Podcast appearances and mentions of jennifer johnson cano

As a kid, this mezzo soprano sang in a church choir with this implicit purpose: “To bring joy to people, and bring comfort to people, and help people feel what they need to feel.” Not a bad approach to art or, for that matter, life.

Don Giovanni is a staple of the opera repertoire, a definitive masterpiece by one of the most prolific composers in history. Listen in as mezzo soprano Jennifer Johnson Cano expertly guides you through all the drama and intrigue of this familiar tale in our latest episode of BlinkOpera! Welcome to Season 3 of The Atlanta Opera Podcast's BlinkOpera, the series built to give you an introduction to operas told from the artists who actually perform them and know them intimately. So, let's listen to the highlights, unpack the plot, and hear about performance anecdotes in a time-efficient and fun way! Recording: Mozart: Don Giovanni: Philharmonia Orchestra & Chorus; Carlo Maria Giulini; Parlophone Records Ltd; 1961

American theater director Anne Bogart and Mezzo-soprano Jennifer Johnson Cano reconnect to discuss their experience working together on Poul Ruders' opera adaptation of Margaret Atwood's The Handmaid's Tale. They discuss the nuances of the score, their process in creating this world, and reflect upon the "impossibility" of the Boston Lyric Opera production. This episode includes musical excerpts from Boston Lyric Opera's 2019 production of Poul Ruder's The Handmaid's Tale.

Jennifer Johnson-Cano describes growing up in St. Louis, her growth as a singer with her opera debut at Opera Theatre of Saint Louis, and what it takes to make it as a professional singer. http://www.jenniferjohnsoncano.net/index.php A fascinating conversation with Sharon Smith from the Missouri Historical Society on the exhibit Muny Memories: 100 Seasons Onstage and the effort behind the exhibit. http://mohistory.org/mediaroom/muny-memories-100-seasons-onstage/ http://mohistory.org/blog/100-muny-seasons/

I programmet diskuteras bl.a. Tjajkovskijs första symfoni, mezzo-sopranen Elina Garanca som sjunger blandade arior, moderna solocellotoner med Natalie Clein och Berios Sinfonia med BBCs symfoniker. I panelen Evert van Berkel, Sofie Almroth, och Tebogo Monnakgotla som tillsammans med programledaren Johan Korssell betygsätter följande skivor: PETER TJAJKOVSKIJ Symfoni nr 1 Vinterdrömmar, Stormen Orchestra of Saint Lukes Pablo Heras-Casado, dirigent Harmonia Mundi HMC 902220 Referensen Johan jämför och refererar till en inspelning från 1994 av Tjajkovskijs Stormen med Berlins filharmoniker under ledning av Claudio Abbado på skivmärke DG. REVIVE Arior ur bl.a. Trojanerna, Mignon och La Bohème Elina Garanca, mezzo-sopran Orchestra de la Comunitat Valenciana Roberto Abbado, dirigent DGG 479 5937 LUCIANO BERIO GUSTAV MAHLER Sinfonia 10 Frühe Lieder Matthias Goerne, baryton The Synergy Vocals BBC symfoniorkester Josep Pons, dirigent Harmonia Mundi HMC 902180 BLOCH - DALLAPICCOLA LIGETI Solocellosviter Chaconne, Intermezzo o Adagio Solocellosonat Natalie Clein, cello Hyperion CDA 68155 Johans val Johan spelar valda delar ur ett album innehållande Leonard Bernsteins första och andra symfoni med Baltimores symfoniorkester under ledning av Marin Alsop. Vidare medverkar mezzosopranen Jennifer Johnson Cano (symf nr 1) samt pianisten Jean-Yves Thibaudet (symf nr 2). Inspelningen är gjord på Naxos.  Andra i programmet nämnda eller rekommenderade inspelningar: Tjajkovskijs första symfoni med Bostons symfoniorkester under Michael Tilson Thomas på DG; Liverpools symfoniorkester dirigerad av Vasily Petrenko på Onyx. Tjajkovskijs tredje, fjärde och sjätte symfonier med Liverpools symfoniorkester under ledning av Vasily Petrenko på Onyx (vilken snart kommer att höras i Musikrevyn). Berios Sinfonia med Franska nationalorkestern dirigerad av Pierre Boulez på Erato; New Yorks filharmoniker under Luciano Berio själv inspelad på Columbia; Concertgebouw-orkestern ledd av Riccardo Chailly på Decca samt med Finska radions symfoniorkester under ledning av Hannu Lintu på Ondine. Svepet Johan sveper över en CD utgiven på Bis med musik av Mozart: Marscher nr 1 och 2 K.335, Posthornsserenaden samt Eine kleine Nachtmusik. Det är Die Kölner Akademie som spelar och dirigentens namn är Michael Alexander Willens.

