Podcast appearances and mentions of julius rudel

The British bass-baritone Norman Bailey (23 March 1933 – 15 September 2021) was one of the premier Wagner singers of his generation, appearing in his signature roles (Hans Sachs, the Dutchman, and Wotan, among others) at the most prestigious festival and with the most distinguished opera companies around the world. He was also celebrated for his Verdi and Strauss portrayals and was an skillful, intuitive, and communicative recitalist. In this refurbished bonus episode, he is heard in operatic scenes by all three of those composers, and additionally as a big-voiced miniaturist in songs by Peter Warlock, Ralph Vaughan Williams, and Hugo Wolf. “Guest stars” in the operatic excerpts (from Walküre, Macbeth, Holländer, Salome, Falstaff, Die Liebe der Danae, and The Mastersingers of Nuremberg) include Galina Vishnevskaya, Margaret Curphey, Carol Neblett, Arlene Saunders, and Montserrat Caballé, conducted by Otto Klemperer, Julius Rudel, Alexander Gibson, Anton Guadagno, Reginald Goodall, and Charles Mackerras. 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.

While I was growing up, Gilda Cruz-Romo was a fixture on the stage of the Metropolitan Opera. At the time, I did not fully appreciate her, as I thought of her as a second-string singer on the roster. I saw her once on the Met tour as Desdemona opposite Jon Vickers, but for reasons none too flattering to me, I undervalued her. In recent years, however, I have completely revised my opinion, and now think that Gilda Cruz-Romo was both the most significant Mexican soprano ever to appear on the world's stages, but also simply one of the finest lirico-spinto sopranos of the twentieth centuries. Fortunately there are many people that agree with me, including some devoted fans who have posted an extraordinary number of live recordings of the artist on YouTube and elsewhere. And this is especially helpful because, incredibly, Cruz-Romo never made any commercial recordings. This episode fully explores the career and repertoire of our subject for today, and includes performances of the soprano in her core Verdi and Puccini repertoire (including such surprises as Odabella, Lady Macbeth, and Turandot!), as well as less expected forays into Mozart and bel canto. Throughout her virtues shine forth: a plangently beautiful voice with a particularly radiant top wedded to an incredibly secure technique, which afforded her enormous flexibility and coloratura facility. Added to this, and paramount to her artistry, is a dedication to her craft and to music which sweeps all before it and raises her work into the realm of the sublime. I think of this episode (the last completely new episode I'll be putting out this season) as a pre-birthday tribute, as the diva turns 85 years old on February 12, 2025. Other singers heard on the episode are tenors Carlo Bergonzi, Colenton Freeman, and John Alexander, and baritone Matteo Manuguerra; among the conductors are Zubin Mehta, Nicola Rescigno, Riccardo Muti, Peter Maag, and Julius Rudel. 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.

