Podcast appearances and mentions of Kathleen Battle

This episode of The Other Side of the Bell, featuring women's trumpet trailblazer, founder of the International Women's Brass Conference, and 40-year First Trumpet of the St. Louis Symphony Orchestra, Susan Slaughter, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Susan Slaughter trumpet interview"   About Susan Slaughter:   Born in McCordsville, IN, Susan Slaughter started playing trumpet at the age of 10. Graduating from Indiana University with a coveted performer's certificate, Susan auditioned for and won the Principal Trumpet position in 1967 with the Toledo, Ohio Symphony.   Susan then joined the Saint Louis Symphony Orchestra in l969 and four years later became the first woman ever to be named Principal Trumpet of a major symphony orchestra.   In 1992, Susan founded the International Women's Brass Conference, an organization dedicated to provide opportunities and recognition for women brass musicians. As a fund-raising effort to support the International Women's Brass Conference, Ms. Slaughter organized and produced the very popular Holiday Brass Concerts, which are now in their second decade, and are performed each December in the Cathedral Basilica of Saint Louis. Other cities in the United States are holding their own Holiday Brass Concerts to help support the ever-growing International Women's Brass Conference.   In 1996, Ms. Slaughter founded Monarch Brass, an all women's brass ensemble, which has toured in the United States and Europe to critical acclaim.   Susan appears regularly in area recitals and religious programs, and has been a frequent soloist with the Saint Louis Symphony Orchestra, as well as with several other ensembles throughout the country. Her work is represented on a number of Saint Louis Symphony releases, including the highly acclaimed recordings of Mahler's Symphony No. 2, Prokofiev's Symphony No. 5, Gershwin's Piano Concerto in F, Mussorgsky's Pictures at an Exhibition, Barber's Capricorn Concerto, and most recently, John Adams' Doctor Atomic. Many of these and other recordings have been nominated for or won Grammy Awards. Susan has performed with Wynton Marsalis, Kathleen Battle, Christine Brewer, Doc Severinsen, Al Hirt in duets, amongst others.   She has served on the faculty of the Grand Teton Orchestra Seminar and the National Orchestra Institute, and has been lecture/recitalist at the International Trumpet Guild, while also serving on its board of directors.   Since the 1980's, Susan has performed the National Anthem and “God Bless America” on an annual basis for the St. Louis Cardinals Baseball Club and, at the invitation of the Baseball Commissioner Fay Vincent, performed the National Anthem at Game 3 of the 1991 World Series, played in Atlanta between the Braves and Twins (link).   Some of the awards and recognition Susan has received over the years include nomination by Ladies Home Journal for its annual Woman of the Year award, a special Leadership Award in the Arts from the Young Women's Christian Association, the American Federation of Musicians, Local 2-197 Owen Miller Award for loyalty, dedication and fairness in actions and deeds, and the 2007 Arts and Education Council Award for Excellence in the Arts.   Susan has studied over the years with Herbert Mueller, Bernard Adelstein, Arnold Jacobs, Robert Nagel, Claude Gordon and Laurie Frink, and retired as Principal Trumpet from the Saint Louis Symphony on September 1, 2010.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: Holiday Brass Los Angeles Brass Alliance website https://www.instagram.com/losangelesbrassalliance/  International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam Greg Wing, Reflections on a Grateful Journey, available on Apple Music   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - Susan Slaughter Audio Engineer - Ted Cragg

As a result of Zilla Jones' The World So Wide, slated for publication with Cormorant Books on April 26, 2025, Linda reflects on opera (specifically Verdi's La Forza Del Destino) – historically an elitist art form, but one that Felicity Alexander, the protagonist of Jones' novel, in part challenges and overcomes through the very successes of her career. The trajectory of that career takes a darker turn when she finds herself in Grenada during the 1983 American invasion of that country – not an untimely revisioning of history in view of the current American political situation (27:40; 28:50).Linda also speaks about Verdi's La forza del destino with Renata Tibaldi as Leonore and her father's love for opera (2:15), before she turns to the interview with Zilla Jones to speak about the following:Opera's potential as an artform vs. its polarizing, and its elitism as art form (3:20; 12:30)Arts vs. politics (13:30)Sara Ahmed's What's the Use? (5:00; 6:15)Of what use is art in a time like this? (6:00; 31:45)Shani Mootoo (Season 3, Episode 6, 6:00)Decolonization and racial politics (12:15)The novel as a colonial construct (16:15)Dionne Brand, Salvaging the Wreck (16:03)Robinson Crusoe (16:15)Felicity as mixed-race heroine (17:30; 33:20)Kathleen Battle (18:46; 19:00)Grenada (history of, 20:45, and its “Revo,” 23:10; Red Sky Revolution, 23.20)Jones' research for the novel (24:35)The history of the Panama Canal (27:40)Toni Morrison (31:50)Gender and racialized motherhood (34:10)Felicity (naming of) (39:30) Hosted on Acast. See acast.com/privacy for more information.

Born in Kingston, Jamaica, Russell Hall migrated to the United States in 2007 where his double bass studies progressed quickly through the rigorous programs of The Dillard Center for the Arts and The Juilliard School. Russell deeply understands the jazz tradition, having studied with many of the double bass world's most renowned artists including Ron Carter and Ben Wolfe. Still, he is also an artist looking forward with his own distinct approach to the double bass.   As a first-call bassist in New York City, Russell has performed with some of the biggest names in music including Joey Alexander, Wayne Shorter, Wynton Marsalis, Branford Marsalis, Jon Batiste, Roy Hargrove, Kathleen Battle, Christian McBride, Emmet Cohen, Russell Malone, George Coleman and many more.  Well known for his work with the Emmet Cohen Trio alongside drummer Kyle Poole, Russell also leads his own bands, including Bessie and the Rainbowkids to much critical acclaim.  Russell Hall joined the Discover Double Bass faculty as a jazz bass specialist in 2022 where he presented his course, Bessie's Bass Busters.  Russell Hall is well known as a member of the Emmet Cohen Trio and bassist for the wildly popular ‘Live From Emmet's Place' series. In this video, he was joined by non-other than the great Christian McBride for a tasteful double bass duo.

[@ 2 min] FOS Francesca Zambello and composer Christopher Tin recently changed the ending of "Turandot" at the Kennedy Center. We're taking a page from their book to see what problematic productions might also be in need of a refreshed finale... [@ 20 min] And then... PJ files two ecstatic field reports from the Met: one is a rock concert and the other is all about the Boy... [@ 24 min] Plus, in the ‘Two Minute Drill'… stories about Beethoven's hair and Yannick Nézet-Séguin's heart... GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

[@ 4 min] We go 'Inside the Huddle' with Hera Hyesang Park. The South Korean soprano's sophomore album was just released and she tells us about how she was photographed for the album cover... [@ 29 min] Plus, in the ‘Two Minute Drill'… Swifties got the "Eras" tour and the Beehive got the "Renaissance" tour. Lookout, opera fans: Kathleen Battle is back with the "Battle Fatigue" tour... GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

