Podcasts about iolanta

Avui sentirem: "El trencanous", (selecci

Iolanta: Asmik Grigorian Vaudemont: Liparit Avetisyan Robert: Igor Golovatenko King René: Mika Kares Ibn-Hakia: Michael Kraus Rundfunkchor Berlin Berliner Philharmoniker Conductor: Kirill Petrenko Philharmonie, Berlin 15 January 2022 Broadcast

Iolanta: Tamara Milashkina Vaudemont: Zurab Sotkilava Robert: Vladimir Atlantov King René: Yevgeny Nesterenko Ebn-Hakia: Yuri Grigoryev Conductor: Leopold Hager Salzburg 22 October 1977 In-house recording

The premiere of Tchaikovsky's seminal ballet ‘The Nutcracker', on 18th December, 1892, at the Imperial Mariinsky Theatre, Saint Petersburg. It was NOT a hit. The composer, who thought the Alexander Dumas source material was slight and childish, only agreed to write the piece if it was shown in a double-bill with his opera, ‘Iolanta'. He certainly didn't want to repeat the critical failure of his earlier work: a certain ‘Swan Lake'. In this episode, Arion, Rebecca and Olly explain how a trip to Paris inspired one of ballet's most famous moments; check out some of the reviews of the day, when body-shaming ballerinas was evidently not discouraged; and explain how Czar Alexander was (literally) catered for in the stage directions…  Further Reading: • "The Nutcracker's" disturbing origin story: Why this was once the world's creepiest ballet' (Salon, 2014): https://www.salon.com/2014/12/24/the_nutcrackers_disturbing_origin_story_why_this_was_once_the_worlds_creepiest_ballet/ • ‘Sweet holiday staple 'The Nutcracker' may be darker than you think' (The Washington Post, 2022): https://www.washingtonpost.com/theater-dance/2022/11/25/nutcracker-history-russian-imperialism/ • ‘Pyotr Ilyich Tchaikovsky / Nina Kaptsova - Dance of the Sugar Plum Fairy' (2010): https://www.youtube.com/watch?v=Wz_f9B4pPtg This episode first premiered in 2022, for members of

Avui hem sentit: "El trencanous", suite del ballet op.71, i "Iolanta",

Conductor Lidiya Yankovskaya joins me and speaks about her experience preparing for, conducting, and navigating a career thriving between concert halls and opera pits.Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russianmasterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. Yankovskaya has recently made major debuts with Chicago Symphony Orchestra and Dallas Symphony, and conducted the symphony orchestras of Omaha, Pasadena, and Fort Worth. As Music Director of Chicago Opera Theater, she has led the Chicago premieres of Jake Heggie's Moby-Dick, Rachmaninov's Aleko, Joby Talbot's Everest, Tchaikovsky's Iolanta, and Adamo's Becoming Santa Claus. Elsewhere, she has recently conducted Carmen at Houston Grand Opera, Don Giovanni at Seattle Opera, Pia de' Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York's Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera.

Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russian masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. As Music Director of Chicago Opera Theater, Ms. Yankovskaya has led the Chicago premieres of Jake Heggie's Moby-Dick, Rachmaninov's Aleko, Joby Talbot's Everest, Tchaikovsky's Iolanta, and the world premiere of Dan Shore's Freedom Ride. Her daring performances before and amid the pandemic earned recognition from the Chicago Tribune, which praised her as “the very model of how to survive adversity, and also how to thrive in it,” while naming her 2020 Chicagoan of the Year. In the 2021/22 season, Ms. Yankovskaya makes a trio of Texan debuts, leading performances of Carmen at Houston Grand Opera, a tribute to Ruth Bader Ginsburg at Dallas Symphony Orchestra, and concerts featuring works by Gershwin and Dawson at Fort Worth Symphony. Elsewhere, she debuts with Chicago Symphony Orchestra in Prokofiev's Peter and the Wolf, leads a program of Brahms and Wagner at Elgin Symphony, conducts Boulanger, Debussy, and Ravel at Omaha Symphony, and makes her Pasadena Symphony debut conducting works by Tchaikovsky, Rimsky-Korsakov, and Gabriela Lena Frank. At Chicago Opera Theater, she conducts the Chicago premiere of Mark Adamo's Becoming Santa Claus and a concert version of Carmen, starring Jamie Barton opposite Stephanie Blythe. Ms. Yankovskaya has recently conducted Don Giovanni at Seattle Opera, Pia de' Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York's Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera. On the concert stage, she has been recently engaged with Chicago Philharmonic, Rhode Island Philharmonic, and the symphony orchestras of Hawaii and Oviedo, Spain. Ms. Yankovskaya is Founder and Artistic Director of the Refugee Orchestra Project, which proclaims the cultural and societal relevance of refugees through music, and has brought that message to hundreds of thousands of listeners around the world. In addition to a National Sawdust residency in Brooklyn, ROP has performed in London, Boston, Washington, D.C., and the United Nations. She has also served as Artistic Director of the Boston New Music Festival and Juventas New Music Ensemble, which was the recipient of multiple NEA grants and National Opera Association Awards under her leadership. As Music Director of Harvard's Lowell House Opera, Ms. Yankovskaya conducted sold-out performances of repertoire rarely heard in Boston, including Tchaikovsky's The Queen of Spades, Britten's A Midsummer Night's Dream, and the U.S. Russian-language premiere of Rimsky-Korsakov's The Snow Maiden. Her commitment to exploring the breadth of symphonic and operatic repertoire has also been demonstrated in performances of Rachmaninoff's Aleko and the American premieres of Donizetti's Pia de' Tolomei, Rubinshteyn's The Demon, and Rimsky-Korsakov's Kashchej The Immortal and Symphony No. 1. An alumna of the Dallas Opera's Hart Institute for Women Conductors and the Taki Alsop Conducting Fellowship, Ms. Yankovskaya has also served as assistant conductor to Lorin Maazel, chorus master of Boston Symphony Orchestra, and conductor of Boston Youth Symphony Orchestra. She has been featured in the League of American Orchestras Bruno Walter National Conductor Preview and Cabrillo Festival for Contemporary Music, and assisted Vladimir Jurowski via a London Philharmonic fellowship. Ms. Yankovskaya holds a B.A. in Music and Philosophy from Vassar College, with a focus on piano, voice, and conducting, and earned an M.M. in Conducting from Boston University. Her conducting teachers and mentors have included Lorin Maazel, Marin Alsop, Kenneth Kiesler, and Ann Howard Jones. Ms. Yankovskaya's belief in the importance of mentorship has fueled the establishment of Chicago Opera Theater's Vanguard Initiative, an investment in new opera that includes a two-year residency for emerging opera composers. Committed to developing the next generation of artistic leaders, she also volunteers with Turn The Spotlight, a foundation dedicated to identifying, nurturing, and empowering leaders – and in turn, to illuminating the path to a more equitable future in the arts. Recipient of Solti Foundation U.S. Career Assistance Awards in 2018 and 2021, Ms. Yankovskaya has been a featured speaker at the League of American Orchestras and Opera America conferences, and served as U.S. Representative to the 2018 World Opera Forum in Madrid.

Tchaikovsky's opera about a blind princess, Iolanta, raises challenging questions about the nature of disability — questions the West Australian Opera confronts head on in a new production reimagined with members of the blind and vision-impaired community. Also, we hear two Sri Lankan Australian brothers debate 'wokeness' in a scene from the new comedy Stay Woke and we pay tribute to the theatre director and arts leader Andrew Ross, director of pioneering works by Aboriginal writers Jack Davis and Jimmy Chi.

Tchaikovsky's opera about a blind princess, Iolanta, raises challenging questions about the nature of disability — questions the West Australian Opera confronts head on in a new production reimagined with members of the blind and vision-impaired community.Also, we hear two Sri Lankan Australian brothers debate 'wokeness' in a scene from the new comedy Stay Woke and we pay tribute to the theatre director and arts leader Andrew Ross, director of pioneering works by Aboriginal writers Jack Davis and Jimmy Chi.