O convidado do programa Pânico dessa segunda-feira (11) é Thiago Arancam. Dono de uma voz poderosa, o brasileiro Thiago Arancam é considerado um dos maiores tenores da atualidade. Ele se apresentou nos principais teatros do mundo, em mais de 40 países. Destaque para o Alla Scala (Milão), Ópera de Roma (Itália), Ópera Nacional de Washington (EUA), Ópera Estadual de Viena (Áustria), Deutsche Ópera de Berlim (Alemanha), Bolshoi (Moscou), além de inúmeras produções no Japão, Emirados Árabes, Malásia, Canadá, Espanha, França, Polônia, Letônia, Mônaco e Reino Unido. Foram mais de 700 apresentações ao redor do mundo. No Brasil, em 2011, subiu ao palco do Theatro Municipal do Rio de Janeiro com a montagem da ópera “Tosca”, de Puccini, no papel do pintor Mario Cavaradossi, amante de Floria Tosca. Em 2014, no Theatro Municipal de São Paulo, encenou a Ópera Carmen de Bizet. Na Europa, conheceu Plácido Domingo, com quem gravou “Cyrano de Bergerac”, na São Francisco Opera (USA); “Madame Butterfly”, em Washington e “Carmen”, na Los Angeles Opera. Trabalhou com grandes regentes de orquestra, entre eles: Daniel Harding em vários concertos com a Swedish Radio Symphony Orchestra; Christian Thielemann em “Dresden” na Manon Lescaut, Pier Giorgio Morandi na ópera “Tosca” em Las Palmas e Estocolmo; o brasileiro Silvio Barbato com a Orquestra Camerata Brasil em Brasília, João Carlos Martins, Plácido Domingo, Julius Rudel, Lorin Maazel, Nicola Luisotti, Patrik Fournellier, Renato Palumbo, Corrado Rovaris, entre outros. De volta ao Brasil em 2017, Thiago Arancam reencontrou suas raízes, lançou o álbum “Bela Primavera”, que deu origem ao espetáculo que rodou o país e emocionou o público. Em 2018, gravou o CD “This is Thiago Arancam” (2018); em 2019, “Thiago Arancam (Ao Vivo)”. Os três trabalhos trazem as influências do mundo lírico e aproximam o tenor da Música Popular Brasileira, além da força e da emoção da voz do artista, considerado um dos principais tenores da atualidade. Em paralelo ao trabalho com as turnês e lançamento dos novos álbuns, o cantor seguiu com as apresentações em diferentes países, entre eles Rússia, Lituânia, Estados Unidos e Austrália, com as óperas Madame Butterfly, Manon Lescaut, Turandot, Tosca e Carmen. E também lançou clipes e disponibilizou o conteúdo da turnê Bela Primavera em seu canal oficial no YouTube. Com fôlego gigante, Thiago Arancam protagonizou a versão brasileira de “O Fantasma da Ópera”, musical já visto por mais de 140 milhões de pessoas em todo o mundo. No Brasil, ficou em cartaz no Teatro Renault, em São Paulo, de agosto de 2018 até dezembro de 2019. Arancam realizou 360 apresentações, sendo sua maior marca de execução em uma mesma obra. Durante a pandemia 2020/2021 Thiago realizou mais de 20 shows ao vivo por streaming e transmissões pela televisão, totalizando mais de 10 milhões de visualizações em audiência. Como comentarista, o programa traz Mônica Salgado. Jornalista, criadora de conteúdo multiplataforma, consultora e palestrante.

durée : 00:15:32 - Disques de légende du lundi 30 septembre 2024 - Julius Rudel est directeur artistique du New York City Opera de 1957 à 1979, au moment où Beverly Sills, immense soprano, est au sommet de ses moyens.

durée : 00:15:32 - Disques de légende du lundi 30 septembre 2024 - Julius Rudel est directeur artistique du New York City Opera de 1957 à 1979, au moment où Beverly Sills, immense soprano, est au sommet de ses moyens.

Welcome to season two of Blink Opera. Blinks are 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! In this week's episode of Blink Opera, we learn from an expert in the opera field as we join celebrated conductor Gary Thor Wedow for a 15-minute deep dive into the music and history of Handel's JULIUS CAESAR! Recordings: Handel: Giulio Cesare; Les Musiciens du Louvre and Marc Minkowski; Archiv Produktion for Deutsche Grammophon Handel: Julius Caesar; New York City Opera with Julius Rudel; RCA Records 

Synopsis In 1805, a 56-year-old Italian man of letters immigrated to America. Now, there wasn’t much call for Italian men of letters in America in those days, so over the next twenty years, in New Jersey, Pennsylvania, and New York, he was, by turns, a grocer, distiller, seller of patent medicines, and owner of a dry goods shop. Eventually he was offered an honorary–that is to say unsalaried–position as Professor of Italian at Columbia University. In 1825, a troupe of Italian opera singers visited New York, and our Italian professor friend attended their performances. He introduced himself to the head of the troupe, the famous singer, Manuel Garcia, who was astonished to learn the elderly Italian gentleman was none other than Lorenzo da Ponte, the librettist of Mozart’s operas, “The Marriage of Figaro,” “Cosi fan tutte,” and “Don Giovanni.” And so it came about, that on today’s date in 1826, that the American premiere of Mozart’s “Don Giovanni” was given in New York City, with Garcia in the title role, in the presence of the man who had penned the opera’s libretto almost forty years earlier, a 77-year-old American citizen named Lorenzo da Ponte. Music Played in Today's Program Wolfgang Mozart (1756 – 1791) arr. Triebensee Don Giovanni Suite Amadeus Ensemble; Julius Rudel, cond. MusicMasters 67118