Works for voice and piano performed by Jennifer Johnson Cano, mezzo-soprano, and Christopher Cano, pianist and string quintet performed by Borromeo String Quartet with Nathaniel Martin, bass.Dvořák: Gypsy Songs, Op. 55Dvořák: String Quintet No. 2 in G Major, Op. 77For our 185th podcast program, we’ll hear from Antonin Dvořák, focusing on two of his chamber works.We begin with Dvořák’s Gypsy Songs, opus 55. The cycle of seven songs is based on Czech poetry by Adolf Heyduk about the lives of Slovakian gypsies. But Dvořák chose to premiere and publish the songs in a German translation of the original text. The cycle was fairly successful; in particular, the song at the heart of the cycle—the fourth of seven—has become one of his best-known, usually translated in English as “Songs My Mother Taught Me.” Throughout, the songs are both lyrical and spirited, combining the flavor of gypsy music with the sophistication of Western art song.After the songs, we’ll turn to Dvořák’s second string quintet, opus 77. Written in 1874, the string quintet is among Dvořák’s earliest mature works. At the time of its composition, he had been working in relative anonymity in Prague. The music itself, though, reveals a composer already in possession of a unique and self-assured voice, with a gift for melody and a wonderful knack for writing spirited, dance-infused passages.

Songs for voice and keyboard by Jennifer Johnson Cano, mezzo-soprano, and Christopher Cano, piano:De Falla: Siete Canciones populares Españolas: El Paño Moruno, Seguidilla Murciana Asturiana, Jota, Nana, Canción, PoloLiszt: Pace non trovo, Der du von dem Himmel bist, Oh! Quand je dorsToday, we'll take a little trip around the world in song, hearing Manuel de Falla's Siete Canciones Populares Españolas and three songs by Franz Liszt. All the recordings we'll hear today were taken from a recital last year by mezzo-soprano Jennifer Johnson Cano and pianist Christopher Cano. (And to answer the question you're probably all asking yourselves right now, yes, the two are husband and wife.)We'll begin with the de Falla set, a delightful and varied collection of Spanish folksongs that is quite possibly the single most popular piece of classical Spanish vocal repertoire out there. The songs vary, from lovelorn laments to intimate lullabies to spirited dances, but all share an incredibly sensitive and evocative approach to the piano accompaniment—creating a sense of place and mood, while putting the traditional tunes front and center.Next, we'll hear a selection of three songs by Franz Liszt, the composer and virtuoso pianist. Liszt's songs are less familiar than his piano music, but he wrote a good many of them: about six-dozen in all. As a song composer, Liszt was a bit of a chameleon. His accompaniments were often dense and complex—likely owing to his own experience and skill as a pianist—and he experimented with many different types of poetry, as you'll hear from today's selections.

Works for mezzo-soprano, strings, and piano performed by Jennifer Johnson Cano, mezzo-soprano, and Musicians from Marlboro.Respighi: Il TramontoBrahms: Piano Quartet No. 3 in C minor, Op. 60The two works on today’s podcast share a common inspiration: Romantic literature. First on the program, we’ll hear Respighi’s Il Tramonto, or The Sunset, for mezzo-soprano and string quartet or orchestra. Respighi was in his early 30s when he wrote the piece, working on it simultaneously with what was to be his career’s watershed composition, The Fountains of Rome. The work hinges on its text—a 19th-century poem by Percy Shelley that brims with the unfulfilled love and longing that characterize much poetry of the era. The second piece on the program, Brahms’ third piano quartet in C minor, is inspired by another tale of star-crossed lovers: Goethe’s famous Werther. Brahms gave the quartet the subtitle “Werther” himself; apparently, he thought the first movement embodied the protagonist’s sorrow and desperation in finding that his beloved has married another. Interestingly, this piece, like Respighi’s, was an early composition: Brahms began work on it as early as 1855, when he was in his early twenties.