SynopsisToday marks the birthday of American composer, choral conductor and educator Betty Jackson King. She was born in Chicago in 1928, where she earned her master's degree in composition at Roosevelt University. Her master's thesis was an opera, Saul of Tarsus, whose libretto was written by her father, the Rev. Frederick D. Jackson.King is perhaps best known for her sacred and choral works, especially her arrangements of spirituals, and, according to her family, her musical career reflected her deep religious faith. “Over my head, I hear music in the air, so there must be a God somewhere,” was her oft-stated creed.King also wrote secular works, including a ballet for children, chamber works, art songs and solo pieces for piano and organ. She was an active teacher and choral conductor in her native Chicago before moving to Wildwood, New Jersey, where she taught, conducted and composed for the rest of her life.A few years before King's death in 1994, soprano Kathleen Battle performed and recorded "Ride-Up in the Chariot,” one of Jackson's spiritual arrangements, at a televised Carnegie Hall concert of spirituals conducted by James Levine.Music Played in Today's ProgramBetty Jackson King (1928-1994): Spring Intermezzo, fr Four Seasonal Sketches; Helen Walker-King, vn; Gregory Walker, p. Leonard 339

With Nick back and Tim relieved not to be holding the fort alone, this episode begins with something different - a discussion about the anointing of the sick - and ends with something equally out of the ordinary - a joke that Nick really should have heard before. And if that wasn't enough right in the middle, Nick and Tim settle a matter playing rock, paper, scissors. Intrigued? Have a listen. Here is the music they played as well as the lyrics to the hymn from Glenstal Tim sang. 1. There is a Balm in Gilead sung by Jessye Norman and Kathleen Battle from the album Spirituals in Concert (Kathleen Battle Edition, Vol. 10) 2. The Communion Antiphon for the 33rd Sunday in Ordinary Time, Amen Dico Vobis, Sung by the Dominican Friars. 3. Our Help is in the Name of the Lord from the Hillbilly Thomists 4. Tallis: Spem in Alium - 1. Spem in Alium from the album Spem in Alium - The Tallis Scholars Sing Thomas Tallis 5. Sunctus (sung live!) 6. Duruflé: Requiem, Op. 9: IV. Sanctus from the album Fauré: Requiem, Op. 48 - Duruflé: Requiem, Op. 9 7. The Hymn at Nightfall from the album Vision of Peace: Monks of Ampleforth Abbey 8. Compline hymn from Glenstal (sung live!) 9. Salve Regina : Glissade dans la neige from the album Le grand silence (Bande originale du film) Compline Hymn: As shadows fall and daylight dies, Renew your gift of peace. Be with us as we close our eyes, Let all our troubles cease. Though we may sleep, stay in our hearts Keep your love there ablaze. When darkness of the night departs We'll rise to sing your praise. Watch over us that as we sleep, Our purpose stay aflame. Let angels all-night vigil keep To guard us in your name. To you be glory, God of rest, And glory to your Son, To you be glory, Spirit blest, The Holy Three in One. Amen

durée : 01:28:40 - En pistes ! du mardi 31 octobre 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce mardi, Emilie et Rodolphe vous proposent d'entendre une sélection des plus belles interprétations de la soprano américaine Kathleen Battle, mais aussi le Choeur de chambre de Namur, l'Orchestre de l'Opéra Royal, en passant par l'Orchestra di Padova, sans oublier Vladimir Ashkenazy. En pistes ! - réalisé par : Lionel Quantin

durée : 01:28:41 - En pistes ! du lundi 30 octobre 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour débuter la semaine, Emilie et Rodolphe vous ont préparé des œuvres diverses, incarnées par des artistes de talent. Au programme : Mozart avec Kristian Bezuidenhout, Itzhak Perlman dans Beethoven, mais aussi Kathleen Battle et Rossini, sans oublier Mariana Flores dans des chansons argentines. - réalisé par : Lionel Quantin

Justin Hopkins is an opera singer and musical theatre performer from Philadelphia, and currently based in Antwerp.Justin is the first guest to take me on a particularly classical journey, and I was thrilled to dive into his selections. We discuss pieces by Tchaikovsky, Kathleen Battle and Jessye Norman, and Elton John.You can follow Justin on Instagram here.Tracks of Our Queers is produced, presented and edited by Andy Gott.You can listen to our Spotify playlist, Selections from Tracks of Our Queers, and find Aural Fixation in your favourite podcast provider. Support the showHelp keep Tracks of Our Queers ad-free by shouting me a coffee right here. Thank you for your support.

Chillout Classic w Radio Spin #8 "BACH" Odkryjmy magię muzyki Jana Sebastiana Bacha. Poniższa playlista to bardzo okrojony i subiektywny wybór jego kompozycji, bo przecież muzyki pasującej do tej audycji jest bez liku. Na pewno pokłonie się jeszcze tej genialnej muzyce. Bacha można słuchać i słuchać a jego muzyka idealnie nadaje się na chillout w domowym zaciszu, z dala od zgiełku. Późna pora jest ku temu najlepszym czasem...no i oczywiście wygodny fotel 1. J.S. Bach - Aria z Wariacji Golbergowskich, Andras Schiff. 2. J.S. Bach - Toccata i fuga d-moll, BWV 565, aranżacja na orkiestrę Leopold Stokowski. 3. J.S Bach - Preludium i fuga C-dur, BWV 846, Glen Gould. 4. J.S Bach/C.Gounod - Ave Maria, Nigel Kennedy. 5. J.S. Bach - Sonata for Violin Solo a- moll, BWV 1003, Andante, Henryk Szeryng. 6. J.S. Bach - Cello Suite No. 1 G-dur, BWV 1007, Preludium, Yo-Yo Ma. 7. J.S. Bach - Concerto for 2 Violins d-moll, BWV 1043, Largo ma non tanto, Anne Sophie Mutter, Salvatore Accardo, English Chamber Orchestra. 8. J.S. Bach - Preludium i fuga c-moll, BWV 846, Vikingur Ólafsson. 9. J.S. Bach - Kantata BWV 115, Aria "Bete, betę aber auch dabei", Kathleen Battle, Itzhak Perlmann, Orchestra of St. Luke's, John Nelson. 10. J.S. Bach, Aria z Suity D-dur, Jacques Loussier.