Dr. Rachel Berger of UPMC Children's Hospital knows Julius Rudel the conductor as her grandfather. On the occasion of his centennial, she remembers Julius Rudel's work at New York City Opera and with Opera Theater of Pittsburgh, growing up with Beverly Sills around the house and loving Mozart. What would Julius Rudel like to be remembered for and what was the secret of his longevity be having pursued a love of music to 93? Dr. Berger also fills us in on the latest music makes you smarter research, addresses burn out in the field of child advocacy and medicine and suggests how we'll get back to concerts as the pandemic lets go. Dr. Berger describes her latest research. She serves as Division Director, Child Advocacy and Professor of Pediatrics and Cinical and Transitional Science Director Child Abuse Research, Safar Center for Resuscitation Research at the University of Pittsburgh as well as Chief, Division of of Child Advocacy UPMC Children's Hospital of Pittsburgh and she teaches at Duquesne University School of Nursing when she isn't practicing the flute.

Anthony Rudel is the General manager of WCRB Boston and the son of conductor Julius Rudel who led the New York City Opera to greatness in a career that stretched over a half century and a total of nearly 70 years before the public. Rudel escaped the nazi Germany tension in 1938 to continue music making in America. He took over the people's opera folowing Erich Leinsdorf and insisted on inexpensive tickets at NYCO even as the company moved to Lincoln Center. Rudel made over 100 recordings and appeared in Pittsburgh with the Pittsburgh Symphony on at least three occasions as well as conducting Rossini at Pittsburgh Opera and Kurt Weill's Lost in the Stars for Jonathan Eaton at Opera Theater Pittsburgh. Anthony Rudel chooses his favorite recordings by his Dad and recalls career highlights as well as the singers he championed such as Beverly Sills and Jose Carerras. Anthony Rudel having worked in the arts in many roles including nearly a decade at WQXR is the author of Hello Everybody The Dawn of Radio in America and he has family ties to Pittsburgh through his niece Dr. Rachel Berger, a pediatrician at Children's Hospital.

Marie Kondo, an organizing consultant and author most famous for her Netflix series Tidying Up with Marie Kondo, uses a methodical approach to help people clean and organize their spaces. She is most known for asking people if an item “sparks joy” in their life.Martha Graham was a choreographer and American modern dancer whose technique is still taught around the world.Soprano Adele Addison was an early voice teacher for Trevigne at the Manhattan School of Music.Pulitzer Prize-winning American composer Ned Rorem occasionally observed Trevigne’s lessons with Adele Addison.Tenor George Shirley and mezzo-soprano Hilda Harris were other early mentors for Trevigne.Choral conductor Robert Shaw is notable for bringing black vocalists, like soprano Adele Addison and tenor Seth McCoy, to the spotlight from the 1940s through the 1970s.During her senior year of high school, Trevigne sang the soprano solo in one of Gabriel Fauré’s most notable works Requiem.James Gandre, the former Dean of Admissions at the Manhattan School of Music, is now the President of the School.Early in her career, Trevigne sang under notable American conductor Julius Rudel.Adele Addison gave Trevigne original manuscripts of the French composer, conductor, and pedagogue Nadia Boulanger.George Szell, the former Music Director of the Cleveland Orchestra once famously noted: “The Cleveland Orchestra plays seven concerts a week, and admits the public to the final two. We do some of our best playing in rehearsals.”Trevigne has worked closely with contemporary American composer Jake Heggie. She starred as Pip in Heggie’s operatic rendition of Herman Melville’s classic novel Moby-Dick.A sitzprobe (German for “seated rehearsal”) is an opera or musical theatre rehearsal in which the vocalists sing with the orchestra—usually for the first time.concert:nova is a contemporary music ensemble based in Cincinnati, Ohio.Trevigne will perform the role of Patience in Cincinnati Opera’s world premiere production of Castor and Patience in the summer of 2021.Trevigne frequently watches the English television dramas Grantchester and Father Brown.Trevigne finds the following mobile applications useful: Gamechanger (for keeping tabs on her son’s baseball games), Beachbody (for exercising), and Stash (for investing).Trevigne enjoys eating at Conscious Kitchen in Cincinnati because they accommodate her alkaline vegan diet—a diet which does not allow any animal products, processed foods, coffee, and most grains.Outside of classical music, Trevigne listens to hip-hop (she mentions the artist Drake) and country music.

