pm on the main stage of the Royal Opera House. For more details about these and other audio described performances at The Royal Ballet and Opera House do contact the RBO Box Office on 020 7304 4000, email boxoffice@roh.org.uk or for general access information do visit the access pages of the RBO website - https://www.rbo.org.uk/visit/access-at-rbo (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Zapata nos transporta a Sicilia, donde rememora su experiencia en la isla y presenta a Mario del Monaco, uno de los tenores más emblemáticos de la historia de la ópera. A través de su música, nos muestra la impresionante carrera de este tenor florentino, conocido por su voz poderosa y su generosidad vocal. Se destacan sus interpretaciones en obras como Otello, Aida y Il Trovatore, y se revela su relación con la famosa soprano Maria Callas, con quien compartió tanto colaboraciones artísticas como tensiones personales.Escuchar audio

Roger Parker picks his favourite version of Verdi's opera Il trovatore.

Leonora: Montserrat Caballé Azucena: Viorica Cortez Ines: Carlotta Ordassy Manrico: Plácido Domingo Count Di Luna: Robert Merrill Ferrando: Paul Plishka Ruiz: Nico Castel Conductor: Carlo Felice Cillario Metropolitan Opera 11 April 1973 In-house recording

Last week, absorbed in preparations for my own birthday, I passed over the birthday of the great Giuseppe Verdi, born 10 October 1813. Two years ago I produced a pair of Verdi episodes, and today I feature the one first published as a bonus episode at that time, which features duets from Luisa Miller, Il Trovatore, La Traviata, Rigoletto, Otello, and Falstaff. In the spirit of my two recent episodes “Requiescat” and “In Pace,” I had the brilliant idea of highlighting great Verdi singers (and one conductor) who died in Octobers past, including: Joan Sutherland (October 10, 2010); Eleanor Steber (October 3, 1990); Montserrat Caballé (October 6, 2018); Vladislav Piavko (October 6, 2020); Rosanna Carteri (October 25, 2020); Leonard Bernstein (October 14, 1990); Walter Berry (October 27, 2000); Franco Bonisolli (October 30, 2003); Edita Gruberová (October 18, 2021); Ingvar Wixell (October 8, 2011); and Rolando Panerai (October 22, 2019). Heard alongside these musicians are the blazingly talented John Alexander, Sherrill Milnes, Leonard Warren, Irina Arkhipova, Mario del Monaco, Anselmo Colzani, Regina Resnik, Margherita Rinaldi, Giorgio Zancanaro, Luigi Alva, Judith Raskin, and Mattiwilda Dobbs. Live performances are featured alongside soundtrack recordings from three different operatic films, as well as a few rare studio recordings ensure that the great Giuseppe receives sufficient, if belated, accolades. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

1. Horiana Branistenau 2. Marcella De Osma 3. Seta Del Grande 4. Susan Dunn 5. Galina Gorchakova 6. Ljilijana Molnar-Talajic 7. Silvia Mosca

Your task here is to identify the ten samples drawn from the sixteen sopranos listed below. Lucine Amara Maria Chiara Elizabeth Connell Michele Crider Cristina Deutekom Ghena Dimitrova Angeles Gulin Rita Hunter Jennifer Rowley Eva Marton Lotte Rysanek Sylvia Sass Elena Souliotis Cheryl Studer Astrid Varnay Mara Zampieri

1. Martina Arroyo 2. Grace Bumbry 3. Montserrat Caballé 4. Anja Harteros 5. Gwyneth Jones 6. Anna Netrebko 7. Sondra Radvanovsky 8. Renata Scotto 9. Anna Tomowa-Sintow 10. Julia Varady

1. Maria Parazzini 2. Françoise Pollet 3. Orianna Santunione 4. Lynne Strow Piccolo 5. Sharon Sweet 6. Ilona Tokody 7. Amber Wagner 8. Felicia Weathers

1. Maria Agresta 2. Angel Blue 3. Saioa Hernandez 4. Angela Meade 5. Anna Pirozzi 6. Maria José Siri 7. Krassimira Stoyanova 8. Rachel Willis-Sørensen