Tchaikovsky's opera about a blind princess, Iolanta, raises challenging questions about the nature of disability — questions the West Australian Opera confronts head on in a new production reimagined with members of the blind and vision-impaired community. Also, we hear two Sri Lankan Australian brothers debate 'wokeness' in a scene from the new comedy Stay Woke and we pay tribute to the theatre director and arts leader Andrew Ross, director of pioneering works by Aboriginal writers Jack Davis and Jimmy Chi.

Jennifer Miller Hammel discusses Iolanta with tenor Benjamin Werley and baritone Simon Barrad, Count Vaudemont and Duke Robert in POP's production.  This dynamic duo prove that tenors and baritones can get along! Get your tickets to Iolanta NOW! March 20 and 27 at 3pm, March 26 at 7:30pm Aratani Theater, Los Angeles

POPeracast is joined by Scene Change, the National Association for the Blind Performing Arts Division podcast, for a joint episode with the Iolanta creative team including Artistic Director Josh Shaw, soprano Christina Jones, and conductor Isaac Selya.   Special Thanks to Lizzy Muhammed-Park and Katelyn MacIntyre of Scene Change for the collaboration on the joint episode! Get your tickets to Iolanta NOW! March 20 and 27 at 3pm, March 26 at 7:30pm Aratani Theater, Los Angeles

POPeracast is joined by Scene Change, the National Association for the Blind Performing Arts Division podcast, for a joint episode with the Iolanta creative team including Artistic Director Josh Shaw, soprano Christina Jones, and conductor Isaac Selya.   Special Thanks to Lizzy Muhammed-Park and Katelyn MacIntyre of Scene Change for the collaboration on the joint episode! Get your tickets to Iolanta NOW! March 20 and 27 at 3pm, March 26 at 7:30pm Aratani Theater, Los Angeles  

Soprano Jenna Siladie has earned warm acclaim, praised by the New York Times for her "endearing sweet voice", and hailed by the European press as having a “both warm and shimmering tone". ​The 2019/20 season has heralded in a string of successes, including the role debut as Marguerite in Faust, as well as Arianna in the Handel opera Giustino: "The soprano Jenna Siladie, who in the role of Arianna shows vocally, why she is the star of the young ensemble." ​In 2018 Jenna joined the prestigious ensemble at the Theater an der Wien in Vienna, Austria, singing the lead heroine of Élisabeth in Verdi's Don Carlos. Der Standard noted, “the most harmonious performance of the production goes to Jenna Siladie whose beautiful Élisabeth combines elegance, fullness, and vocal warmth and luminosity.” In the autumn of 2017, she made her Germany debut as a guest at Oper Wuppertal, singing Gutrune in Götterdämmerung, being praised for singing “with passion and sweet soprano sound which is seldom heard” (Die Deutsche Bühne). She saw the addition of two new roles in the spring of 2017 as Adina in L'elisir d'amore with St. Petersburg Opera Company and then Lauretta in Opera Company of Middlebury's production of Il trittico. Ms. Siladie's additional operatic credits include Micaela in Carmen, Iolanta in Iolanta (Tchaikovsky), Susanna in Le Nozze di Figaro. She made her NYC debut with Gotham Chamber Opera in 2014, performing the respective leading roles of Popelka and Armande in a double bill production of Bohuslav Martinů's operas Veselohra na mostě and Alexandre Bis. Other NYC highlights include the leading role of Léontine in the U.S premiere of the Chevalier de Saint-Georges' 1780 opera L'amant anonyme (March 2016). A frequent concert and recital soloist, Ms. Siladie made her Carnegie Hall debut in June 2017 as soloist in John Rutter's Mass of the Children and has been a favorite guest with Carolina Philharmonic. Further concert appearances throughout the United States have seen her in Santa Fe NM, New Haven CT, and Vero Beach Opera in Florida. She has also appeared in Lieder programs throughout Austria. Ms. Siladie earned her Master of Music from Yale University, where she "showed fine, round tone in the title role" of Tchaikovsky's final opera Iolanta, and was "particularly impressive and created a very memorable character out of Lucia" (Hartford Courant) in The Rape of Lucretia. Ms. Siladie also earned her Bachelor of Music from Stetson University, where she notably appeared as soprano soloist in Handel's Messiah with the Stetson University Orchestra and Choral Union. "Jenna Siladie, an EBULLIENT soprano with great stage presence SPARKLED" - Wall Street Journal Website: https://www.jennasiladie.com Facebook: Jenna Siladie, Soprano Instagram: @jennasiladie @upwardfacingsoprano In this episode we talk about: - Jenna's health and wellness journey during the pandemic - Being a professional musician / opera singer in Europe vs. US - Teaching Yoga in Ukraine - Performance Anxiety TW: exercise bulimia, disordered eating, performance anxiety, mental and physical health --- Send in a voice message: https://anchor.fm/thealignedmusician/message