Anja Silja, Sabine Hass, Siegfried Jerusalem and Wolfgang Brendel conducted by Julius Rudel.

From "Eleanor Rigby" and "She's Leaving Home" to the end of "A Day In the Life," Ken Dashow and Tony Rudel (general manager of the Boston Classical radio station and son of the late-classical conductor Julius Rudel) discuss the Beatles use of classical music in the band's work, and how ALL music is meant to ENJOYED, not studied! Subscribe so you don't miss an episode of 'Ken Dashow's Beatles Revolution.'

From "Eleanor Rigby" and "She's Leaving Home" to the end of "A Day In the Life," Ken Dashow and Tony Rudel (general manager of the Boston Classical radio station and son of the late-classical conductor Julius Rudel) discuss the Beatles use of classical music in the band's work, and how ALL music is meant to ENJOYED, not studied! Subscribe so you don't miss an episode of 'Ken Dashow's Beatles Revolution.'

Gary and Roscoe are joined once again by old friend George from Midlothian as we discuss a wide range of topics on this, our 20th Episode! Thank you loyal listeners and fans for getting us this far. We plan to be around for many more. Gary gets Roscoe's and George's take on the three-ring circus clown car that is the GOP Presidential Debate scene. Get a Republican POV Gary's Keys to the Carly this week is that she looked more "human" than in the last debate. Not saying much considering her dismal 7% poll rating among GOP debate viewers.  Read a fascinating account of Presidential debates throughout history written by dear friend of the show, Newt Minow here. The boys talk about the shocking and unbelievable developments in the case of Fox Lake police officer Joe Gliniewicz... ...and this week's revelations that has the entire community stunned and feeling betrayed. Full story Need some help with your turkey? The friendly folks at Butterball's Turkey Talk-Line will give you advice and assistance with your poultry predicaments. We'll read you a few of the choicer calls they've received over the years. Contact Butterball Are you a big tipper? Do you believe in rewarding good service in a restaurant? We'll discuss the movement afoot in the restaurant industry to abolish tipping and increase the price of a meal in order to more equitably compensate staff other than servers. Are you for or against? Read more. And check this out. Gary issues a warning to new-dog owner George about a disturbing statistic - at least 10 Americans have been shot by dogs since 2004. Read about Trigger shooting her companion in the foot! What? What? Don't Tell Me! We examine the increasing prevalence of earpieces on Broadway feeding lines to aging stars - from Cicely Tyson to Al Pacino to Bruce Willis. NY Post Story It's become part of the illusion of theatre that actors now look like the know their lines! More Misery The musical The Man Who Murdered Sherlock Holmes - Arthur Conan Doyle - will receive a world-premiere production at Chicago's Mercury Theatre in January 2016. From the creators of The Christmas Schooner. Not to be missed!  Info and Tickets Long-time Artistic Director of The Goodman Theatre Mr. Robert Falls is inducted into the Theatre Hall of Fame! A much deserved honor.Falls is joined by luminous 2015 inductees Tony Kushner, Lynn Ahrens and Stephen Flarerty, Julie Taymor, Stacy Keach and the late Roger Rees. The induction ceremony was held on Nov. 16 at the Gershwin Theatre in NYC.  Congratulations to one of the giants of Chicago theatre!  read more Speaking of The Goodman, just announced new show War Paint starring Patti Lupone and Christine Ebersole, from the team that brought us Grey Gardens. Set in the 1930's, War Paint tells the story of the cosmetics industry rivals Helena Rubinstein and Elizabeth Arden, who famously despised each other, and their attempts to rise in the male-dominated business of female beautification. Can't wait to see the sparks fly with these two on stage!  Go to Goodman Site How about the acclaim for recently-opened Arthur Miller play A View from the Bridge on Broadway?  Roscoe was there and describes the audience reaction.  He calls it one of the best things he's ever seen. Ever. And Roscoe has seen a lot!  Ben Brantley agrees. Gary, George and Roscoe play a little Chat Pack and discuss their favorite films, including Now, Voyager, North by Northwest, and Lawrence of Arabia.  Lo and behold, Gary and George share a love of The Great Race.  George opines on the timeless appeal of Natalie Wood. read more     Kiss of Death Richard Horowitz, Timpanist and Craftsman of Conductors' Batons - For nearly 50 years, Mr. Horowitz was a baton maker to the stars - Levin, Bohm, Bernstein - "he provided them all with the lightest, most perfectly balanced batons possible. From 10 inches (Julius Rudel) to a massive 17 inches (Leonard Bernstein),

