Podcast appearances and mentions of john deathridge

Send us a Text Message.This is the third of a multi-episode series in which I chat with Dr. Larissa ‘Kat' Tracey about literary representations of medieval adultery and its reality. In this episode Kat and I survey and discuss the major nineteenth- and twentieth-century literary treatments of medieval adultery, focusing on the stories of La(u)ncelot and Guinevere and of Tristan/Tristram and Isolde/Isolt/Iseult  The episode begins with an opera, Richard Wagner's extremely influential retelling of the tale, Tristan und Isolde. Although composed between 1857 and 1859, the opera did not premiere until 1865, because it was deemed too expensive to stage and its complex, innovative music was thought to be unperformable. We consider how Wagner reconceived his medieval source, Gottfried of Strassburg's thirteenth-century romance, through the lens of Schopenhauer's life-denying philosophy, and how in its composition art imitated life, as Wagner engaged in what was the very least an emotional affair with his wealthy Swiss patron's wife.  Kat and I then discuss the very different treatments of these Arthurian stories about adultery by three leading Victorian poets and one early twentieth-century American: the poet Laureate Alfred Lord Tennyson, the decadent aesthete Algernon Swinburne, the Pre-Raphaelite artist and author William Morris, and the popular American poet Edwin Arlington Robinson, whose now all-but-forgotten best-selling poem Tristram won the Pulitzer Prize in 1928. We then turn to how twentieth-century novelists have handled the moral issues arising from medieval adultery in their renditions of the Arthurian legend. The episode concludes with an analysis of adultery in a non-Arthurian medieval novel, Sigrid Undset's historical trilogy about fourteenth-century Norway, Kristin Lavransdatter (1920-1923), which earned the author the Noble Prize for Literature in 1928, the same year that Robinson's very different Tristram won the Pulitzer. Kat and I began this episode with the intention of covering both modern literature and movies dealing with medieval adultery. But it became clear as we were recording that a single episode would be very long. So we decided to talk about medieval adultery on film in a final, fourth episode, which I will be releasing in about a week's time. And that will be it for medieval adultery, although I plan to have Kat return in future to talk about a subject on which she has written extensively, torture and cruelty in medieval literature. As I have jokingly told her, she is my go to person for medieval perversities.  This episode contains two musical snippets:Wagner's “Prelude to the Liebestod [Love Death]” from his opera Tristan und Isolde, conducted by Arturo Toscanini (https://www.youtube.com/watch?v=lBFcDGTzgAI) “If Ever I Would Leave You” from the musical Camelot, lyrics and music by Lerner and Loewe and sung by Robert Goulet as Lancelot (https://www.youtube.com/watch?v=xL52hEArSfM) In my discussion of the literary texts, I drew upon the researches of several scholars, among them:John Deathridge, Wagner Beyond Good and Evil, University of California Press,  2008R.J.A. Kilbourn, “Redemption Revalued in Tristan und Isolde: Schopenhauer, Wagner, Nietzsche,” in University of Toronto Quarterly, Volume 67, Number 4, Fall 1998, pp. 781-788“Tristan und Isolde,” Wikipedia (yes, I do consult Wikipedia)“Listen on Podurama https://podurama.com Intro and exit music are by Alexander NakaradaIf you have questions, feel free to contact me at richard.abels54@gmail.com