Inside this Episode with host, Mitch Hampton I seem to never tire of saying that among my many missions on this podcast is to have guests that are quite different than myself. Although Christine and I are both musicians and in the music world, I can't carry a tune to save my life and my truly awful singing voice is one of the main reasons I decided to purely instrumental music in terms of my own performance.  Not only does our guest have one of the best singing voices  in her for any field or genre of music but she also speaks five plus languages and is well versed in a remarkably diverse repertoire of music Indeed her newest release is representative of just the kind of eclecticism I always champion. I always love having guests on my show who have been in the "classical music" world as it is a genre most misunderstood at times by the public and always worthy of continuation and celebration. I sincerely hope you enjoy watching this episode as much as we did recording it. Ms. Moore's Bio : ( Full Bio on her website below) Praised by the Leipziger Volkszeitung for her lush sound and powerful expression, soprano Christine Moore Vassallo is a versatile performer with equal command in opera, recital, and contemporary music.  The Sacramento, California native counts among her many opera roles Mimi in La Boheme, the title role Madama Butterfly, Alice Ford in Falstaff, Micaela in Carmen, the title role in Suor Angelica, Santuzza in Cavalleria Rusticana, Donna Anna in Don Giovanni, Countess in Le Nozze di Figaro, Judith in Bluebeard's Castle, Leonora in Il Trovatore (described as "velvety and luscious" by SongWordSight Magazine), the title roles in Aida and Ariadne auf Naxos with such companies as the Leipzig Opera, Central City Opera, Santa Fe Opera, Chautauqua Institute, Utopia Opera, Create Opera, the Aldeburgh Summer Festival, Sacramento Opera, the Amato Opera and Lyric Artists of New York. She curated and performed in the first ever concert of Arab composers, entitled "Nearer to East: Chamber Music from the Arab World" at the Bruno Walter Auditorium at Lincoln Center, which concert was lauded by the Library as one of the outstanding of the year. Christine speaks five languages and sings in ten, and has given numerous solo recitals featuring works of all genres of repertoire and languages, including in Granada and Madrid with Festival de Cancion Espanola, Trinity Concert Series in New York, the Library at Lincoln Center, Merkin Concert Hall, the Edinburgh Fringe Festival, and the Old Stone House, Brooklyn. She made her UK debut in 2005 at the Paxton Chamber Music Festival in Scotland with Schoenberg's Pierrot Lunaire (praised by the Glasgow Herald) and has performed many new works by living composers, including the premiere at Merkin Hall NYC of Richard Thompson's song cycle The Shadow of Dawn as well as the NYC premiere of his opera The Mask in the Mirror, Andrew Rudin's Masha's Arias, and works by Michael Rose, Kareem Roustom, Halim El-Dabh, Richard Cameron-Wolfe, Steve Gerber and Zaid Jabri with the Brooklyn New Music Collective.  In 2016 she founded the singers collective Lyric Artists of New York, producing operas and concerts in the New York area. In 2023 she made her Weill Hall at Carnegie debut, and is currently collaborating on a project with composer and pianist Patricio Molina set to premiere in 2025 of his songs set to Arab women poets of the Andalus period. Album webpage on the Meridian Records website: https://www.meridian-records.co.uk/acatalog/CDE84647-From-Al-Andalus-to-the-Americas.html  Christine's Website: www.christinemooresoprano.com #middleeast #egypt #spain #oud #darbuka #andalus #soprano #classicalmusic #flute ##arabic #folkmusic #latinamerica #meridianrecords #istanbul #farsi #opera #newyorkcity #artsong  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

Giuseppe Verdis Schauergeschichte über Eifersucht zwischen Brüdern gilt als wenig plausibel und wirr, was Regisseur Paul-Georg Dittrich sogar noch auf die Spitze treibt: Er zeigt die Oper "Il trovatore" am Staatstheater Stuttgart als chaotischen Bilderreigen, bei dem es schwerfällt, den Überblick zu behalten. Das Publikum reagiert geteilt.

In Giuseppe Verdis Oper „Il trovatore“ jagt ein musikalischer Hit den anderen. Die Staatsoper Stuttgart hat sie sich in einer Neuproduktion von Regisseur Paul-Georg Drittrich vorgenommen. Dessen Regiekonzept geht zwar nicht auf, dafür punktet der italienische Romantik-Spezialist Antonello Manacorda mit seinem nuancenreichen Dirigat.

Interview-Reihe mit verschiedenen Persönlichkeiten, eingeladen von Torsten Hochmuth. Torsten Hochmuth spricht mit der Sopranistin Lea Trommenschlager über die Süssen Dinge des Lebens und über die Bretter, die die Welt bedeuten. 1. Riccardo Stracciari – Amilcare Ponchielli, La Gioconda, O, Monumento – 78 RPMs and Cylinder Recordings – 1925 2. Pietro Venerandi – Giuseppe Verdi, Il Trovatore, Di Quella Pira – 78 RPMs and Cylinder Recordings – 1904 3. Luigi Fort – Georges Bizet, Les Pêcheurs De Perles, Romance De Nadir – 78 RPMs and Cylinder Recordings – 1933 4. Giuseppe Lugo – Charles Gounod, Faust, Envainjinterroge – 78 RPMs and Cylinder Recordings – 1935 5. Fernando De Lucia & Giuseppina Huguet – Georges Bizet, Carmen, Duo Micaela Jose, Sa Voix de Maître – 78 RPMs and Cylinder Recordings – 1907 # Silentium Ob Mauerfall, Operngesang oder die Arbeit eines Kriminalkommissars - hier gehts jedesmal um ein anderes Thema, abhängig von den Gästen. Torsten redet mit seinen Gästen über das Leben. Was würden sie tun, wenn sie noch einmal 18 wären? Spricht über die Bretter, die die Welt bedeuten oder über historische Ausnahmezustände in Berlin.