edição de 29 setembro 2021

On this episode of Opera Apéro, I talk to my friend Nelly (she/her) about Pyotr Ilyich Tchaikovsky's opera Iolanta. It's the story of a nobleman who falls in love with a young princess with a big secret that even she isn't aware of: she's blind. Mild spoiler, this is our second episode in a row that's a feel-good opera. Listen in to hear how this big romance goes down. We discuss how parents try to normalize their children's experiences and protect them, the importance of acknowleding a problem before fixing it, and strategies to protect your drunk friend on your next night out. And if you've always wondered how to say the show's name, wait til the end to hear us practice saying it with and without French accents.  Let me know what you thought on social media: on Instagram @opera.apero and on Twitter @OperaApero.  If you like this show, please consider supporting me through Buy Me a Coffee.   Chapters Act 1 - 09:30 Discussion - 42:11

SHOW NOTES*2:05 – The director Heather Tan Yi Ling speaks about opera audiences in Asia; social media; and making the world a better place through art*4:56 – [musical excerpt: BETTER2MOROW, music video produced by Heather Tan Yi Ling]  the conductor Elias Miller on maintaining purpose and social relevance in his chosen profession*7:46 – [musical excerpt: Brahms Symphony No. 4 in E-minor; Elias Miller conducting the Apollo Ensemble of Boston] – adapting to the digital market and tackling climate change*12:53 – [musical excerpt: “Donde lieta usci al tuo grido d'amore,” from Puccini's La Bohème; Cinzia Zanovello, soprano] – keeping opera human and maintaining conviction as a singer*15:53 – [musical excerpt: Arioso of Iolanta from Tchaikovsky's eponymous opera; Cinzia Zanovello, soprano] – on the importance of pushing the art form beyond its privileged statusExcerpts provided courtesy of Heather Tan Yi Ling, Elias Miller and Cinzia ZanovelloIntro and outro composed by Miguel Kertsman