San Diego Opera names new General Director...Met Opera Board President doesn't stand for reelection...How to get rehired for a choral gig...ENO creates new CEO role...Bartoli pulls out of west coast tour...Julius Rudel memorial concert for NYCO Renascence.  This week in Oliver's Corner: Spoiler Alert - Dead Man gets out of jail because his ma' sang an aria about forgiveness.  Vote for us for a Podcast Award in Cultural/Arts. You can vote once a day till March 24th

Julius Rudel concert set to benefit NYCO Renaissance...Protestor storms The Met stage...The show goes on in Donetsk...Critic responds to critics. This week Oliver's Corner is feeling lazy and celebrates Black History Month but one has nothing to do with the other. Plus Guess Who Died? This week features Michael, The OC and old pal, David Gordon (not THAT one).

There are still hoops to be jumped through, but it looks like, as Monty Python would say, New York City Opera is not dead yet. Last week, the bankrupt company's board of directors voted to approve the sale of its remaining assets – minus the endowment – to a group, called NYCO Renaissance, headed by Michael Capasso and Roy Niederhoffer. Capasso is general director of the Dicapo Opera Theatre; Niederhoffer is the founder of R.G. Niederhoffer Capital Management, Inc., and a former City Opera board member. Both join us on this episode to talk about their plans. NYCO Renaissance is, in fact, one of several suitors who have been angling to take over the City Opera name and assets, and the group still has to win approval from a bankruptcy judge. But Capasso and Niederhoffer have raised $2.6 million in pledges, garnered support from former City Opera musicians, and have planned an all-star tribute gala to the late City Opera maestro Julius Rudel in March. The event is to feature singers that Rudel worked with over the years, including Plácido Domingo, Frederica von Stade and James Morris. Nevertheless, these plans have drawn skepticism from some observers, in part because of the checkered financial past of Capasso's company. Host Naomi Lewin asks him about that, and also speaks with James Jorden, the editor of the opera website Parterre.com. "No one will be happier than I if New York City has another major opera company," says Jorden, who also writes for the New York Observer. He also cautions: "But I just can't understand how such a plan might work, especially when right now, the Metropolitan Opera is hurting for ticket sales." Listen to the full segment above and tell us in the comments below: what you think of the plans to revive City Opera?

A mini podcast of scenes from acts 3 and 4 of Charpentier's Louise. This is 1977 under Julius Rudel and in addition to the great Beverly, one of the most beloved figures in opera, we have John Alexander,Frances Bible, and Robert Hale. The sound is a bit distant, but the voices come across pretty well. (38 min.)

From 1967, the only time Beverly Sills sang the Puccini Trittico. In Tabarro she is joined by a young Placido Domingo and Seymour Schwartzman; in Suor Angelica the wonderful Frances Bible is the Principessa.(Another superb artist who never got to the Met);In Gianni Schicchi we hear Norman Treigle,one of the greatest singers I ever heard, and Salvator Novoa. Julius Rudel is the conductor. Even in 1967, there were decent tape recorders to preserve performances like this and we must be grateful to whomever recorded the one Sills Trittico.  (73 min.)