Music Carolyn mixes jazz with gospel vocals, adding R&B vibes and soulful latin rhythms. A native of Houston, Texas, who calls Los Angeles home, she is classically-trained and has studied the arts community in Chicago. She brings a pure joy to her singing that is infectious. Having an affinity for the Hawaiian Islands, her music captures the beauty and power of nature, often comparing the five elements to themes of romance, self-love and relaxation. Her music can be described as R and chill, vacation soul and meditation jazz. Music Carolyn is not only a recording artist but also a veteran music business professional. She is a voting member of the Recording Academy as well as the Television Academy and a member of the Guild of Music Supervisors. As founder of Music 4 Scenes, Music Carolyn provides music business consulting, music clearance, custom music and music supervision services. As a background singer and ensemble vocalist, Music Carolyn has shared the stage, screen and studio with an eclectic group of artists in the jazz, classical, soul, gospel and pop world including Grammy winner Kathleen Battle, Grammy-nominated Lukas Graham, Oscar-nominated Alfre Woodard, as well as Grammy-nominated gospel singer Dayna Caddell and R&B Crooner Jon B. Fans may have also seen her singing a gospelized rendition of the national anthem at Dodger stadium, as well as performing at Jewish temples, colleges and Christian churches, alongside Dr. Diane White-Clayton with her gospel/classical fusion group BYTHAX Ensemble. Her debut album, Fireworks and Ocean Waves has garnered critical acclaim with Music Connection saying her music features, “Pleasant, melodious lead vocals and exceptional backup blends elevate these recordings by Music Carolyn, whose tunes and lyrics have a persistent positivity…” Music Carolyn's influences include Nancy Wilson, Amel Larrieux, Gregory Porter, Bobby McFerrin, Maxwell, Jill Scott, Kurt Elling, and Sade. Her foundation in classical, contemporary soul and sacred music, coupled with her love of nature and a good-vibes-only approach to melody and lyric creates a refreshing and soothing sound that has been called "angelic" by Chris Sampson of Joy Sounds Music. Music Carolyn mixes jazz with gospel vocals, adding R&B vibes and soulful latin rhythms. A native of Houston, Texas, who calls Los Angeles home, she is classically-trained and has studied the arts community in Chicago. She brings a pure joy to her singing that is infectious. Having an affinity for the Hawaiian Islands, her music captures the beauty and power of nature, often comparing the five elements to themes of romance, self-love and relaxation. Her music can be described as R and chill, vacation soul and meditation jazz. Music Carolyn is not only a recording artist but also a veteran music business professional. She is a voting member of the Recording Academy as well as the Television Academy and a member of the Guild of Music Supervisors. As founder of Music 4 Scenes, Music Carolyn provides music business consulting, music clearance, custom music and music supervision services. As a background singer and ensemble vocalist, Music Carolyn has shared the stage, screen and studio with an eclectic group of artists in the jazz, classical, soul, gospel and pop world including Grammy winner Kathleen Battle, Grammy-nominated Lukas Graham, Oscar-nominated Alfre Woodard, as well as Grammy-nominated gospel singer Dayna Caddell and R&B Crooner Jon B. Fans may have also seen her singing a gospelized rendition of the national anthem at Dodger stadium, as well as performing at Jewish temples, colleges and Christian churches, alongside Dr. Diane White-Clayton with her gospel/classical fusion group BYTHAX Ensemble. Her debut album, Fireworks and Ocean Waves has garnered critical acclaim with Music Connection saying her music features, “Pleasant, melodious lead vocals and exceptional backup blends elevate these recordings by Music Carolyn, whose tunes and lyrics have a persistent positivity…” Music Carolyn's influences include Nancy Wilson, Amel Larrieux, Gregory Porter, Bobby McFerrin, Maxwell, Jill Scott, Kurt Elling, and Sade. Her foundation in classical, contemporary soul and sacred music, coupled with her love of nature and a good-vibes-only approach to melody and lyric creates a refreshing and soothing sound that has been called "angelic" by Chris Sampson of Joy Sounds Music.   Listen to singles  "The One" and "Beach of My Own" on Spotify. Connect with Music Carolyn online: Website: http://musiccarolyn.com/ Facebook: http://facebook.com/musiccarolynofficial Twitter: http://twitter.com/musiccarolyn Instagram: http://instagram.com/musiccarolyn YouTube: http://youtube.com/musiccarolyn ________________________________________ Support the channel here: DONATE – CashApp… https://bit.ly/30ps5cT – Patreon… https://bit.ly/3vyWVvr – Buy Me A Coffee: https://bit.ly/2Z1JfwZ ________________________________________ Check out Merch at ‘The Soul Shop' https://bit.ly/3aIS7df For more information and news, check out our website and on social media: Web: www.BringBackSoulMusic.com Facebook: /BringBackSoulMusic2019 Instagram: instagram.com/bringbacksoulmusic2019 ​​ Twitter: https://twitter.com/BringBackSoulM1__… YouTube: https://www.youtube.com/bringbacksoul... Bring Back Soul Music Playlist on Spotify:   

Conductors Sara Jobin and Clarence Smith join us for a preview of the TSO's upcoming concert with opera legend Kathleen Battle, which also features the Clarence Smith Community Chorus and the Voices at BGSU.

Joel A. Martin is a Norwalk CT-based pianist, producer, composer, and arranger who has collaborated with, and/or written music for, Grammy® Award-winners Alan Menken, Kathleen Battle, Fergie of the Black Eyed Peas, Brooklyn Youth Chorus, cellist Eugene Friesen of the Paul Winter Consort, and Rock and Roll Hall of Famer Jaimoe of the Allman Brothers, among many luminaries. At age 17 Joel was the youngest and the first African-American pianist to compete in the Van Cliburn International Piano Competition (1985). He has appeared as a soloist with the NY Philharmonic, El Paso Symphony, Springfield Symphony Orchestra (MA), Philadelphia Orchestra, Cab Calloway Orchestra, New Hampshire Festival Orchestra, and the Hartford Symphony, among many others. Trained as a classical pianist at the Hartt School of Music and SUNY, Purchase, he created "Jazzical" in 1995 as a celebration of creative fusion: "the explosive union of classical composition and jazz innovation ignited with a fresh spirit all its own." This concept, form and vehicle "captures the dynamic force of multiple cultures and influences, unleashing a kinetic energy that breaks down boundaries and yields whole new worlds of musical expression." In this episode, Joel shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