This week Donald Macleod reflects on five aspects of Tchaikovsky. The rich vein of fairy tale and fantasy, his love of literature and his long-standing love-affair with Italy. Also, the composer’s relationship with the man he called ‘Modya’, his beloved younger brother, Modest. In 19th-century Russia, music was a key strand in national identity. Tchaikovsky’s ancestral Russian roots were a matter of great pride to him, but just how Russian a composer was he? Music featured: The Nutcracker, Op 71 (Act 1 Scene 2, March of the Toy Soldiers) The Snow Maiden, Op 12 (No 2, Dance and Chorus of the Birds) Swan Lake, Op 20 (Act 2 No 13e, Danse des cygnes: Pas d'action (Odette et le prince)) The Slippers (Act 1 scene 2, extract – Oksana’s aria) The Sleeping Beauty, Op 66 (Act 1 No 5 (‘The Palace Garden’), No 6 (‘Valse’)) The Nutcracker, Op 71 (Act 2 No 12, Divertissement) 12 Romances, Op 60 (No 5, ‘Simple Words’) Manfred Symphony, Op 58 (2nd mvt, Vivace con spirito) Eugene Onegin, Op 24 (Act 1 scene 2) Hamlet, overture-fantasia, Op 67 Six Romances, Op 73 (No 2, ‘Night’) Six Romances, Op 38 (No 6, ‘La Pimpinella’) Piano Trio in A minor, Op 50 (1st mvt, Pezzo elegiaco. Moderato assai—Allegro giusto) String Sextet in D minor (‘Souvenir de Florence’), Op 70 (2nd mvt, Adagio cantabile e con moto) Capriccio Italien, Op 45 Six Romances, Op 38 (No 2, ‘It was in the early spring’) 12 Pieces for Piano, Op 40 (No 1, Etude) The Queen of Spades, Op 68 (Act 3 scenes 6 (conclusion) and 7) 12 Pieces for Piano, Op 40 (No 8, ‘Valse’) Iolanta, Op 69 (No 7, Scene and Duet of Iolanta and Vaudémont) Sixteen Songs for Children, Op 54 (No 10, ‘Lullaby in a storm’) Scherzo à la Russe, Op 1 No 1 Symphony No 2 (‘Little Russian’) (2nd mvt, Andantino marziale, quasi moderato) String Quartet No 1 in D, Op 11 (2nd mvt, Andante cantabile) All-Night Vigil (No 16, The Great Doxology) The Year 1812, Op 49 Six Romances, Op 6 (No 6, ‘None but the Lonely Heart’) Presented by Donald Macleod Produced by Chris Barstow For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Pyotr Ilyich Tchaikovsky (1840-1893) https://www.bbc.co.uk/programmes/m000rbt0 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Iolanta, Op. 69, is a lyric opera in one act by Pyotr Tchaikovsky. It was the last opera he composed. The libretto was written by the composer's brother Modest Tchaikovsky and is based on the Danish play Kong Renés Datter (King René's Daughter) by Henrik Hertz, a romanticized account of the life of Yolande de Bar. In the original Danish play, the spelling of the princess's name was "Iolanthe", later adopted for the otherwise unrelated Gilbert and Sullivan operetta of that name. The play was translated by Fyodor Miller and adapted by Vladimir Zotov. The opera received its premiere on 18 December 1892 in Saint Petersburg. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p512/Tchaikovsky%3A_Iolanta.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Soprano Kirsten C. Kunkle has been hailed as an outstanding singing actress with a voice that has been described as beautiful, ethereal, powerful, fiery, and bewitching. Among her favorite roles are Agathe in Der Freischütz, the title role in Suor Angelica, Magda and the Foreign Woman in The Consul,” Mimì in La bohème, Rosalinda in Die Fledermaus, Contessa in Le nozze di Figaro, Mother in Amahl and the Night Visitors, Iolanta and Brigitta in Iolanta, Zemfira in Aleko, Lisa in Pique Dame, Donna Elvira in Don Giovanni, Laetitia in The Old Maid and the Thief, and the Witch in Hansel and Gretel. With the Philadelphia Opera Collective, she has created leading roles in numerous world premieres, including Edith Standen in Shadow House, Annie Jump Cannon in Jump the Moon, Edgar Allan Poe in Opera Macabre: Edgar Allan Poe, and Dr. Frankenstein in By You That Made Me, Frankenstein. In 2016, she made her professional straight play debut in Machinal with EgoPo Classic Theater and her professional musical theatre debut as Domina in A Funny Thing Happened on the Way to the Forum with the Scranton Shakespeare Festival. She has an Honorable Mention for The American Prize in Voice – Professional Art Song and Oratorio Division (Women), as well as being a two-time semi-finalist for The American Prize in Opera (Women). She made her Carnegie Hall debut in 2014, as well as being the Pennsylvania District National Association of Teachers of Singing Artist Award winner that year. She won second place in the Roschel Vocal Competition in 2015. She attended Bowling Green State University and the University of Salzburg for her undergraduate studies, majoring in voice performance with minors in Italian and German. Her graduate degrees are in voice performance from the University of Michigan. A voting member of the Muscogee Nation, Dr. Kunkle commissioned and premiered sixteen original compositions, including one of her own, based upon the poetry of her ancestor and highly-acclaimed poet of the Native American Muscogee Nation, Alex Posey. She has recorded extensively through the Comic Opera Guild, specializing in the works of Victor Herbert. Her recordings are collected at the Library of Congress, the National Museum of the American Indian at the Smithsonian Institution, and the Merkel Area Museum in Merkel, Texas. Ms. Kunkle is included on the list of Classical Native American Artists and Musicians at the Smithsonian Institution's National Museum of the American Indian and on the Molto Native Music list of performers. She has been published in peer-reviewed journals and is a successful voice educator. She is the Co-Founder and Artistic Director of Wilmington Concert Opera, a grassroots women and minority led opera company in Wilmington, Delaware. Most recently, she had her solo European debut with the Sofia Philharmonic in the role of Arabella in Johann Strauss II's “Blindekuh.” She is also a NAXOS recording artist for “Blindekuh,” which was released in March of 2020 to extraordinary reviews. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