A cura di Paolo PellegriniG. Verdi – Il TrovatoreManrico, Mario Del MonacoLeonora, Leyla GencerIl conte di Luna, Ettore BastianiniAzucena, Fedora BarbieriFerrando, Plinio ClabassiInés, Laura GondiRuiz, Athos CesariniUn vecchio zingaro, Sergio LilianiUn messo, Walter ArtioliCoro e Orchestra della RAI di MilanoFernando Previtali, direttore

Tomorrow is the debut New York recital of American soprano singer Rachel Willis-Sørensen, who will use the concert to honor late mezzo-soprano Ariel Bybee. Since growing up in Tri-Cities, Washington, Willis-Sørensen is now signed to the famous Sony Classical label, and is a common sight in Opera houses around the world. This fall, she will be returning to The Met to star in "Il Trovatore." Willis-Sørensen joins to preview her Carnegie Hall concert, discuss the role of Opera in the world today, and her efforts to educate the next generation of singers.

Friedrich, Uwe www.deutschlandfunk.de, Kultur heute

Judith Hoddinott has made considerable impact as an educator and a theatre designer across all disciplines. Training at the University of New England and the National Institute of Dramatic Arts, her design work has been seen complementing a myriad of stages with companies as diverse as the Sydney Theatre Company, GFO, CDP, Jacobsen Entertainment, Playbox, Opera Australia, Performing Lines, Theatre of the Deaf, New Moon, Hunter Valley, STC, Marian Street, & Ensemble theatre companies, and the Flying Fruit Fly Circus.Judith has taught Theatre Design at East Sydney Technical College, University of Western Sydney, University of Technology, Sydney and NIDA. She currently teaches at Newtown High School of the Performing Arts.Theatrical fare that has soared with costume and/or set designs by Judith include Phedre, Away, Oleanna, Antony and Cleopatra, A Delicate Balance, The Merchant of Venice, Gary's House, After Dinner, The Killing of Sister George, A Hard God, Macbeth, Sight Unseen, Emerald City, Death of a Salesman, The Sunshine Boys, Wit, I Ought to Be In Pictures, Aunty and Me, I'm Not Rappaport, The Heartbreak Kid, and Arms and the Man. Musical Theatre includes Guys and Dolls, A Chair in the Landscape, Shout!, Footloose, Il Trovatore, A Broad With Two Men, Working, Only Heaven Knows, The Man from Mukinupin and South Pacific.Judith offers abundant knowledge on the processes of design, and teaching, in this illuminating episode of the STAGES podcast.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

SynopsisOn today's date in 1853, Giuseppe Verdi's opera Il Trovatore (or The Troubador) had its premiere performance at the Teatro Apollo in Rome.It proved an immediate hit. True, some did complain at the time about its gloomy, complicated and downright confusing plot. But Verdi's music setting had such great tunes and such energetic verve that Il Trovatore quickly became the most popular of all his operas in the 19th century.Its tunes were soon heard emanating from street corner barrel-organs, and, as a true sign of popularity, there were even comic parodies of its melodramatic blood and thunder storyline.Reviewing a New York production in 1862, American composer and music critic William Fry had these observations: “Il Trovatore has a wonderful plot, beyond human comprehension. ... As to the music, there are some charming, popular, ingenious, artistic, great points; then, there are some others egregiously vulgar and rowdy. The ‘Anvil Chorus,' for example, is about equal to a scene of mending a sewer set to music.”And as for parodies, in the 1935 film A Night at the Opera, Il Trovatore — and opera, in general — receives a devastating sendup at the hands of the Marx Brothers.Music Played in Today's ProgramGiuseppe Verdi (1813-1902) [arr. Franz Liszt] Miserere, fr Il Trovatore; Daniel Barenboim, piano Erato 75457; and Anvil Chorus, fr Il Trovatore; Chicago Symphony and Chorus; Georg Solti, cond. London 466 075

Durante il periodo turbolento, che si inserisce tra la messa al rogo del Talmud (1242-1244) e la grande deportazione del 1306, gli ebrei del Vecchio continente svolgono sostanzialmente la stessa vita quotidiana dei cristiani e hanno la stessa lingua dei paesi in cui vivono. Condividono anche lo stesso gusto per i libri, i monumenti, la gioia di vivere e persino il canto popolare.Le canzoni delle comunità ebraiche del tempo riflettono infatti la vita quotidiana degli ebrei e degli eventi, felici o tragici, che punteggiano l'esistenza umana. Sono espressione vocale di una popolazione, custode dei suoi riti e delle tradizioni. La lingua ebraica sarà conservata per le preghiere e i testi liturgici oggetto della puntata odierna di Quilisma.

Piedmont Opera in Winston-Salem is opening their new season with Verdi's Il Trovatore and they're welcoming home Grammy-winning mezzo-soprano Tichina Vaughn. Vaughn was raised in Winston-Salem, and she is a graduate of UNC School of the Arts. After getting her start with the Metropolitan Opera, she went on to international acclaim performing many years with Staatstheater Stuttgart as principal artist. She talks about how it feels to perform in her hometown, when she discovered she was meant to sing opera, and why she believes anyone can sing with the right training. Learn more about Piedmont Opera's Il Trovatore Pictured: Tichina Vaughn by Bashstint - Own work, CC BY-SA 4.0 .

