Podcast appearances and mentions of kate lindsey

durée : 00:12:17 - Le Disque classique du jour du vendredi 11 avril 2025 - Kate Lindsey a choisi de graver ces deux cycles ; l'un, "Frauenliebe und Leben" de Schumann assez connu, l'autre, "La Chanson d'Ève" de Fauré, beaucoup moins enregistré.

durée : 00:12:17 - Le Disque classique du jour du vendredi 11 avril 2025 - Kate Lindsey a choisi de graver ces deux cycles ; l'un, "Frauenliebe und Leben" de Schumann assez connu, l'autre, "La Chanson d'Ève" de Fauré, beaucoup moins enregistré.

Merriam-Webster's Word of the Day for November 12, 2024 is: labile • LAY-byle • adjective Someone or something described as labile is readily open to change. Labile can also be used as a synonym of unstable to describe things that are readily or continually undergoing chemical, physical, or biological change or breakdown. // The director was known for being exacting but also labile, open to actors' interpretations of characters. See the entry > Examples: "Amid this high level of acting skill, [musician Kate] Lindsey stood out with her wonderfully convincing gestures and facial expressions, filling out the character of the more labile younger sister with captivating verisimilitude." — Jeremy Yudkin, The Boston Globe, 17 July 2023 Did you know? We are confident that you won't slip up or err in learning today's word, despite its etymology. Labile was borrowed into English from French and can be traced back (by way of Middle French labile, meaning "prone to err") to the Latin verb labi, meaning "to slip or fall." Indeed, the first sense of labile in English was "prone to slip, err, or lapse," but that use is now obsolete. Other labi descendants in English include collapse, elapse, and prolapse, as well as lapse itself.

Kate Lindsey is a mezzo-soprano, from Richmond, Virginia. She is now based in the U.K. She is a versatile singer, singing opera roles and songs. A brainy singer, too. And a wonderful talker, about all aspects of her art and business. Jay spoke with her before an audience of the Salzburg Festival Society. It is a pleasure to listen to Kate Lindsey—when she is singing, of course, but also in conversation. 

Kate Lindsey is a mezzo-soprano, from Richmond, Virginia. She is now based in the U.K. She is a versatile singer, singing opera roles and songs. A brainy singer, too. And a wonderful talker, about all aspects of her art and business. Jay spoke with her before an audience of the Salzburg Festival Society. It is […]

Kate Lindsey is a mezzo-soprano, from Richmond, Virginia. She is now based in the U.K. She is a versatile singer, singing opera roles and songs. A brainy singer, too. And a wonderful talker, about all aspects of her art and business. Jay spoke with her before an audience of the Salzburg Festival Society. It is a pleasure to listen to Kate Lindsey—when she is singing, of course, but also in conversation. 

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Dr Kate Lindsey, Veterinarian and Founder of Kalmpets joined Julie-Anne Sprague on 6PR Afternoons to discuss whether you can give your pet human medications.See omnystudio.com/listener for privacy information.

Figaro! Figaro! Figaro! Rossini's cheerful comedy rounds out Seattle Opera's season in May 2024. Seattle Opera Dramaturg Jonathan Dean introduces THE BARBER OF SEVILLE with musical examples drawn from Seattle Opera archival recordings from 1992 (conducted by Edoardo Mueller and starring John Del Carlo and Kevin Langan); 2011 (conducted by Dean Williamson and starring José Carbo, Lawrence Brownlee, Sarah Coburn, and Kate Lindsey); and 2017 (conducted by Giacomo Sagripanti and starring Sofia Fomina, Matthew Grills, Will Liverman, Kevin Glavin, and Daniel Sumegi).