From the Producer's Office is a series of informal podcasts with Opera Holland Park’s Director of Opera, James Clutton. In conversation with creatives and collaborators across the industry, we explore the process of putting opera on stage, and how the artists involved approach their craft. In this episode, James is joined by two of the greatest singers of their generation, soprano Natalya Romaniw and tenor David Butt Philip. Last seen at Opera Holland Park in the International Opera Award-nominated production of Tchaikovsky’s Iolanta, they discuss their journeys into becoming professional singers, their recent roles with the Royal Opera House and English National Opera, and the impact of COVID-19 on their work and the industry as a whole.

From the Producer's Office is a series of informal podcasts with Opera Holland Park’s Director of Opera, James Clutton. In conversation with creatives and collaborators across the industry, we explore the process of putting opera on stage, and how the artists involved approach their craft. In the second episode from the 2019 Season, Director Olivia Fuchs and Conductor Sian Edwards join James to discuss the Opera Holland Park production of Tchaikovsky's Iolanta.

Salzburg22 October 1977. In-house recording. Iolanta – Tamara Milashkina; Vaudemont – Zurab Sotkilava; Conductor – Leopold Hager.

Wahrscheinlich wäre die Welt besser, wenn die Menschen nach innen genau so scharf sehen könnten wie nach außen, doch dafür gibt´s bekanntlich keine Brillen. In Peter Tschaikowskys selten gespielter, letzter Oper "Iolanta" geht es somit im doppelten Sinne um Blindheit.

Worum geht’s? Wie klingt’s? Berühmt oder Berüchtigt? Unser „Opernsteckbrief“ verrät Ihnen in aller Kürze Wissenswertes, Spannendes und Lustiges zu den zwei Einaktern MAVRA von Igor Strawinsky und IOLANTAvon Peter I. Tschaikowsky. – Ein Podcast der Bayerischen Staatsoper mit dem Dramaturg Nikolaus Stenitzer.

Broadcast with Marina Mescheriakova, Gegam Grigorian, Dmitri Hvorostovsky, and Sergei Leiferkus.

Iolanta, Op. 69, is a lyric opera in one act by Pyotr Tchaikovsky. It was the last opera he composed. The libretto was written by the composer's brother Modest Tchaikovsky and is based on the Danish play Kong Renés Datter (King René's Daughter) by Henrik Hertz, a romanticized account of the life of Yolande de Bar. In the original Danish play, the spelling of the princess's name was "Iolanthe", later adopted for the otherwise unrelated Gilbert and Sullivan operetta of that name. The play was translated by Fyodor Miller and adapted by Vladimir Zotov. The opera received its premiere on 18 December 1892 in Saint Petersburg. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p512/Tchaikovsky%3A_Iolanta.htmlYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

The OBS boys go ‘Inside the Huddle’ with soprano Ailyn Pérez, who was just named a 2019 ‘Opera News’ Awards Honoree… The guys play ‘Monday Evening Quarterback’ on last week’s productions of Wagner’s “Siegfried” at Lyric Opera of Chicago, Tchaikovsky’s “Iolanta” at Chicago Opera Theater and the Met in HD broadcast of Nico Muhly’s opera “Marnie”... David Daniels' reputation continues to crumble in the 'Two Minute Drill'... www.facebook.com/OBSCHI1/ @operaboxscore