She needs no introduction — but in magazine history, Tina Brown is rightly deemed a legend, reviving Tatler, Vanity Fair and The New Yorker, before turning to the web and The Daily Beast (where I worked for her). Her new book is The Palace Papers. We talked journalism, life and royals.You can listen to the episode right away in the audio player embedded above, or right below it you can click “Listen in podcast app,” which will connect you to the Dishcast feed. For two clips of our convo — on Meghan Markle’s epic narcissism, and why women make the best monarchs — head over to our YouTube page. Having Tina on the pod was the perfect excuse to transcribe our popular episode with Michael Moynihan, who used to work for Tina at The Daily Beast — which also hosted the Dish for a few years. So we’re all old friends. From the Moynihan chat:Andrew: I was talking to Tina Brown about this not that long ago, with the great days of the big magazines in the '80s and '90s. Really, when you look back on that time, it was an incredible festival of decadence and clearly over the top before the fall.Michael: I love Tina. I did a thing — you can look this up — an interview with her, when her Vanity Fair Diaries came out, for The Fifth Column. Just Tina and I sat down and talked for an hour and a half, and it was one of the best things I think we’ve recorded, and got one of the best responses. Because people miss those stories.Perhaps Bill Kristol should check out the clip with Moynihan on how to change your mind on stuff you get wrong:A listener looks back to last week’s episode:Wonderful interview with Douglas Murray, with the two of you riffing off each other with brilliant dialogue. Very warm and affirming as well. I particularly enjoyed your discussion of the religious dimension as one aspect of our present dilemma. I know you would want to provide variety for the Dishcast, but please consider having him on again.Another fan:This was the most memorable episode in a long time (although they are all great). Of course, your dialogue was choir-preaching, and so I need to be careful in avoiding confirmation bias. That said, I found Murray’s elegant way of encapsulating the obvious — which I fail to express myself — truly invigorating. I rewound and listened to many parts several times over. I ordered his book today.Another listener dissents:I find the armchair psychoanalysis regarding ressentiment — as the organizing principle of what is happening in our culture today — to be one of the least compelling arguments made in the episode. Why not go ahead and attribute our perpetual unwillingness in the West to recognize what is great about it to Christianity’s concept of original sin? Or maybe read psychoanalytic literature on why an individual or group of people who are objectively improving might hold onto beliefs of the self or society as rotten? These seem just as likely as Nietzsche’s argument. Ultimately, what a person speculates to be the primary motivator of another person or group reveals a lot. Your speculation that it’s mostly ressentiment suggests you want or need to demonize the CRT crowd. This is tragic given that this is precisely what you and Douglas accuse the CRT crowd of doing. Another listener differs:I don’t agree with everything you and Douglas Murray write, but thank you for talking about the resentment and bitterness that’s driving politics and culture today. It’s gone completely insane. I used to work for a small talent agency, and during the pandemic I coached some actors over Zoom. During the George Floyd protests, one of my clients was up watching the news all night, not getting any sleep. I told her, look, you want to be informed and want to help. But you have to take care of yourself first or you’re no help to anyone. Go to bed and catch up on the news tomorrow. People criticized me for this kind of advice, saying I was privileged, that I just wanted to look away and not examine myself for my own inherent racism, etc. I couldn’t understand why people were being so unreasonable.I’m also a Mormon. After George Floyd was murdered, our ward started to discuss racism. Mormonism has a checkered past when it comes to things like Black men and the priesthood. Or even language in some of the scriptures. These are important conversations that our church needs to have. There were good things that happened, like Black people in the ward shared more about their experiences during meetings. But almost immediately it became weird. The women’s group did a lesson on Robin DiAngelo’s “White Fragility,” for example. We didn’t actually ever talk about the things I was hoping we’d talk about — how Brigham Young stopped Black men receiving the priesthood, for example. We were just told we all needed to acknowledge our white privilege and feel guilty about it. There was a part about redlining. There was no acknowledgment that some of the white people in this ward lived in low-income housing, basically had nothing, and had been stressed even further by the pandemic. It just felt unnecessarily divisive. I have no idea what the Asian members made of this talk, because it basically excluded them. There were so many holes in these theories, but I wasn’t brave enough to point them out.So it was a real relief to hear you and Murray talk about the way these ideas have infiltrated churches. The Mormon thing is typically like, “God wants you to be happy. Live this structured life, show compassion, work hard, love your family, and be happy.” But the DiAngelo ideas felt like, “you can’t even be saved, at least not if you’re white. Some people don’t deserve to be happy; they should only feel guilt.” It was easier to bring in a fad book and talk about property values than to talk about the awful passage in the Book of Mormon where it says dark-skinned people are cursed, but other people are “white and delightsome.” I felt like the second the door opened to have a serious conversation about the church and race, they immediately jumped the shark instead.From a fan of opera and ballet:Douglas Murray mentioned Jessye Norman and how her obituary was racialized. Well, in January of 1961, Leontyne Price made her Metropolitan Opera debut, and she and Franco Correlli received an ovation that was around 50 minutes long ... possibly the longest in Met history, or among two or three longest. There have been so many great black singers at the Met, such as Shirley Verrett, Kathleen Battle (who was loved by James Levine but whose voice I never liked), Eric Owens, Grace Bumbry, and many others. Here’s a snip of Price’s Met debut:Balanchine choreographed Agon (music by Stravinsky), arguably his greatest dance, for Diana Adams (white) and Arthur Mitchell (black) in 1957. They danced the pas de deux, which is an erotic tangle of bodies. Balanchine wanted the black/white tension. Here is a bit of it:And to my beloved Jessye Norman, whom I saw only once, here she is at her best:Another listener rolls out some poetry:I greatly enjoyed your conversation with Douglas Murray. He is fierce! Your mention of Clive James’s “The Book of My Enemy Has Been Remaindered” reminded me of a similarly minded poem from Nina Puro. (I suspect one of them inspired the other.) I LONG TO HOLD THE POETRY EDITOR’S PENIS IN MY HANDand tell him personally,I’m sorry, but I’m goingto have to pass on this.Though your pieceheld my attention throughthe first few screenings,I don’t feel it is a good fitfor me at this time. Please know it receivedmy careful consideration.I thank you for allowingme to have a look,and I wish youthe very best of luckplacing it elsewhere.Shifting away from the Murray episode, here’s a followup from a intrepid Dishhead:I was excited to see my letter published on the violent toll homelessness takes on communities recently. I’ll be listening to the podcast with Maia Szalavitz soon, and I’ve got Johann’s book on harm reduction to read as well. (I loved the episode with Johann, bought his new book, loved it, and stopped being so online for about a week before backsliding ...)Shortly after I wrote that last letter to you, I realized that I wasn’t satisfied with just writing indignant letters about the bloody cost of complacency on homelessness. It’s really the story of Ahn Taylor — a sweet 94-year-old lady stabbed by a homeless man as she was walking in her neighborhood — that made me understand that complaining is not enough.So I’ve started a non-profit, Unsafe Streets, to take on this challenge. It’s sort of a “Take Back the Night”-style public safety crusade. It’s early days still, but we have a website, including pages for NYC and San Francisco, a Twitter feed, and a crowdfunding campaign. Next on my agenda is to create a page for Los Angeles, a detailed policy platform, and then to recruit a board and apply for 501c3 status.I’ve been keeping up with the Dish when I can (LOVING the conversation with Jonathan Haidt, and I HIGHLY recommend this complementary Rogan episode.) I’ve been busy with the kids and trying to get Unsafe Streets going in my free minutes.She follows up:I just listened to Maia’s episode, and I am pretty unsatisfied with her proposed solutions. Non-coercive acceptance and decriminalization is fine for people who are using drugs they bought with their own money in the privacy of their home. But public drug use, public intoxication, and the associated “quality of life” crimes (public defecation, indecency, etc.) make public spaces unsafe and uncomfortable for everyone else. Laws against these crimes should be enforced, which means arresting people and taking them to jail or some kind of treatment. Injecting fentanyl and passing out on the sidewalk is a very antisocial and harmful behavior, and should not be “decriminalized.”I agree with Maia that this is a complicated mix of addiction and severe mental illness. But I don’t think the cost of housing argument holds up. (A brief scan of the news will show you that there in fact ARE homeless encampments in West Virginia.) I think she was unfair in her characterization of Michael Shellenberger’s proposal, which includes tons of resources to expand access to and quality of treatment. Overall, Maia’s perspective is very focused on the benefit to the addict, but discounts the costs to the surrounding community. Thanks for keeping a focus on this subject!Another listener looks to a potential future guest:Hello! You invite your readers to submit guest ideas here. I submit Kevin D. Williamson — another nuanced “conservative,” Roman Catholic, Never Trumper, and admirer of Oakeshott. Oh, and he was fired after five minutes at The Atlantic for a previous statement about abortion.Thanks for the suggestion. Lastly, because we ran out of room this week in the main Dish for the new VFYW contest photo (otherwise the email version would get cut short), here ya go:Where do you think it’s located? Email your guess to contest@andrewsullivan.com. Please put the location — city and/or state first, then country — in subject line. Proximity counts if no one gets the exact spot. Bonus points for fun facts and stories. The winner gets the choice of a VFYW book or two annual Dish subscriptions. If you are not a subscriber, please indicate that status in your entry and we will give you a free month subscription if we select your entry for the contest results (example here if you’re new to the contest). Happy sleuthing! Get full access to The Weekly Dish at andrewsullivan.substack.com/subscribe