This month, OperaVision is back in Paris at Opera for Peace's second academy, with our expert the soprano Sumi Jo sharing her warm yet strict approach to working with emerging artists, and giving us tips on sustaining a long and healthy career. Meanwhile we explore what it means to come to opera later in life with tenor Raùl Guttierrez, and the importance of protecting your voice and the pursuit of self-improvement with soprano Maria Belèn Rivarola. View the OperaVision website here Watch now on Opera Vision Opera for Peace Masterclasses with Ailyn Perez & Brian Jagde Cendrillon (Viardot) from the Young Artists at the Palau de Les Arts, Centre de Perfeccionament (until October 1st 2023) Il Viaggio a Reims (Rossini), Rossini Opera Festival Accademia Rossiniana BBC Cardiff Singer of the World with Nombulelo Yende Music Extracts Introduction and closing from Die Entführung aus dem Serail (Mozart): Overture Verdi Tacea la notte placida from Il Trovatore, with soprano  Maria Belen Rivarola, pianist: Kamal Khan Puccini Recondita Armonia from Tosca, with tenor Raùl Guttierrez, pianist: Carmen Santoro Massenet Pourquoi me reveiller from Werther, with tenor Raùl Guttierrez, pianist: Daniel Crus   

Leonora: Lotte Rysanek | Azucena: Ruth Hesse | Manrico: Pedro Lavirgen | Conde de Luna: Giuseppe Taddei | Ferrando: Bonaldo Giaiotti | Conductor: Anton Guadagno | Wiener Staatsoper | 3 January 1974 | In-house recording

Leonora: Tamara Milashkina | Azucena: Grace Hoffman | Manrico: Robert Ilosfalvy | Di Luna: Yuri Mazurok | Ferrando: Tugomir Franc | Conductor: Horst Stein | Wiener Staatsoper | 16 November 1972 | In-house recording

Leonora: Marisa Galvany | Azucena: Sandra Warfield | Manrico: James McCracken | Count Di Luna: Cornelius Opthof | Ferrando: Dimitri Nabokov | Conductor: Herbert Grossman | Dayton Opera | 27 April 1974 | In-house recording

Leonora: Giuliana Trombin | Azucena: Mirella Parutto | Manrico: Amedeo Zambon | Conte di Luna: Antonio Boyer | Ferrando: Giovanni Antonini | Conductor: ? | Adria | 8 September 1975 | In-house recording

Leonora: Sylvia Sass | Azucena: Mignon Dunn | Manrico: Giorgio Casellato-Lamberti | Di Luna: Vicente Sardinero | Ferrando: Agostino Ferrin | Conductor: Nello Santi | Hamburg Staatsoper | 5 October 1977 | In-house recording

SynopsisOn today's date in 1813, William Henry Fry was born in Philadelphia. As a journalist, he was one of the most vociferous champions of American concert music, and put his money where his mouth was by becoming a composer himself, creating a number of programmatic works, including a Niagara symphony and another titled Santa Claus. Above all else, Fry was passionate about opera, and wrote several of his own.Fry was a colorful – if understandably biased – music critic. Here's an excerpt from his 1862 review of a New York performance of Verdi's Il Trovatore – an opera only 9 years old at that time:“Trovatore … has a wonderful plot, beyond human comprehension; though finally we learn in the last scene that [the tenor] is made into soup by the order of his brother [the baritone], who then expresses his emotion and surprise on learning of the transaction as the curtain falls. As to the music – there are some charming, popular, ingenious, artistic … points; [but] there are others egregiously vulgar and rowdy. The Anvil Chorus, for example, is about the equal to a scene of mending a sewer set to music; or repairing a pair of cast-off leather breeches.”Music Played in Today's ProgramWilliam Henry Fry (1813 – 1864) Macbeth Overture Royal Scottish National Orchestra; Tony Rowe, conductor. Naxos 8.559057

Mezzo-soprano Sian Sharp has been singing with Opera Australia for nearly 20 years. Her significant repertoire includes key roles in seminal operas including Il Trovatore, Otello, The Marriage of Figaro, Rigoletto, and Carmen – most recently late last year performing the title role in the much admired production on Cockatoo Island.  And she's back singing in the open air once again, as the loyal servant and maid Suzuki for the current production of Madama Butterfly on Sydney Harbour. A reviewer from one of her previous portrayals of this role described her performance as “absolute perfection”, and in this conversation Sian talks about the role and her journey to the world of opera, providing us with an understanding of the differences between a mezzo-soprano and soprano voice, and what she loves about being a mezzo.

Jennifer Rowley is a soprano who is acclaimed worldwide for her voice and stage presence, and for her wide variety of roles that have spanned many of opera's greatest heroines. She has appeared at The Metropolitan Opera in lead roles including in Cyrano de Bergerac, Tosca, Il Trovatore and La Boheme. Throughout her career she has also performed at Opernhaus Zurich, Teatro del Liceu in Barcelona, Maggio Musicale Fiorentino, Staatsoper Berlin, Opera National de Paris, the National Theatre Prague, and the Royal Opera House in London. Jennifer also recently created her own summer festival in Sarasota, called Jennifer Rowley's Aria Bootcamp. She has been a Artist in Residence at Baldwin Wallace University, Fort Worth Opera, and the International Summer Opera Festival of Morelia, and is sought after for her seminars and masterclasses. 