Guest host Kinneret Ely interviews opera star Nicholas TamagnaNicholas Tamagna's meteoric rise in recent years has made him one of the world's most fascinating alto voices. Highlights of the last few seasons were undoubtedly his interpretation of Ermano in the award-winning CD recording of Gismondo, re di Polonia (Leonardo Vinci) on the Parnassus label and its extensive concert tour, his MET debut in March 2020 in Sir David's McVicar's re-visited production of Händel's Agrippina as Narciso, at the side of Joyce DiDonato, Harry Bicket, Kate Lindsey and Brenda Rae as well as the worldwide cinema broadcast of the performance and his spectacular interpretation of the Händel roles Ruggiero in Alcina and Silvio in Il Pastor Fido at the Händel Festival in Halle, Tolomeo in Giulio Cesare in Egitto at the Göttingen Händel Festival, and most recently his debut at Bayreuth Baroque 2022 as Timagene in the highly-acclaimed production of Vinci's Alessandro nell'Indie from Max Emanuel Cenčić, at the side of Bruno de Sà, Franco Fagioli, and Jake Arditti. In future seasons, he will be heard at such prestigious houses as San Francisco Opera, Israeli National Opera in Tel Aviv, Theater an der Wien in Vienna, Austria, Pinchgut Opera in Sydney, Australia, and Bayreuth Baroque.SRTN Podcast

Bei den Herbstfestspielen im Festspielhaus Baden-Baden „La Grande Gare“ steht Französisches auf dem Programm. Im Mittelpunkt: Jules Massenets Goethe-Oper „Werther“ – eine Neuproduktion in der Regie von Robert Carsen mit dem Orchester des Balthasar Neumann-Ensembles unter der Leitung von Thomas Hengelbrock und dem Chor Cantus Juvenum Karlsruhe. In der Titelparte gastiert Jonathan Tetelman erstmals in Baden-Baden und Kate Lindsey singt seine Angebetete Charlotte.

This week Ash + Avi are joined by the fantastic world renowned mezzo, Kate Lindsey! Kate's career is one so many singers aspire to. She shares what her journey has been like, working on special projects like “Handmaids Tale” as well as motherhood as an opera singer. We hope you love this episode as much as we do. Kate's Links: Website | Instagram Our Links:Website | Instagram | Buy us a Coffee 

This week, Dana is joined by the CEO of Alpha Corporation, Kate Lindsey for a conversation on discovering the bright side of unexpected life detours. Kate shares how she inherited the Alpha Corporation and the transferrable skills from her career in education and working alongside her husband that helped prepare her to acquire the company. She also emphasizes her commitment to having women hold managerial roles in the company. Later, Kate and Dana reflect on the importance of not limiting yourself to one set idea of how your life should be. Keep up with Dana on Twitter: @DanaPerino Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Dana is joined by the CEO of Alpha Corporation, Kate Lindsey for a conversation on discovering the bright side of unexpected life detours. Kate shares how she inherited the Alpha Corporation and the transferrable skills from her career in education and working alongside her husband that helped prepare her to acquire the company. She also emphasizes her commitment to having women hold managerial roles in the company. Later, Kate and Dana reflect on the importance of not limiting yourself to one set idea of how your life should be. Keep up with Dana on Twitter: @DanaPerino Learn more about your ad choices. Visit megaphone.fm/adchoices

Figaro! Figaro! Figaro! Rossini's cheerful comedy rounds out Seattle Opera's season in May 2024. Seattle Opera Dramaturg Jonathan Dean introduces THE BARBER OF SEVILLE with musical examples drawn from Seattle Opera archival recordings from 1992 (conducted by Edoardo Mueller and starring John Del Carlo and Kevin Langan); 2011 (conducted by Dean Williamson and starring José Carbo, Lawrence Brownlee, Sarah Coburn, and Kate Lindsey); and 2017 (conducted by Giacomo Sagripanti and starring Sofia Fomina, Matthew Grills, Will Liverman, Kevin Glavin, and Daniel Sumegi).