About the guestAn artistic force in the broadest and most creative sense of the word, Darin Atwater's career has encompassed the roles of composer, conductor, pianist, record producer, artist, arranger, film composer, vocalist, entrepreneur, educator, and arts advocate. As a master inventor of musical hybrids, he has blended American pop, soul, Hip Hop, jazz, classical, and gospel music into many dazzling fusions, traversing virtually every medium, including records, live performance, radio, and television--literally reinventing the symphony orchestra in America.Born in Washington, D.C., Atwater made his orchestral debut as both composer and pianist in May 1995 with the National Symphony Orchestra performing his own Piano Concerto. The following year the National Symphony and the National Cathedral Choral Arts Society premiered his Proclamations. In 1997 he accompanied Kathleen Battle and the NSO for the re-opening of the Kennedy Center Concert Hall along with a performance that summer with Jennifer Holiday and the NSO for the PBS national broadcast of A Capitol Fourth. engagements with major orchestras, In Performance at The White House, European tour, and world premieres of his numerous compositions followed. As a guest conductor he has appeared with the Baltimore Symphony, the Dallas Symphony, M phis Brass, and the Columbus Symphony. Atwater appears regularly with the Jazz at Lincoln Center Orchestra with Wynton Marsalis as both guest conductor and composer. From 20042007 Atwater served as Composer-in-Residence with the Baltimore Symphony. This collaboration produced many evening length works that have become staples in the repertoire. Among th are Song in a Strange Land, Evolution of a People, Paint Factory, Southern Folk Sketches, God's Trombones, and a ballet, Ghetto Safari. As solo artist, Atwater presented annually for the Steinway Series presented by the Smithsonian Museum of American Art. He was vocalist, pianist, and arranger with the U.S. Air Force Band for America's Veterans; A Musical Salute on PBS. Most recently, Atwater performed a solo piano recital for the grand opening of the Smithsonian National Museum of African American History and Culture, the first artist to perform in the Oprah Winfrey Theatre.In 2000, Atwater founded Soulful Symphony, an 85 member orchestra with vocals made up of mostly African American and Latino musicians. After 10 wildly successful seasons of sell-outemperformances in a joint venture with the Baltimore Symphony, Soulful Symphony entered into a historic partnership with Broadway Across America. Soulful Symphony delivered another three seasons of sold outemperformances at the Hippodrome Theatre before a triumphant return to the Joseph Meyerhoff Symphony Hall to celebrate 15 yearstaking an entire culture and setting it to music. The 2009 my Award(r)winning Soulful Symphony with Darin Atwater is one of the longest running pledge specials, airing currently nationwide on PBS/APT.Atwater r ains a strong advocate for Arts, Culture, and Music Education. He served on the board of Maryland Citizens for the Arts, testifying before the House and Senate for state and national funding. Through his work with Soulful Symphony, Atwater has lectured and spoken to countless schools along with hosting open rehearsals that has accompanied every concert since the inception of the organization.The critics' praise has been unanimous: The New York Times described him as composer with a muscular imagination. The Baltimore Sun wrote, Atwater has an uncommon ear for instrumental coloring and the urban beat. The Philadelphia Inquirer writes, Atwater has created a musical antidote for the malaise gripping classical music and is a unifying vessel for a dozen or so genres of music in the commercial and art realms The Washington Post adds, From the first few chords, his music sets itself apart, otional and riveting. Among his many honors and recognitions, NBC named him in The Grio 100: History Makers in the Making. Ebony magazine dubbed him one of the 30 Leaders of the Future, and the Baltimore Business Journal placed him on their exclusive 40 under 40 list. Atwater received The Prestige Award by the State of Maryland foremindividuals who bring prominence to the region along with Legends and Pioneers Award by The Afro American Newspaper and The Vision Award from Maryland Public Television. He was profiled on an ABC special for Entertainment Studios We are the Dream following President Obama, Oprah Winfrey, and the late Ted Kennedy.Along withemexpanding the cultural footprint of Soulful Symphony, He is scoring two feature films along with recording his debut album with a label releaseemscheduled for the summer of 2017. 2016-2017 seasonThe Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeDarin Atwater - Kennedy CenterTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

In honor of Miss Leontyne Price's birthday, Anna and Krista discuss Richard Strauss' Ariadne auf Naxos,an opera within an opera (after a play). You'll hear about Jonas' pimptastic Salzburg performance, Kathleen Battle's horrid behavior and why there are two versions of this opera. Many thanks to Sharon Gless for this episode's subtitle!

Before You Go co-host Nicole Franklin has the honor of inviting her longtime friend  Juanita Smith who shares memories of her composer husband Hale Smith with Bryant Monteilh and the audience. It's a walk through musical history as Hale Smith's work in the genres of classical, jazz and spirituals brought him, Juanita and their family from Cleveland, Ohio to New York City. Upon arriving in NYC, Juanita quickly found work at the United Nations and Hale was surrounded by a nucleus of talent which included Kathleen Battle, Randy Weston, Melba Liston, Dizzy Gillespie, Ron Carter, Ahmad Jamal and more.  Juanita is now the publisher of her late husband's spiritual arrangements and because of her impeccable memory, her stories are filled with evidentiary facts and fascinating encounters. This episode originally aired on KBLA Talk 1580 in Los Angeles.The music of Hale Smith heard in this episode may be found here: 1) This Little Light Of Mine"https://www.youtube.com/watch?v=cUd7RMPQAxUProvided to YouTube by NAXOS of America This Little Light of Mine (arr. H. Smith) · Icy Rene Simpson I, too ℗ 2012 Longhorn Music Released on: 2012-08-07 Artist: Icy Rene Simpson Artist: Artina McCain Composer: Hale Smith Composer: Traditional  2) "Contours" Hale Smithhttps://www.youtube.com/watch?v=8t1YYuz7DV4&t=83s Hale Smith (1925-2009): Contours, for Orchestra (1960) --- The Louisville Orchestra diretta da Robert Whitney  3) Bess, You is My Womanhttps://www.youtube.com/watch?v=Panv8OJjgHk "Bess, You Is My Woman" From the Opera, "Porgy and Bess" Music by George Gershwin Lyrics by Du Bose Heyward and Ira Gershwin Featuring Todd Duncan and Anne Brown Accompanied by the Decca Symphony Orchestra Directed by Alexander Smallens Recorded May 15, 1940 Decca 29069A 4) I Love Musichttps://www.youtube.com/watch?v=fW8NQgqYoVQ Provided to YouTube by Universal Music Group I Love Music · Ahmad Jamal Trio The Awakening ℗ 1970 The Verve Music Group, a Division of UMG Recordings, Inc. Released on: 1997-01-01 Producer: Ed Michel Composer: Emil Boyd Composer: Hale Smith   5) I Want to Die Easyhttps://www.youtube.com/watch?v=94EwXQTKrlY Anthony Anderson- Baritone Michael Crabill- Piano 6) I Love Musichttps://www.youtube.com/watch?v=MFk5lKLHMw8From Hale Smith's tribute concert. T.K. Blue, Saxophone & Flute Carlton Holmes, Piano Corcoran Holt, Bass Alvin Atkinson, Drums Benny Powell, Trombone  