Welcome to the Instant Trivia podcast episode 747, where we ask the best trivia on the Internet. Round 1. Category: Out Of The Microwave 1: To cook this ballpark treat, put it in a bun, wrap it in a paper towel and microwave it for 30 seconds. Hot dog. 2: Betty Crocker sells this snack food under the name Pop Secret. Microwave popcorn. 3: Baking these russets in a regular oven can take 45-60 minutes, but the microwave can cook them in 5. Potatoes. 4: Dishes made of this type of material can damage a microwave and shouldn't be used. metal. 5: This brand of microwaveable dinners makes Lean Cuisine. Stouffer's. Round 2. Category: Metropolitan Opera 1: A 1965 Met performance of "Il Trovatore" had to be cancelled due to this famous power problem. the blackout in New York City. 2: While on a 1906 West Coast tour, the company survived this legendary disaster. San Francisco earthquake (and fire). 3: In 1940, this "star-studded" oil co. began its Saturday sponsorship of Met radio broadcasts. Texaco. 4: Two great Italian tenors debuted at the Met on November 23, Pavarotti in 1968 and this singer in 1903. Caruso. 5: Including "Lohengrin", all Met operas in the 1st season were sung in these 2 Romance languages. Italian and French. Round 3. Category: Emily Post-Er Child 1: These are meant to be used regularly during the meal (just in case you have a milk mustache or something...). napkins. 2: These "are still the 'magic' words they've always been", and you should insist your child use them. please and thank you. 3: Post goes on for over a page on the "the validity of" this 2-letter word, a kid's earliest must-learn concept. no. 4: Children should learn not to interrupt others' conversations except in the case of one of these. an emergency. 5: On formal correspondence, you may address a boy under 7 years old by this title. Master. Round 4. Category: See You In Court 1: Deaths in its Pinto made it the first U.S. corporation to face criminal charges over product design. Ford. 2: The government sued Frank Snepp over his 1977 book based on his years with this agency. CIA. 3: Perhaps because no one could figure out what he'd been trying to do, Aaron Burr was acquitted of this in 1807. treason. 4: Carol Burnett's suit against the National Enquirer for this hinged on whether the Enquirer was really a newspaper. libel. 5: In 1977 the Supreme Court ruled that John Bates, in this profession, had the right to advertise low fees. lawyer/law. Round 5. Category: 4-Letter Magazines 1: Henry Luce helped create these 2 magazines, one in 1923, the other in 1936. Time and Life. 2: It's how you say "She" in France and Korea and Romania and 29 other international editions. Elle. 3: People sure are saying things about this new magazine from Tina Brown. Talk. 4: Mary J. Blige got personal in the Sept. 1999 issue of this hip-hop music magazine founded by Quincy Jones. Vibe. 5: Carey Lowell wrote about Deepak Chopra for this Conde Nast magazine of personal well-being. Self. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Leonora: Renata Scotto | Azucena: Fiorenza Cossotto | Ines: Carlotta Ordassy | Manrico: Carlo Bergonzi | Conte di Luna: William Walker | Ferrando: Ivo Vinco | Ruiz: John Carpenter | Conductor: James Levine | 23 April 23 1977 | In-house recording