Gestern fand in der Wiener Staatsoper die zweite Vorstellung von Claudio Monteverdis „L`Orfeo“ statt. Der radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet: L'Orfeo ist zwar nicht die erste Oper, aber die erste die vollständig erhalten ist. Sie ist von einer frappierenden Vollkommenheit. Nicht nur die differenzierte Musik Claudio Monteverdis, auch das Textbuch von Alessandro Striggio sind von hoher Qualität. Eigentlich erstaunlich, dass keinerlei Anfängerfehler zu erkennen sind. Die Geschichte der Oper – damals sagte man noch „Favola“ – beginnt mit einem Paukenschlag. Kaum zu glauben, dass man vor 415 Jahren schon so professionell war. Die Wiener Staatsoper hat dieses Werk in einer Realisierung präsentiert, die allen Ansprüchen genügt. Nikolaus Harnoncourt hat mit seiner Einspielung 1968 die Basis gelegt. Schon damals war der Concentus Musicus Wien jener Klangkörper, der die Genialität dieser Partitur zur Geltung brachte. Auch gestern erklangen unter Pablo Heras-Casado alle Feinheiten der Musik. Viele Musikerinnen und Musiker hatten solistische Aufgaben, die mit Bravour bewältigt wurden. In der Titelrolle war der Bariton Georg Nigl ein Glücksfall. Er bewältigte auch die hohen Töne und war in der mittleren Lage dem Text und der Musik verpflichtet. Nur in den Koloraturen hätte ich mir mehr tenorale Geschmeidigkeit gewünscht. Es ist kein Wunder, dass fast alle Einspielungen den Orpheus mit einem Tenor besetzt haben, auch wenn die Tessitura sehr tief liegt. Mich wundert, dass Caronte – verlässlich Wolfgang Bankl – bei diesem Gesang einschläft. Der zweite Star des Abends ist Kate Lindsey, der man die allegorischen Figuren der Musik, der Speranza (Hoffnung) und das Echo anvertraut hat. Slavka Zámečnikova sang wunderschön die Eurydice. Schade, dass die Rolle so kurz ist. Das übrige Ensemble – Christina Bock las Proserpina und Botin – Andrea Mastroni als Pluto und Hiroshi Amako als Apollo – passten sich allzusehr an. Da sollten sich in Zukunft mehr Persönlichkeiten entwickeln. Auch diese Figuren haben Charakter. Schon vor Beginn binden der Regisseur Tom Morris und die Kostümbildnerin Anna Fleischle das Publikum ein. Eine ideale Einladung zur Hochzeit von Orpheus und Eurydike. Sogar die Handydurchsage und der Maskenhinweis sind schon heiter durchinszeniert. Dann findet das Drama des Todes eines geliebten Menschen statt. Das Bühnenbild mit dem live mitgefilmten Zuschauerraum wird im Hades zu einer grauenerregenden Unterwelt, in der es keine Hoffnung gibt. Anna Fleischle hat auch als Bühnenbildnerin Außergewöhnliches zu bieten. Am Schluss entschwebt Orpheus gegen den Himmel. Das ist schon fast kitschig. Das Publikum war auch gestern begeistert und das wiegt bei einer zweiten Vorstellung noch mehr als bei der Premiere. So kann die älteste erhaltene Oper gezeigt werden. Wertnote: 9,3/10 Punkten

Tom Service talks to virtuoso vocalist Bobby McFerrin about the latest chapter in his musical life and his ceaseless creativity. He's been inspiring audiences to make music with him during concerts for decades, and now, following a Parkinson's diagnosis, he is taking this further as he starts to perform live again. Bobby reflects on his early solo shows, the improvisation technique ‘circle singing' which he developed in the 1980s and whether music can really bring peace to the world. Folk musician Mari Kalkun comes to the studio with her kannel, a traditional Estonian plucked string instrument with a long history which plays a central role in much of her music. Mari talks to Tom about her personal and artistic response to the war in Ukraine and how musical activism is now an essential part of her role as an artist. We visit English National Opera to find out more about a new production of Poul Ruders's The Handmaid's Tale, based on Margaret Atwood's seminal novel. Tom is joined by director Annilese Miskimmon, mezzo-soprano Kate Lindsey who sings Offred and soprano Emma Bell who sings Aunt Lydia, to explore how the story is being brought to life on stage and why it is a shattering story of our times. Plus conductor and harpsichordist Rinaldo Alessandrini tells us about the irresistible theatrical energy of Vivaldi's 'L'estro armonico' concertos from 1711 and why placing them alongside reworkings by JS Bach on his new recording with his ensemble Concerto Italiano offers a new perspective and a thrilling ride. Image: © Carol Friedman

Join us as we head to Hastings, UK to talk with the extraordinary mezzo-soprano, Kate Lindsey, about her new album Tiranno, life and work during the pandemic, and learning how to not sweat the small stuff. http://katelindsey.com/ https://www.screamingdivas.com/  

Eine CD von Kate Lindsey mit dem Ensemble Arcangelo unter Jonathan Cohen - vorgestellt auf NDR Kultur.