Johnathan Lee Iverson began his career circling the globe and crisscrossing the United States, as a member of The Boys Choir of Harlem, gracing the world's most renowned stages, including the Broadway stage under the direction of the legendary Geoffrey Holder in “The Boys Choir of Harlem & Friends” at the Richard Rogers Theater. In addition to performing before world leaders and dignitaries, including United States Presidents, George H.W. Bush, Bill Clinton, Ronald Reagan, and Jimmy Carter, as well as, Noble Peace Prize winner, Nelson Mandela, Iverson has shared the stage with such artist as Lou Rawls, Ray Charles, Stevie Wonder, Plácido Domingo, Luciano Pavarotti, Betty Buckley, Pete Seeger, Zubin Mehta, Perry Cuomo, Kathleen Battle, Shirley Verett, Tony Bennett, James DePriest and Lena Horne, all before the age of eighteen. A proud graduate of Fiorello H. LaGuardia High School of Music and Art & Performing Arts and The Hartt School of the University of Hartford, Iverson took his first steps into the pages of history at only 22 years old, when he became the youngest, the first New Yorker, and the first African American Ringmaster in the near 150 year history of Ringling Bros. and Barnum & Bailey.[1] Iverson's presence at The Greatest Show On Earth set box office records for Ringling Bros. and Barnum & Bailey throughout the United States. Audiences and critics alike were immediately smitten by the native New Yorker. Ebony magazine said of him: “The instant he appears out of the darkness and into the spotlight…the audience is rapt.” The San Francisco Examiner stated: “Now imagine mesmerizing the crowd with a powerful voice and the bearing of a superstar.” The Times-Picayune wrote: “Tall and self assured…he works a crowd like a three ring evangelist.” And syndicated columnist Liz Smith gushed: “I…liked six foot [five] youngest ringmaster ever, Johnathan Lee Iverson, who is commanding enough to be noticed in the melee, and he can sing.” During his legendary tenure with Ringling Bros. and Barnum & Bailey, Iverson was one of the busiest live entertainers in the world, performing an estimated 450 shows annually in arenas around the United States and Mexico. As the voice of The Greatest Show On Earth, Johnathan has been seen and heard via numerous media outlets including, print, broadcast and the world wide web. He is also a featured blogger for the Huffington Post, among other publications. His many accolades include being selected as one of Barbara Walters' 10 Most Fascinating People. Iverson's historical tenure with The Greatest Show On Earth is featured in numerous publications, including, “Black First: 4, 000 Ground-Breaking and Pioneering Historical Events” by Jessie Carney Smith,”African-American First” by Joan Potter, “Live Life! Be Young, Black, and Successful” by Quincy Benton, “Beat of a Different Drum: The Untold Stories of African-Americans Forging Their Own Paths in Work and Life” by Dax-Devlon Ross and “Beyond the Statistics” by Zane Massey. --- Send in a voice message: https://anchor.fm/enableddisabled/message Support this podcast: https://anchor.fm/enableddisabled/support

We begin with a famous (and very beautiful) aria from the Abduction from the Seraglio K. 384 by Wolfgang Amadé Mozart (Mozart nerd alert: he never called himself “Amadeus,” ever, and we aren't going to either). It's from the beginning of Act 3, as the tenor hero, Belmonte, prepares to rescue his kidnapped bride Konstanze and her companion Blöndchen from the palace of Basha Selim. We are in an obviously sticky–and potentially deadly–situation. The music, beginning with a serene yet at times painfully dissonant introduction in the winds, takes listeners to a different place, where, although time moves at different speed, things sound absolutely familiar.Much ink has been spilled on Mozart's relationship to the music of his native Austria's near neighbours, the Turks. Tom suggests here that, in the late eighteenth century, the sound of the Islamic world was not far away at all, especially not from Vienna, the city in and for which Mozart wrote the Abduction. In fact, while writing the opera Mozart was living right in the middle of an unstable and fluid borderland between the “West” and its Ismamic “others.” The Ottoman Empire was only a few days' journey away. Today you could cover the distance in a matter of hours. In fact if you map the performances of the Abduction in its early years, you see the routes of the traveling troupes who made the opera a hit across Europe heading closer and closer to the Islamic world that lay on Mozart's doorstep. Thinking about Belmonte's aria as a musical sign of the “in-between” opens up new historical perspectives on a beloved opera and, potentially, on how sound divides (or links) people who share the occupation of geographical spaces.The theme of shared space takes us East for our second postcard, to contemporary Singapore. Drawing on recent fieldwork by the Singapore musicologist Tong Soon Lee, Chris explores how the Islamic call to prayer, repeated five times daily across the Muslim world, delineates sonic space in the city-state, which, like the borderlands of Austria two centuries previously, has a long history complicated by empire, commerce, migration and ethnic/religious diversity. The difference is that cities are smaller, tighter, and sonically far more dense than are the sprawling pastures, fields, and forests of agriculture. In the urban cityscape, borders can be perceived between neighborhoods, streets, or even individual people in their houses. Since independence, Singapore's semi-democratic/semi-authoritarian government has found itself playing the role of sonic referee, seeking to leave room for the city's Islamic majority population to live their beliefs in public via the Call to Prayer, while preserving a soundscape with uninvaded spaces for everyone. Referencing Lee, Chris talks us through how the Call to Prayer itself has implicated contested claims to  public religious sound in Singapore's multi-ethnic environment, and the ways that new conceptions of “space,” technology, and privacy yield renewed modes of religious expression. In Singapore, via the direction/redirection of the Call's loudspeakers (first outward toward the city, and then later inward toward the mosque), and subsequently via the broadcast of the Call, on its five-times-daily schedule, on radio and then television, Muslims can enter shared sonic space–a “virtual mosque” whose religious community is real and renewed. When competing imperial, democratic, or authoritarian soundscapes collide, as Tom suggested and Chris elaborates, there are no easy answers. But some of the solutions, both past and present, offer fascinating clues to how sound makes, unmakes, and reinvents community.In a fascinating preview of an upcoming episode, Chris and Tom pivot to a related discussion of the power of electronic media–and specifically of radio–to create not only a shared “virtual” environment (for Muslim worship, for example) but even a new national identity. Colonial and postcolonial sounds are a key theme in the podcast, so we chat briefly about the great singer Umm Kulthum (1898-1975), an icon of modernizing Egypt who used powerful Cairo-based radio, and then television and film, to forward a vision of the nation whose political power its second president, Gamal Abdel Nasser (1918-70) himself recognized and exploited. On Thursday nights during her broadcasts, traffic would halt in the streets, and shops would open their doors, as the broadcast voice of Umm Kulthum poured forth across the Arab world, literally sounding a new Egyptian nation into being.When competing imperial, democratic, or authoritarian soundscapes collide, as Tom suggested and Chris elaborates, the sonic consequences can be complex. But listening carefully to sound as history, both past and present, can offer fascinating clues to how what we can hear makes, unmakes, and reinvents community.Key PointsIt is easy to fall into overly black-and-white categories when thinking about how people define themselves in sound. If you take a closer look, mapping soundworlds across political spaces, sometimes you can come to surprising and historically enlightening conclusions.Mozart's Abduction from the Seraglio K. 384 (1782) is sometimes thought of as an “East vs. West” kind of piece. We argue that the opera can also be understood to reveal how much the European and Islamic worlds had in common, and–even more significantly–how much they saw themselves as sharing a common geography.Contemporary cities yield complex soundscapes. Attempts to regulate public religious sound, for example the Islamic call to prayer in Singapore, indicate how delicate the politics of a shared soundscape can be.Electronic media has a huge power to make new identities across borders, and disrupt older ones. One great example is the Arab-language singer Umm Kulthum, whose special brand of song and music played an enormous role in the birth of Egypt as a nation after decolonization.ResourcesIf you are interested in mapping eighteenth century music, run, don't walk, to the Twitter feed of the music historian Austin Glatthorn (@AJGlatthorn).The work of Tong Soon Lee, who teaches at Lehigh University, is indispensable to understanding the soundscapes of contemporary Singapore.The Guardian UK has a good retrospective biography of Umm Kulthumm, and of her continuing symbolic impact across the East.Charles Hirschkind's The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics presents a complementary and sophisticated “take” on the use of another modern technology, the audio cassette, as a means of virtual community in the modern world.The go-to book on Mozart's use of Turkish musical materials is Matthew Head's, Orientalism, Masquerade and Mozart's Turkish Music.You can't go wrong with the classic 1987 recording of the Abduction from the Seraglio conducted by Georg Solti and featuring stars such as Editha Gruberová, Kathleen Battle, and Hans Zednik. Available on Apple Music and many other services.Speaking of strange and wonderful productions of the Abduction, we highly recommend the Pacific Opera Project's 2016 Star Trek (!) version.All of the books mentioned in the episode can be found in our Sounding History Goodreads discussion group. Join the conversation!