As her career takes flight, the French-Italian mezzo-soprano Lea Desandre talks to presenter Sara Mohr-Pietsch about her love of baroque music, how her ballet training has influenced both her voice and stage presence, and the special musical alchemy that she experiences while collaborating with Thomas Dunford and the Jupiter Ensemble. Celebrating the 50th anniversary of the late American composer Pauline Oliveros' Sonic Meditations – a series of text-based scores that instruct groups of people to practice ‘sounding' and listening together – Music Matters speaks to the improviser and saxophonist, Artur Vidal, and sound artist and researcher, Ximena Alarcón ahead of a weekend of performances at Café Oto in London. They describe how Oliveros' works broke with the conventions that separate composer, performer, and audience, and discuss how her Sonic Meditations became the blueprint for the composer's hugely influential Deep Listening school. As China eases its Covid restrictions, Sara speaks to the Shanghai-based journalist Rudolph Tang to learn how the country's classical music sector is returning to business after the pandemic. And, during rehearsals for Richard Jones' new production of Rheingold at English National Opera, Sara joins the musicologist John Deathridge backstage to hear more about his new translation of the first instalment of Wagner's Ring Cycle. She asks the musicologist Barbara Eichner about the nuances of creating a convincing, contemporary translation of High German epic poetry, and is joined by ENO's Head of Music, Martin Fitzpatrick, and music critic at the New York Times, Zachary Woolf, to discuss whether the enterprise of translating foreign language operas into an audience's vernacular remains relevant.

Institute of Musical Research Helmut Lachenmann in conversation with John Deathridge [PRESENTERS] Helmut Lachenmann (Composer) and John Deathridge (Emeritus King Edward, Professor of Music, King's College London) Helmut Lachenmann at 80 A sym...

John Deathridge recommends a version from the available recordings of Bruckner's 7th Symphony

This podcast on Richard Strauss’ ‘Capriccio’ includes contributions by the opera experts Gavin Plumley and John Deathridge, the soprano Dame Felicity Lott, as well as opera historian Sarah Lenton.

John Deathridge with a personal recommendation from the available recordings of Beethoven's 7th Symphony

A guide to Richard Strauss's opera Der Rosenkavalier, featuring conductor Kirill Petrenko, and historians Sarah Lenton and John Deathridge.

A guide to Richard Strauss's Elektra, featuring the voices of opera historians Sarah Lenton and John Deathridge, and opera director Charles Edwards.

A guide to Wagner's opera Tannhauser featuring Wagner specialists John Deathridge, Barbara Eichner and Mike Ashman

A guide to Wagner's opera Tristan und Isolde featuring the voices of conductors Antonio Pappano and Donald Runnicles, plus Wagner specialists Sarah Lenton and John Deathridge.

A guide to Das Rheingold, the first opera in Wagner's Ring Cycle, featuring the Royal Opera House's director of opera Kasper Holten and music director Antonio Pappano, opera historian Sarah Lenton and Wagner experts John Deathridge and Mark Berry.

A guide to Gotterdammerung, the fourth and final opera in Wagner's Ring Cycle, featuring singers John Tomlinson and Susan Bullock, opera historian Sarah Lenton and Wagner experts John Deathridge and Mark Berry.

A guide to Wagner's opera Rienzi featuring the voices of of Wagner experts Nicholas Baragwanath and John Deathridge, Barbara Eichner.

A guide to Wagner's opera Lohengrin featuring the voices of Wagner experts Nicholas Baragwanath and John Deathridge, singer Petra Lang, critic Fiona Maddocks and conductor Semyon Bychkov.

John Deathridge recommends a version from the available recordings of Wagner's opera Tannhauser

John Deathridge with a personal recommendation from recordings of Beethoven's Missa solemnis

The friendship that developed between Wagner and Nietzsche is documented in a vast collection of letters and writings, reflecting one of the most resonant cultural and philosophical scenes of 19th century Europe. In a special edition Anne McElvoy with Nick Seddon, John Deathridge and Michael Tanner map this intellectual development which informed Wagner's work. With readings by Andrew Fallaize.

John Deathridge with a personal recommendation from the available recordings of Beethoven's sixth symphony, the 'Pastoral'

Richard Wagner, musician and composer is discussed by John Deathridge a Professor at Kings College London.

John Deathridge, Professor at Kings College, London, discusses Wagner's opera Lohengrin from the narrative, characters and meaning behind the emotive score.

John Deathridge, Professor at Kings College, London, discusses Wagner's opera Lohengrin from the narrative, characters and meaning behind the emotive score.

Richard Wagner, musician and composer is discussed by John Deathridge a Professor at Kings College London.