Weston Williams leads a look back at some of our favorite ‘Inside the Huddle’ segments, with interviews of three very different, but equally fascinating, opera artists… As Chicago Opera Theater prepares to open a new production of Tchaikovsky’s “Iolanta” this week, we revisit our time with COT Music Director Lidiya Yankovskaya... Then, we rewind to last spring, when creative consultant Oliver Camacho and co-host Tobias Wright talked to baritone Anthony Clark Evans, and Oliver caught up with tenor Paul Appleby… www.facebook.com/OBSCHI1/ @operaboxscore

The boys go ‘Inside the Huddle’ with stage director Paul Curran, who's currently directing Tchaikovsky’s “Iolanta” at Chicago Opera Theater. They start by asking Paul about his take on this Russian gem of an opera... Then, the annual Hallowe’en Spooktacular returns with those scary opera moments that keep you up at night on October 31st... Plus, it’s the ‘Two Minute Drill’, when the guys explain what the hell Tilda Swinton is doing mixing dogs and opera... www.facebook.com/OBSCHI1/ @operaboxscore

Yelena Dudochkin has captivated audiences across the world with her expressive stage presence, rich soprano voice, and powerful interpretations. Her operatic roles include Tatyana in Eugene Onegin, Violetta in La Traviata, Snow Maiden in Snow Maiden, Iolanta and Brigitta in Iolanta, Gilda in Rigoletto, Chernyafka in Magic Mirror, and Marfa in Tsar’s Bride, with Opera Boston, New Opera NYC, Commonwealth Lyric Theater, Opera Classica Europa, The Mariinsky Opera Young Artists, and others.

We're joined opera students Bianca Andrew and Joanna Skillett to discuss our autumn term double-bill of contrasting Russian masterpieces, Stravinsky’s Mavra and Tchaikovsky’s Iolanta. We discuss why these two operas are being performed together, what it's like to prepare for such a contrasting double-bill, the challenges of singing in Russian and the benefits of double-casting. The Mavra/Iolanta double-bill runs in the Silk Street Theatre from 31 October - 7 November. Tickets are available from the Barbican Box Office (https://www.barbican.org.uk/music/event-detail.asp?ID=20057). Follow us on Twitter (twitter.com/guildhallschool) and check out our website (www.gsmd.ac.uk) to stay up to date with all the events and news from the Guildhall School. Intro and outro music is Little Lily Swing by Tri-Tachyon, licenced under Creative Commons CC BY 4.0 (http://freemusicarchive.org/music/Tri-Tachyon/Little_Lily_Swing/Tri-Tachyon_-_01_-_Little_Lily_Swing)

He was born into an Armenian family living in the Russian city of Vladikavkaz, where his father was a mineworker. Pavel first worked in diamond drilling, then as a welder apprentice hoping to follow his father's steps. He first began to sing in a church choir before moving to Leningrad to study cello (1930). As a strong-voiced soloist of a local amateur group he was commissioned to the Leningrad Conservatory. He started his vocal career in the Maly Leningrad State Opera Theatre and then in the Yerevan Opera House, where he performed the leads for three years. From 1940 to 1966, Pavel Lisitsian was the soloist of the Bolshoi Theatre and performed parts of Yeletsky, Onegin, Mazepa, and Robert (in Tchaikovsky's The Queen of Spades, Evgenie Onegin, Mazepa, and Iolanta respectively), Germont and Amonasro (in Verdi's Traviata and Aida), Escamilo (in Bizet's Carmen), Tatul (Spendiarov's Almast), Arsaces II (Arshak II) (Chuhadzhyan's Arshak II), Napoleon (in Prokofiev's War and Peace), and others. During a concert tour of the USA in 1960, he appeared at the Metropolitan Opera as Amonasro. He died in Moscow.   Tchaikowsky and Rachmaninoff Songs.   Since he lived from 1911-2004, Dmitri Hvorostovsky told me he knew him;there are similarities, since these two have gorgeous voices.