En este episodio hemos reunido a unos cuantos interpretes de música clásica interpretando piezas del repertorio jazzistico. Sonoridades y estilos interpretativos habitualmente distantes que convergen y sorprenden. Como el contraste de lo dulce y lo salado. Música para paladares curiosos. Nuestros invitados e invitadas: Katia Labèque & Gonzalo Rubalcaba; Kathleen Battle; Alison Balsom; Anne Sofie von Otter; Romain Leleu; Kiri Te Kanawa & Andre Previn; Die 12 Cellisten der Berliner Philharmoniker; Jessye Norman; Quatuor Ébène; Thomas Quasthoff; Yo-Yo Ma & Cesar Camargo Mariano; Hille Perl, Martha Perl & Lee Santana.

I 1980'erne var den amerikanske sopran Kathleen Battle en superstjerne i operaens verden, kendt for sin perlende smukke og ubesværede stemme. På Metropolitan Operaen i New York var hun primadonnaen over dem alle, men efter et barsk magtopgør i 1994 blev hendes operakarriere afbrudt i utide. Hør i Guldkoncerten optagelser fra to koncerter, hvor Kathleen Battle, helt på toppen, synger opera sammen med tenoren Placido Domingo og spirituals med sopranen Jessye Norman. Arier og duetter af bl.a. Verdi, Donizetti og Rossini. Kathleen Battle, sopran. Placido Domingo, tenor. Metropolitan Orkestret. Dirigent: James Levine. Koncert i Tokyo, juni 1988. Spirituals i New York. Kathleen Battle, sopran. Jessye Norman, sopran. Metropolitan Orkestret. Dirigent: James Levine. (Koncert i Carnegie Hall, New York, 18. marts 1990). Vært: Benedikte Granvig. www.dr.dk/p2koncerten

To round off #BlackHistoryMonth2021, I bring you an array of artists singing a wide range of 20th Century repertoire. Included are singers who have previously been featured in full episodes (including Lawrence Winters, Gloria Davy, Charles Holland, and Carol Brice), legendary favorites (including Leontyne Price, Martina Arroyo, Roberta Alexander, and Barbara Hendricks), important concert singers (including Adele Addison and Betty Allen), lesser-known artists (including Helen Thipgen, Martha Flowers, William Pearson, Mareda Gaither, and Olive Moorefield), and iconic singers (including Jessye Norman, Kathleen Battle, and Christiane Eda-Pierre) for whom important new work was created by Judith Weir, André Previn, and Charles Chaynes. The range of composers represented is equally vast and includes Leonard Bernstein, Karlheinz Stockhausen, Virgil Thomson, Michael Tippett, Lee Hoiby, Shulamit Ran, Gian Carlo Menotti, Judith Weir, Paul Bowles, Lukas Foss, and David Del Tredici. with special attention given to African American composers Margaret Bonds, Howard Swanson, William Grant Still, Hall Johnson, and Robert Nathaniel Dett. In other words: something for everyone and just a foretaste of future Countermelody programs that will continue to celebrate the contributions of African American singers. 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.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

Tim Long chats with Lebanese-American Tenor, Karim Sulayman and catches up on their lives and work since they first met in the baby years of their careers. They share a drink (A nice white wine for Tim and The Bee’s Knees for Karim) and celebrate the success of Karim’s two vocal albums: the Grammy-winning ‘Songs of Orpheus’ and his recent release ‘Where Only Stars Can Hear Us’. They discuss what it takes to self-produce a album, what it takes to win a Grammy and what the after party is like. They share about the importance of nurturing one's passion, the power of inner resilience in artistic development, and how failure can help one to become a more confident creator. Karim dishes about his impressive career as a boy alto in the Midwest and his work with Georg Solti, among many others, which leads to comparing experiences of Kathleen Battle. We take a deeper look at Karim’s activism in the 21st century, and in particular “I Trust You” youtu.be/lCy8Cfvoe6g Karim shares what it was like to stand blindfolded in front of Trump tower, and what it’s like to be on the No Fly List just because of his name. Karim gives some advice on following one’s own intuition as an artist and using the butterfly effect as a lens to value the contributions we as artists make to our shared world. More information about Karim Sulayman can be found at his website, www.karimsulayman.com/ You can find Tim's Website here: timothylongmusic.com Special Thanks to Martha Redbone for her permission to use her song "Medicine Man" for the opening credits. More of her work can be found here and you can subscribe to her Youtube channel here. More information on Foundry Arts, the producer of Unequal Temperament, is available at www.thefoundryarts.com Foundry Arts is a lab for opera using collaboration and partnership to invest in artist development, dialogue, and expression, to sustain a rich, diverse, equitable, inclusive, and sustainable cultural landscape.

Today’s date marks the birthday of the American composer, choral conductor, and educator Betty Jackson King. She was born in Chicago in 1928, where she earned her M.A. in composition at the Roosevelt University. Her Master’s thesis was an opera, entitled “Saul of Tarsus,” whose libretto was written by her father, the Reverend Frederick D. Jackson. Betty Jackson King is perhaps best known for her sacred and choral works, especially her arrangements of spirituals, and, according to her family, her musical career reflected her deep religious faith. “Over my head, I hear music in the air, so there must be a God somewhere,” was her oft-stated creed. But King also wrote secular works, including a ballet for children, chamber works, art songs, and solo pieces for piano and organ. She was an active teacher and choral conductor in her native Chicago before moving to Wildwood, New Jersey, where she taught, conducted, and composed for the rest of her life. A few years before Betty Jackson King’s death in 1994, soprano Kathleen Battle performed and recorded "Ride-Up in The Chariot,” one of Jackson’s spiritual arrangements, at a gala televised Carnegie Hall concert of spirituals conducted by James Levine.