As they recover from Memorial Day weekend, the OBS boozers put aside the yellow cards, the red cards, and the AGMA negotiations. You can sit back and enjoy a holiday-length one-on-one with mezzo-soprano (and deluxe trouser role specialist) Kate Lindsey… Next week, the OBSers take a deep dive into opera-as/in/on-film… operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

For her third album for Gramophone's current Label of the Year, Alpha Classics, the mezzo-soprano Kate Lindsey re-visits the Baroque for ‘Tiranno'. She offers five works by four composers – Alessandro Scarlatti, George Frederick Handel, Claudio Monteverdi and Bartolomeo Monari – that put Nero, his mother Agrippina and second wife Poppea centre stage. Lindsey's last stage role before the pandemic was as Nero in Sir David McVicar's acclaimed production of Handel's Agrippina at New York's Metropolitan Opera and her first role before an audience as the Staatsoper in Vienna recently re-opened its doors to the public was as Nero in Monteverdi's L'incoronazione di Poppea. James Jolly spoke to Kate Lindsey the day before L'incoronazione di Poppea opened and they discussed the new album and its themes of power and corruption, her experience of playing Nero and her plans for the future. Gramophone Podcasts are presented in association with Wigmore Hall.

[@ 4 min] In ‘Chalk Talk’, it’s the second part of a doubleheader on opera’s rebound from the pandemic. Your OBS team picks four season announcements that just might be the pacecar for other opera houses this fall... [@ 32 min] In the ‘Two Minute Drill’, it’s Madame Butterfly Cancel Culture. Yeah, the OBS-ers are just going to say “cancel culture”, until it doesn't mean anything anymore… Next week, OBS goes ‘Inside the Huddle’ with American mezzo-soprano Kate Lindsey… operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

The 10 recording category winners have been announced, and the countdown to the naming of the 2020 Gramophone Recording of the Year has begun. All with be revealed during the evening of October 6 at a special online ceremony from Glyndebourne hosted by Gramophone's James Jolly and the mezzo-soprano Kate Lindsey. (Watch it on Gramophone's website, Facebook and YouTube channels and on Medici.TV.) To accompany the revealing of the 10 recording category winners, James Jolly was joined by Gramophone's Editor, Martin Cullingford, and Gramophone's Reviews Editor, Tim Parry, to talk through the winning albums, an inspiring mix of the familiar and the unfamiliar - everything linked by the excellence of its performance.

Seattle Opera Dramaturg Jonathan Dean introduces the mezzo and contralto voices. With their rich, creamy, dark sounds these lower-voiced ladies play opera’s most luscious babes, as well as boys, old women, jealous wives, vengeful goddesses, and loving mothers. Featuring musical examples including Seattle Opera favorites Michelle DeYoung, Helene Schneidermann, Sarah Mattox, Rosemary Alvino, Daniela Sindram, Kate Lindsey, Graciela Araya, Laura Polvarelli, Luretta Bybee, Maria Zifchak, Sarah Larsen, Margaret Gawrysiak, Rosalind Plowright, Marvellee Cariaga, Joyce Castle, Stephanie Blythe, Elena Gabouri, Florence Quivar, Ewa Podles, Sheila Nadler, and Geraldine Decker.

In this podcast, LA Opera's Sebastian Paul & Marybelle Musco President & CEO Christopher Koelsch speaks with renowned mezzo-soprano Kate Lindsey. Ms. Lindsey was scheduled to appear as Mélisande in LA Opera's production of Pelléas and Mélisande, but it was necessarily cancelled due to COVID-19. Listen to this wide-ranging conversation, recorded in early May from their respective homes, as the two discuss several of her spell-binding performances, how she prepares and what might be on the horizon.