Nick speaks with Alexander Shelley, Music Director, about the 2015/2016 NAC Orchestra Season. Alexander Shelley was appointed Music Director-designate of Canada's National Arts Centre Orchestra in October 2013 and will take up the position of Music Director in September 2015. In 2015 he enters his seventh year as Chief Conductor of the Nuremberg Symphony Orchestra where he has transformed the orchestra's playing, education work and touring activities which have included tours to Italy, Belgium, China and a re-invitation to the Musikverein in Vienna. In January 2015 Shelley was named Principal Associate Conductor of the Royal Philharmonic Orchestra with whom he will curate and perform a series of concerts at Cadogan Hall each season. Born in the UK in 1979, Alexander first gained widespread attention when he was unanimously awarded first prize at the 2005 Leeds Conductors Competition and was described as "the most exciting and gifted young conductor to have taken this highly prestigious award. His conducting technique is immaculate, everything crystal clear and a tool to his inborn musicality." Since then he has been in demand from orchestras around the world including the Philharmonia, City of Birmingham Symphony, Rotterdam Philharmonic, Stockholm Philharmonic, Mozarteum Orchester Salzburg, Konzerthausorchester Berlin, DSO Berlin, Leipzig Gewandhaus, Simon Bolivar, Seattle and Houston Symphony Orchestras. Further afield Alexander is a regular guest with the top Asian and Australasian orchestras. Recent press has singled him out as "a musician of considerable gifts and extraordinarily impressive interpretative qualities" (Strauss, Elgar and Sibelius in London), a conductor with "exceptional artistic authority" (Brahms with DSO Berlin) and described his Verdi Requiem in Salzburg as an "original, intelligent, thoroughly convincing and well-crafted interpretation". Alexander's operatic engagements have included The Merry Widow and Gounod's Romeo and Juliet for Royal Danish Opera; La Bohème for Opera Lyra at the National Arts Centre in Ottawa, Iolanta with the Deutsche Kammerphilharmonie Bremen, Cosi fan tutte in Montpellier and a new production of The Marriage of Figaro for Opera North in 2015. Alongside his regular appearances in London, Ottawa and Nuremberg, the 2014/15 season and beyond includes return visits to, among others, the DSO Berlin, Gothenburg Symphony, Konzerthausorchester Berlin, Leipzig Gewandhaus, Melbourne Symphony and NDR Radio Philharmonic as well as his debuts with Camerata Salzburg, Czech Philharmonic, Orchestre de la Suisse Romande, Orchestre Philharmonique de Luxembourg and Oslo Philharmonic. His first recording for Deutsche Grammophon, an album with Daniel Hope and the Royal Stockholm Philharmonic, was released in September 2014. In Germany Alexander enjoys a close relationship with the Deutsche Kammerphilharmonie Bremen, with whom he performs regularly both in subscriptions in Bremen, and around Germany, and in October 2013 he took the orchestra on tour to Italy with a signature programme of Strauss, Wagner and Brahms. He is artistic director of their Zukunftslabor project - an award-winning series which aims to build a lasting relationship between the orchestra and a new generation of concert-goers through grass-roots engagement and which uses music as a source for social cohesion and integration. The son of professional musicians, inspiring future generations of musicians and audiences has always been central to Alexander's work. In Spring 2014 he conducted an extended tour of Germany with the Bundesjugendorchester and Bundesjugendballett which included a collaborative concert at the Baden-Baden Easter Festival with Sir Simon Rattle and members of the Berliner Philharmoniker. In 2001, during his cello and conducting studies in Dusseldorf, he founded the Schumann Camerata with whom he created "440Hz", an innovative concert series involving prominent German television, stage and musical personalities, conceived by him as a major initiative to attract young adults to the concert hall. https://nac-cna.ca/en/orchestra/reincarnated

Anna Netrebko (Sopran) - Iolanta | Slovenian Chamber Choir | Slovenian Philharmonic Orchestra | Leitung: Emmanuel Villaume