Il trovatore (Pitarra, Verdi) i el teatre romàntic

A pesar de que le tocó nacer en una diminuta aldea de la provincia de Parma, en el norte de Italia, dentro de una familia humilde (su padre era posadero y su madre hilandera), Giuseppe Verdi se las arregló para convertirse en el más grande operista de todos los tiempos. Estuvo muchos años en activo y fue cosechando éxitos durante décadas. El primero de ellos fue “Nabucco”, ópera estrenada en 1842 cuando el compositor aún no había cumplido los treinta años y acababa de quedarse viudo. A partir de ahí se convirtió en una rutilante estrella que terminaría por dar forma al panorama operístico de la segunda mitad del siglo XIX. La ópera en Italia era ya en aquella época todo un orgullo nacional. Los italianos llevaban más de cien años componiendo óperas de la máxima calidad y era el italiano la lengua por defecto de toda ópera con pretensiones, sin importar el lugar de Europa en el que hubiese sido compuesta. Verdi supo aprovechar esa primacía italiana continuando el trabajo de los maestros del bel canto como Gioachino Rossini, Gaetano Donizzetti o Vincenzo Bellini. A todos los superó imprimiendo al género un sello personal e inconfundible que aúna de forma magistral la palabra y la música. Pero esa genialidad, reconocida ya por los críticos musicales de su propia época, no le convirtió en un autor de minorías marginado de los grandes teatros, al contrario, Verdi fue durante buena parte de su vida el compositor más demandado de Europa. Recorrió el continente de punta a punta y fue agasajado por monarcas y gente importante. Su denominada “trilogía popular”, compuesta por “Rigoletto”, “Il Trovatore” y “La traviata” cosechó un éxito inmenso y le hizo muy rico. Durante años le llovieron los encargos, pero, una vez conseguida la fama y el dinero, creyó conveniente relajarse y disminuir su producción para disfrutar de su vida privada en una villa campestre que adquirió en su comarca natal. Eso no le impidió seguir estrenando y, sobre todo, participar de la vida política de su tiempo. A Verdi le tocó vivir la unificación de Italia, algo que apoyó con entusiasmo poniendo su música al servicio de ese empeño. Los italianos sentían que Verdi estaba musicalizando la gesta nacional y no iban desencaminados. Para burlar a la censura austriaca hacían pintadas por las paredes en las que ponían “Viva Verdi”, acrónimo de Vittorio Emmanuele Re d’Italia. Una vez en el trono, el rey le recompensó con honores y nombramientos. Fue elegido, además, diputado y senador, pero, aunque la unificación de Italia le interesaba, no sucedía lo mismo con la política activa. Verdi sólo se debía a la música. Compuso hasta una avanzada edad. Estrenó “Otello” con 74 años y Falstaff con 80. Viviría aún casi ocho años más hasta que en 1901, ya con el nuevo siglo recién comenzado, murió en un hotel de Milán. Su funeral fue multitudinario, cientos de miles de milaneses se echaron a la calle para dedicarle su último adiós. Desde entonces sus óperas no han dejado de representarse porque sigue siendo uno de los favoritos del público. Pues bien, para conocer más a fondo la vida y la obra de Giuseppe Verdi hoy tenemos en La ContraHistoria a José María Concha, que es músico (pianista para más señas) y todo un entendido en la obra de Verdi. Bibliografía: - "Giuseppe Verdi: La intensa vida de un genio" de Ángeles Caso - https://amzn.to/3yOI9Uo - "Giuseppe Verdi: El Impetu de la convicción" de Fernando Toledo - https://amzn.to/3IlUpyM - "Giuseppe Verdi" de Daniel Snowman - https://amzn.to/3nJhdiD - "Con moltissima passione. Ritratto di Giuseppe Verdi" de Raffaele Mellace - https://amzn.to/3yniNvw · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #Verdi #Opera Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Rebecca Ritchie is Opera Australia's Wigs and Wardrobe Manager. She has been with the company since she was 19, joining as a sewer on their celebrated production of Baz Luhrmann's La Boheme. She leads a devoted team of artists who create the opulent costumes you see on stage in every Opera Australia production. When I spoke with Rebecca, she and her team were preparing productions of Madama Butterfly, La Traviata and Il Trovatore. We explore the process of building these costumes and honouring the Designer's vision. So many production elements contribute to the stage pictures we see across all platforms - theatre, dance, musical theatre and of course, the Operatic stage. The artistry of Rebecca and her team complete the aesthetic for the audience, transporting us to vivid 'other' worlds. The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Summertime in Rome! What to do, where to go and should we stay? Marta and Eric don't really agree here. But in terms of Caracalla the go united – take us back to the good ol' Roman days pls!Hygiene routines from Ancient Rome and Opera inside the ruins - welcome to Caracalla!The baths of Caracalla were one of biggest and most decorated constructions of the Ancient Rome. We're telling the story from pools, bathtubs, old toothpastes, all the way to our days and the out-door opera productions in the middle of the old baths.We also meet Federico Ruiz, dancer, and choreographer, who shares with us his amazing experiences of dancing on the unique Caracalla stage in operas as The Barber of Seville and La Traviata, through old columns, orchestra strikes and seagull poopMusic: J-AX & Fedez - Italiana; Modigliani– Nuotare; La traviata, Act II: Dammi tu forza, o cielo!; Il Trovatore, Act II, Scene 1 Follow Rome Inside Out on Instagram @roma_insideout – For even more facts, pictures and curiosities about each episode - And to chat directly with the hosts Eri

Il Trovatore is perhaps Verdi's most complicated opera, with betrayals, abductions, revenge and hidden identities. The character of Leonora is led by her heart and lacks reason. For singer, Leah Crocetto, who is taking on the role in Opera Australia's latest production, it's not a character she easily identifies with. In the Drawing Room, Leah talk about how she's learnt to channel her inner teenager for the role and shares how a rejection from the Met Chorus changed the trajectory of her career.

Il Trovatore is perhaps Verdi's most complicated opera, with betrayals, abductions, revenge and hidden identities. The character of Leonora is led by her heart and lacks reason. For singer, Leah Crocetto, who is taking on the role in Opera Australia's latest production, it's not a character she easily identifies with. In the Drawing Room, Leah talk about how she's learnt to channel her inner teenager for the role and shares how a rejection from the Met Chorus changed the trajectory of her career.

Leah Crocetto is a professional singer who has performed all over the world, as an award winning soprano she is Leonora in Opera Australia's production Il Trovatore opening July 15.