Von Theseus verlassen, von den Opernkomponisten geliebt. "Arianna" heißt das neue Album von Kate Lindsey mit Musik von Scarlatti, Händel und Haydn.

durée : 01:57:59 - En pistes ! du mardi 11 février 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour également : Louis Lortie poursuit l'enregistrement des Concertos pour piano de Camille Saint-Saëns, Beethoven Britten et Barber se côtoient dans le nouvel album de la violoniste Liya Petrova, des berceuses issues de l'Italie Baroque par Pino de Vittorio et le Laboratorio 600... - réalisé par : Lionel Quantin

Rossini’s La Cenerentola combines the human warmth of the beloved Cinderella story with the wit and sparkle of The Barber of Seville. Seattle Opera Dramaturg Jonathan Dean introduces La Cenerentola with musical examples from Seattle Opera’s archival recordings of La Cenerentola: from 1996, with Laura Polvarelli (Cenerentola), Gregory Kunde (Don Ramiro), Robert Orth (Dandini), Jan Opalach (Alidoro), Julian Patrick (Don Magnfico), Louise Marley (Tisbe), and Sally Wolf (Clorinda), conducted by Yves Abel; and from 2013, with Karin Mushegain (Cenerentola), Edgardo Rocha (Ramiro), Brett Polegato (Dandini), Arthur Woodley (Alidoro), Sarah Larsen (Tisbe), Dana Pundt (Clorinda), Patrick Carfizzi (Don Magnifico), conducted by Giacomo Sagripanti. Special example of Kate Lindsey singing Cenerentola’s rondo at 2014’s Speight Gala conducted by Carlo Montanaro.

Dr Kate Lindsey is a veterinarian who has had a lifelong fascination with animals and their behaviour. After feeling confused and uncomfortable with the high rates of euthanasia due to behavioural reasons seen in veterinary practice, Kate pursued further studies in this field and founded Kalmpets in Perth, WA. Kate and I discuss emerging research in the field of behavioural medicine and the crossover between canine and human mental illnesses. We then jump into the specifics of how she uses diet and supplements to aid in the management of her cases.  Topics discussed include: The importance of recognising canine cognitive dysfunction as a true neurological condition and treating it as such   Diagnosing mental illnesses in dogs, including anxiety, sleep disorders, attention deficit disorders and autism using knowledge of distinct behavioural patterns and taking an individualised approach  Do dogs suffer from depression and post traumatic stress disorder? Neurotransmitters involved in mental illnesses, including serotonin, dopamine and noradrenaline Kate's most reached for supplements for brain health Nutritional psychiatry and Kate's professional beliefs about the best diet for brain health  The gut-brain axis and the importance of the microbiome  Serotonin syndrome- what are the risks?  You can reach Dr Kate at kalmpets.com.au or (08) 9240 2228. 

During the last year of his life, Mozart was deep into writing THE MAGIC FLUTE when he suddenly got a commission to write a new opera seria: LA CLEMENZA DI TITO. This season, powerhouse mezzo-soprano Joyce DiDonato sings her world-renowned portrayal of the tortured Sesto for the very first time at the Met! She is joined onstage by audience favorite, Matthew Polenzani, who adds the title role of Tito to his vast repertoire. In this episode, Guild lecturer and podcast co-host Naomi Barrettara discusses the historical context and musical highlights of this monumental work. (Musical examples from CLEMENZA within the lecture are from the Met’s 2012 Live in HD Broadcast, featuring Kate Lindsey singing Annio, Lucy Crowe singing Servilia, Elīna Garanča singing Sesto, Barbara Frittoli singing Vitellia, and Giuseppe Filianoti singing Tito.)

Seattle Opera Dramaturg Jonathan Dean introduces the mezzo and contralto voices. With their rich, creamy, dark sounds these lower-voiced ladies play opera’s most luscious babes, as well as boys, old women, jealous wives, vengeful goddesses, and loving mothers. Featuring musical examples including Seattle Opera favorites Michelle DeYoung, Helene Schneidermann, Sarah Mattox, Rosemary Alvino, Daniela Sindram, Kate Lindsey, Graciela Araya, Laura Polvarelli, Luretta Bybee, Maria Zifchak, Sarah Larsen, Margaret Gawrysiak, Rosalind Plowright, Marvellee Cariaga, Joyce Castle, Stephanie Blythe, Elena Gabouri, Florence Quivar, Ewa Podles, Sheila Nadler, and Geraldine Decker.