 You all know of my great praise for dear Marisa Galvany, and you have responded with praise to my podcasts of her material. Here is another selection of her material, with some repeats, but sometimes it is more valuable to hear a compilation.  Included are scenes and arias from Ernani,Traviata, Cavalleria (with Domingo), and Aida (as Aida and Amneris.)  (58 min.) Galvany studied primarily under Armen Boyajian (also the teacher of Paul Plishka and Samuel Ramey). She made her professional opera debut at the Seattle Opera in 1968 in the title role of Giacomo Puccini's Tosca. The following year, she portrayed the title heroine in Simon Mayr's Medea in Corinto in New York City, a performance which was recorded for Vanguard. She made her first international appearance in 1972 at the Palacio de Bellas Artes in Mexico City in the title role of Giuseppe Verdi's Aida. In 1972 Galvany was offered a contract to join the roster of principal singers at New York City Opera by Julius Rudel. She accepted, making her debut with the company later that year as Elisabetta in Gaetano Donizetti's Maria Stuarda opposite Beverly Sills in the title role. She continued to sing regularly with that company through 1983, portraying such roles as Abigaille in Nabucco, Amelia in Un ballo in maschera, , Odabella in Attila, Santuzza in Cavalleria rusticana, Violetta in La traviata, and the title roles in Anna Bolena and Luigi Cherubini's Médée. She also sang in several different productions of Tosca where she partnered such tenors as José Carreras and Harry Theyard. In 1973, Galvany filmed her acclaimed Lady Macbeth, in Macbeth, for the Canadian Broadcasting Company, opposite Louis Quilico. That same year she made her first appearance with the Philadelphia Lyric Opera Company as Aida with Pier Miranda Ferraro as Radamès, Joann Grillo as Amneris, and Gianfranco Rivoli conducting. In 1974 she made her first appearance at the New Orleans Opera opening the 1974-1975 season as Rachel in Fromental Halévy's La Juive with Richard Tucker as Eléazar. She returned to open the company's next two consecutive seasons as Aida and Valentin in Les Huguenots, the latter production with Rita Shane and Susanne Marsee. She later returned to New Orleans to sing Salomé in Jules Massenet's Hérodiade. Galvany made her debut at the Metropolitan Opera in 1979, in the title role of Norma. In 1985, the singing-actress sang Gertrud in Hänsel und Gretel and Ortrud in Lohengrin on tour with the company, then the Kostelnička in Jenůfa during the Fall Season in the theatre. At the Cincinnati Opera, she appeared in Turandot (with Harry Theyard) and Salome (with Ticho Parly as Herod). During the mid 1980s, Galvany began to add mezzo-soprano roles to her repertoire. She sang Amneris in Aida at the Cincinnati Opera in 1985. In 1992 she sang the title role in Bizet's Carmen with the New York Grand Opera. (NYGO) She performed frequently with the NYGO up into the early 2000s. On the international stage Galvany has appeared at the Opern- und Schauspielhaus Frankfurt, the Liceu, the Great Theatre, Warsaw, the National Theatre in Prague, and the National Theatre in Belgrade among others. She has also sang in operas in Brazil and Venezuela. References The Metropolitan Opera Encyclopedia, edited by David Hamilton, Simon and Schuster, 1987. ISBN 0-671-61732-X Galvany, Marisa biography at operissimo.com (in German)

An abridged performance of Boito's Mefistofele, featuring Norman Treigle, one of the greatest singing actors in opera history. Julius Rudel conducts this 1970 performance which features also Gilda Cruz-Romo  and Robert Nagy. I heartily recommend the book as pictured in the photo. (68 min.)

Highlights from a superb performance of Mme.Butterfly from 1996, featuring my beloved Diana Soviero, Richard Leech, Juan Pons, and Wendy White, conducted by Julius Rudel.    (69 min.)