Nick Schlieper has designed lighting for all of the major performing companies in Australia and works regularly in Europe and the U.S.Recent engagements include Nick's debut at, and return to, the prestigious Salzburg Festival, designing the lighting for Aribert Reiman's Lear in the Felsen Reitschule, and for Cherubini's Medeé; as well as Mosquitos, Cat on a Hot Tin Roof, The Real Thing, Still Point Turning, Harp in the South, A Cheery Soul, The Resistable Rise of Arturo UI, Chimerica, Three Sisters, All My Sons, Speed the Plow, A Flea in Her Ear and Switzerland for Sydney Theatre Company; Macbeth, Twelfth Night and Photograph 51 (also set design) for Melbourne Theatre Company; Packer and Sons, Ghosts and Twelfth Nightfor Company B Belvoir.Nick also returned to the National Theatre of Norway for Private Confessions, directed by Liv Ullman, and to New Zealand Opera for The Elixir of Love. He also lit Sydney Theatre Company's revival of The Present with Cate Blanchett on Broadway, and The Space Between the Notes (Emma Matthews' one woman show).Nick's work in Music Theatre includes First Wives Club The Musical at the Oriental Theatre, Chicago, Priscilla Queen of the Desert, The Musical in Australia, New York, Toronto, London, Sao Paolo and throughout Europe; Love Never Dies in Hamburg, Tokyo, Sydney and Melbourne for The Really Useful Company.His extensive work in opera in Australia includes Don Giovanni, Nabucco, Tannhäuser, Il Trovatore, L'elisir d'amore, Andrea Chenier, Freischütz, Falstaff and Seraglio for Opera Australia; Salome (and set design) and Parsifal for State Opera of South Australia; Flying Dutchman, Don Giovanni, and Ken Russell's Madam Butterfly for Victorian State Opera; Macbeth (and set design) for Opera New Zealand and Don Giovanni (and set design) for Opera Queensland. He was also lighting and associate set designer of the first Australian production of Wagner's Ring Cycle in Adelaide in 2004.Nick has also designed lighting for Scheherazade for the Australian Ballet, the acclaimed Cinderella for Royal New Zealand Ballet, and several pieces for Bangarra Dance Company, including Bush, Bennelong and Patyegarang.The year commences for Nick with lighting designs for productions of Wudjang: Not the Past (Bangarra Dance), North By Northwest (Kay & McLean Productions) and The Phantom of the Opera (Opera Australia) on Sydney Harbour. With such a full schedule it was a treat for STAGES to examine the art of Lighting Design with one of the country's most prolific and eloquent artists; Nick Schlieper.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

What was Philadelphia to do, in an age when theater audiences were Running Riot? Why, of course! . .  build them an Academy, and fill it with Grand Opera.See the Blog Post for this Episode on our website: https://www.aithpodcast.com/blog/the-broad-street-opera-house-blog-post-and-bibliography-for-episode-22/Music selections played on this episode:1) "Casta Diva" from Bellini's Norma - Montserrat Caballe. Zubin Mehta, conductor.2) Finale of Mozart's Le nozze di Figaro, Act IV: Herbert von Karajan (conducting Orchester der Wiener Staatsoper), with Jane Berbie, Heinz Zednik, Tom Krause, Zoltan Kelemen, Ileana Cotrubaș , José Van Dam, Frederica von Stade,  and Jules Bastin.3) Verdi, Grand March from Aida.  https://www.youtube.com/watch?v=TX0qN6QEvGg4) Verdi, Waltz in F major. https://www.youtube.com/watch?v=Gh-QM84-BFA5) Verdi, Anvil Chorus from Il Trovatore. Herbert von Karajan conducting the Berlin Philharmonic and  Chor der Deutschen Oper Berlin.6) Wagner, Overture to Tannhäuser - Philadelphia Orchestra conducted by Leopold Stokowski (1963)We post daily stories from all periods of Philadelphia Theater History on our Facebook page and our Twitter feed. Facebook: https://www.facebook.com/AITHpodcastTwitter: https://twitter.com/schmeterpitzTo email us: AITHpodcast@gmail.comWant to become a patron of the podcast, and to get Bonus Episodes and Blog Posts? https://www.patreon.com/AITHpodcastWant to buy me a coffee? Why thank you! https://www.buymeacoffee.com/AITHpodcastSupport the show (https://www.patreon.com/AITHpodcast)