Rossini’s La Cenerentola combines the human warmth of the beloved Cinderella story with the wit and sparkle of The Barber of Seville. Seattle Opera Dramaturg Jonathan Dean introduces La Cenerentola with musical examples from Seattle Opera’s archival recordings of La Cenerentola: from 1996, with Laura Polvarelli (Cenerentola), Gregory Kunde (Don Ramiro), Robert Orth (Dandini), Jan Opalach (Alidoro), Julian Patrick (Don Magnfico), Louise Marley (Tisbe), and Sally Wolf (Clorinda), conducted by Yves Abel; and from 2013, with Karin Mushegain (Cenerentola), Edgardo Rocha (Ramiro), Brett Polegato (Dandini), Arthur Woodley (Alidoro), Sarah Larsen (Tisbe), Dana Pundt (Clorinda), Patrick Carfizzi (Don Magnifico), conducted by Giacomo Sagripanti. Special example of Kate Lindsey singing Cenerentola’s rondo at 2014’s Speight Gala conducted by Carlo Montanaro.

durée : 00:58:45 - Les 30 ans de Proquartet - par : Jean-Baptiste Urbain - **Avec Pierre Korzilius, directeur de [ProQuartet](https://www.proquartet.fr/), Centre européen de musique de chambre** ## Au disque **Joseph Haydn** _Quatuor à cordes en si bémol majeur op. 76 n° 4 "Lever de soleil" (extrait) : III. Menuet Allegro_ Quatuor Manfred Disques Pierre Vérany **Philip Glass** _Quatuor à cordes n° 5 (extrait) : V._ Quatuor Smith Signum **Franz Schubert** _Quatuor à cordes n° 4 en ut majeur D. 46 (extrait) : IV. Finale_ Quatuor Modigliani Mirare ## Actualités {% image ad7fd49e-dff2-4270-8db1-d8a3cd0fc621 %} **Ernest Chausson** _Chanson perpétuelle op. 37_ Kate Lindsey, mezzo-soprano / [Quatuor Van Kuijk](http://www.quatuorvankuijk.com/) / Alphonse Cemin, piano Alpha {% image 03700c07-a43d-4b3b-b12a-cb2d7b20e003 %} **Edouard Grieg** _Quatuor à cordes n° 1 en sol mineur op. 27 (extrait) : II. Romanze : Andantino - Allegro agitato_ [Quatuor à cordes David Oistrakh](http://www.oistrakhquartet.com/) Muzo {% image 531ddabe-9ffe-425a-b852-f33848afbcc6 %} **César Franck / arrangement Soledad** _Prélude (extrait de Prélude, Fugue et Variation en si mineur)_ [Soledad](http://www.manucomte.com/logical.html) : Manu Comté, bandonéon / Jean-Frédéric Molard, violon / Alexander Gurning, piano Warner Music {% image 00c0e8b6-6165-4b1b-b582-de842244b490 %} **Erik Satie / arrangement Manuel Doutrelant et Thierry Escaich** _Je te veux_ [Romain Leleu](https://romainleleu.com/), trompette / Thierry Escaich, orgue Aparté - réalisé par : Laurent Lefrançois

Host Brian Lauritzen interviews Kate Lindsey, who plays the Muse in "The Tales of Hoffmann."

In an isolated fishing village in Papua New Guinea, a linguist sets out to write the first dictionary of the Ende language. Not long after she begins, she finds that one word was more difficult to translate: mokwang, Ende’s word for love, which also means survival. In this story, we’ll hear how Ende women define what it means to love in Limol, Papua New Guinea. Featuring: Grace Maher, Lois Sadua (translator), Musato Giwo (translator), Joshua Dobola, Robai Reend, Donai Kurupel, Manaleato Kolea, Jenny Dobola, Pingam Uziag, Loni Garaiyi, Sandra Dikai, Merol Kwe, Wagiba Geser Writer: Kate L. Lindsey Producers: Kate L. Lindsey, with help from Claire Schoen Music: Women from Limol Image caption: Kate Lindsey listening to Limol women Image photographer: Grace Maher Production date: April 16th, 2016