Raehann Bryce-Davis has been hailed by the New York Times as a "striking mezzo soprano" and by the San Francisco Chronicle for her "electrifying sense of fearlessness." 2021/22 includes performances of Der Komponist in Strauss' Ariadne auf Naxos at Opera Ballet Vlaanderen, Preziosilla in Verdi's La Forza del Destino at Théâtre du Capitole, Azucena in three productions of Verdi's Il Trovatore at The Glimmerglass Festival, LA Opera, and Staatstheater Nürnberg, Gods and Mortals, at The Glimmerglass Festival, singing selections of Wagner's Lohengrin as Ortrud and Die Walküre as Fricka, as well as her company debuts at La Monnaie de Munt as La Zia Principessa in Puccini's Suor Angelica, Konzert und Theater St Gallen as Joan of Arc in Tchaikovsky's Maid of Orleans, and her company debut at Teatro alla Scala as Ulrica in Verdi's Un Ballo in Maschera. Last season featured highlights like her role debut as Eboli in Verdi's Don Carlos at Opera Ballet Vlaanderen, her LA Opera debut in the World Premiere of Aucoin and Ruhl's Eurydice, a coproduction with The Metropolitan Opera, and her role debut as Sara in Roberto Devereux opposite Angela Meade and Ramon Vargas. As a producer/performer Bryce-Davis has released "To the Afflicted," her first music video, which received much critical acclaim and was chosen as an official video for World Opera Day. Her second digital short, “Brown Sounds,” was co-produced with LA Opera and Aural Compass Projects, and won Best Music Video at film festivals around the globe including the New York International Film Awards, New York Cinematography Awards, Hollywood Boulevard Film Awards, the Anatolian Short Film Festival, and the Silk Road Film Awards - Cannes. Bryce-Davis is a 2018 recipient of the prestigious George London Award at the George London Competition, the 2017 1st Place and Audience Prize-winner of the Concorso Lirico Internazionale di Portofino competition; chaired by Dominique Meyer, Winner of the 2016 Richard F. Gold Career Grant at the Merola Opera Program, Winner of the 2015 Hilde Zadek Competition at the Musikverein in Vienna, and the 2015 Sedat Gürel - Güzin Gürel International Voice Competition in Istanbul. She holds a Master of Music and Professional Studies certificate from the Manhattan School of Music and a Bachelor of Music from the University of Texas at Arlington. Raehann Bryce-Davis is a co-founder of the Black Opera Alliance and is an advocate for social justice in opera. Visit her website: http://www.raehann.com Instagram: https://www.instagram.com/raehannbrycedavis/ Twitter: https://twitter.com/raehannbd Video of To The Afflicted: https://youtu.be/QAPtCED5nlw Video of Brown Sounds: https://youtu.be/22OR3ygygqg Learn more about the Black Opera Alliance: https://www.blackoperaalliance.org Donate to Support the Black Opera Alliance: https://blackoperaalliance.app.neoncrm.com/np/clients/blackoperaalliance/donation.jsp At http://makinitinopera.com/ (makinitinopera.com), you can  Get access to a spreadsheet of resources and inspiration from folks who are changing the conversation about how we tell stories and how we train artists Subscribe to the Audition Pep Talk Series newsletter Donate and support the podcast If you'd like to share your point of view of what it means to “make it”, send me a voice recording to makinitinopera@gmail.com and I may feature you in a future episode. Music credit: Our Block Party by Reaktor Productions This show was a production of Sounds Like Cool Studios, LLC.

Verdi's “Il Trovatore” is one of the most popular operas of all time, and also one of the hardest to follow. What is going on with this crazy plot? There's a lot under the surface, and it's all spelled out in this explainer by Marc Eliot Stein, who shows how a thrilling but nakedly horrible storyline became an entertainment fit for 19th century operagoers. This fascinating episode ends with a look at the Marx Brothers “A Night at the Opera”, which joyously tears Verdi's masterpiece to shreds.

Follow Jennifer:The White Rose DiariesOn Instagram: @jenniferrosenfeldhttps://jenniferrosenfeld.com/Follow Maren:on Instagram: @supermarenFacebook: https://facebook.com/maren.montalbanoSign up for the Bodice Ripper Project newsletter and get exclusive behind-the-scenes content: http://www.bodiceripperproject.com/Purchase Maren's debut book, Pandemic Passion: A COVID-19 novella on Kindle. Transcript and Show Notes: http://www.bodiceripperproject.com/e035/

A cura di Paolo PellegriniIl Trovatorepersonaggi e interpretiManrico, Luciano PavarottiLeonora, Joan SutherlandIl Conte di Luna, Ingvar WixellAzucena, Marilyn HorneFerrando, Nicolai GhiaurovRuiz, Graham ClarkInes, Norma BurrowesUn vecchio zingaro, Peter KnappUn messo, Wynford EvansLondon Opera Chorus; National Philharmonic Orchestra (1976)Richard Bonynge, direttoreregistrazione dell' 8 Settembre 1976

a cura di Paolo PellegriniIntroduzione a cura dell'Associazione Internazionale Ettore Bastianini con il:Prof. Valerio Lopane critico musicaleProf.ssa Luisella Franchini biografa di Ettore BastianiniEmanuela Bianchi Porro Personaggi e iterpretiManrico – Franco CorelliLeonora – Antonietta StellaAzucena – Fiorenza CossottoConte di Luna – Ettore BastianiniFerrando – Ivo VincoInes – Mirella FiorentiniRuiz – Piero de PalmaUn vecchio zingaro – Virgilio CarbonariUn messo – Franco RicciardiTeatro alla ScalaGianandrea Gavazzeni, conductor07 December 1962

Confira os destaques do Caderno 2 desta sexta-feira (20/03/20)See omnystudio.com/listener for privacy information.

Broadcast from the Teatro Colon with Leontyne Price, Fiorenza Cossotto, Carlo Bergonzi, Piero Cappuccilli and, of course, Ivo Vinco.