Today’s date marks the birthday of the American composer, choral conductor, and educator Betty Jackson King. She was born in Chicago in 1928, where she earned her M.A. in composition at the Roosevelt University. Her Master’s thesis was an opera, entitled “Saul of Tarsus,” whose libretto was written by her father, the Reverend Frederick D. Jackson. Betty Jackson King is perhaps best known for her sacred and choral works, especially her arrangements of spirituals, and, according to her family, her musical career reflected her deep religious faith. “Over my head, I hear music in the air, so there must be a God somewhere,” was her oft-stated creed. But King also wrote secular works, including a ballet for children, chamber works, art songs, and solo pieces for piano and organ. She was an active teacher and choral conductor in her native Chicago before moving to Wildwood, New Jersey, where she taught, conducted, and composed for the rest of her life. A few years before Betty Jackson King’s death in 1994, soprano Kathleen Battle performed and recorded "Ride-Up in The Chariot,” one of Jackson’s spiritual arrangements, at a gala televised Carnegie Hall concert of spirituals conducted by James Levine.

This week Phil and Adam talk to a returning guest. Azia Wiggins helps answer a voice message. She also shares about her journalism project. She tells them about the most authentic people in her life. They all talk about Code-Switching vs Inauthenticity. Adam's Artist Suggestions for Appreciating the Spiritual (many more could be added): American Spiritual Ensemble, Kathleen Battle, Leontyne Price, William Warfield, Simon EsteGrace, Bumbry, Paul Robeson, Shirley Verrett, Jessye Norman, Lawrence Brownlee, Pretty Yende, Marian Anderson, Denyce Graves, Willard White, Seth McCoy Phil's Artist Suggestions for Appreciating Black Gospel (many more could be added): Fred Hammond, Hezekiah Walker, Donald Lawrence, John P. Kee, Kirk Franklin, Clark Sisters, Rance Allen, Canton Spirituals, Jonathan McReynolds, Kim Burrell, Mississippi Mass Choir, the Winans, BeBe and CeCe Winans, Marvin Winans, any Mass Choir Azia's Article: Sick And Tired: No Time To Rest For The Resilient Black Woman In Mississippi Develop Authenticity: 20 Ways to Be a More Authentic Person --- Send in a voice message: https://anchor.fm/pawpod/message

Today's guest is Joshua Peugh! Joshua is the Founder and Artistic Director of Dark Circles Dance Company and Co-founder of Fair Assembly.  A graduate of Southern Methodist University, he has created work for festivals in Asia, Europe, and North America, winning awards for his choreography in South Korea, Japan, Canada, and the USA. He was the recipient of the Grand Prize at the McCallum Theatre's 18th Annual Choreography Festival and was chosen as one of @dancemagazine “25 to Watch." Joshua served as choreographer for legendary soprano Kathleen Battle's concert Underground Railroad - A Spiritual Journey and was the 2018 recipient of the Natalie Skelton Award for Artistic Excellence. He has created over 40 new works for BalletX, Ballet Memphis, The Big Muddy Dance Company, BODYTRAFFIC, Bruce Wood Dance Project, Company E, Dallas Black Dance Theatre, Dallas Theater Center, Dance Lab NY, DanceWorks Chicago, Eisenhower Dance, Korea National Contemporary Dance Company, MADCO, METdance, Tulsa Ballet, WaterTower Theatre, and Whim W'Him, among others.  Check out his website: https://www.darkcirclescontemporarydance.com/  

Right now, how many wars do you think are happening around the globe? The United Nations has three criteria for a conflict to be called a war: First, it must involve armed struggle by at least one province against another. Second, it must be formally declared. And third, it must have been going on for at least six months. Using these standards, there are 134 wars taking place around the world at the time this was written. Is it any wonder we long for the Prince of Peace to return? Tomorrow is the fourth Sunday of Advent, for which the traditional theme is peace. Today’s word of Messianic prophecy names the Lord using several related titles and word-pictures. His coming, wrote Isaiah, will be like a light in the darkness, like the hope of dawn’s arrival (v. 2). Jesus called Himself the “light of the world” (John 8:12), and His disciple Peter later celebrated God’s calling us “out of darkness into his wonderful light” (1 Peter 2:9). In the shorter term, though God had allowed the conquest and exile of His disobedient people, one day He would shatter the yoke of oppression and liberate them, just as in the days of Gideon (vv. 3–4). The picture of burning the warrior’s boots (v. 5) indicates the arrival of a time of peace. In the longer term, God would send a once-for-all liberator, Messiah Jesus, who would fulfill God’s plan of redemption (vv. 6–7). He would be the Wonderful Counselor, acting in marvelous wisdom; the Mighty God, or all-powerful Divine Warrior (see Ps. 24:8); the Everlasting Father, provider, and protector (see 2 Sam. 7:16); and the Prince of Peace, the One who will bring not only the end of all wars but also complete shalom or holistic well-being (see Isa. 11:6–9). >> If you enjoy classical Christmas music, one album I love that includes all the themes of Advent is Angels’ Glory, featuring Kathleen Battle (voice) and Christopher Parkening (guitar). Listen to your favorite Christmas music as a part of your worship time today.

The holiday season is always about children and the child that lives within us. We will hear lullabies by Kathleen Battle, Boris Christoff, Marilyn Horne, and Ian Bostridge. The prayer from Hänsel und Gretel is sung by Elisabeth Schwarzkopf and Elisabeth Grümmer. The Vienna Boys Choir sing a chorus from Bizet’s Carmen as well. The post For the Children appeared first on WFMT.

I am reunited with one of the lights of my life @gparlattolire!!! We talk Handel's sexiest oratorio, Semele, and I give Opera Philly more plugs than someone who is actually paid to talk about them • Where'er you walk sung by Robert Murray • Why dost thou this untimely grieve sung by the Monteverdi Choir & Orchestra • Hence, Iris hence away sung by Jennifer Larmore • I myself I shall adore sung by Kathleen Battle •

Fish swim, butterflies float, snakes slither, bees sting, and worms crawl in a most unusual program. Immersed in nature are Kathleen Battle, Gérard Souzay, Christa Ludwig, John McCormack, Elisabeth Schwarzkopf, Felicity Lott, and more. The post Things that Crawl, Swim, and Fly appeared first on WFMT.

You can listen to this week’s episode of NEXT QUESTION with Ernie Manouse in the audio above. Below, you can find audio, video and photos of the various stories discussed on the show. Beyond the Story:   Mark Lowry and some of the other versions of his modern classic Christmas song "Mary, Did You Know." https://youtu.be/bXmfkFoX-PE Michael English - "Mary Did You Know" https://youtu.be/3oiw7hS4pzg Kathy Mattea - Mary Did You Know https://youtu.be/VXK50lsrdq4 Kathleen Battle - "Mary, Did You... Read More

Episode 9: Janet Williams Interview Part II: Serendipity @ Merola. In this episode, Janet relives her early career experiences, including time that both she and Daniel spent at the Merola Opera Program of the San Francisco Opera. She describes the continuing influence and tutelage of Camilla Williams; tells about her study in Paris with the great Régine Crespin, the mentorship of Marilyn Horne, and the inspiration of Harolyn Blackwell and Kathleen Battle; and elucidates how she was hired for a two-year Festvertrag at the Berliner Staatsoper and how, 27 years later, she still calls Berlin home. The episode is peppered throughout with musical examples. Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. 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 interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com

Chaka Khan: Singer, Songwriter, Actor, Activist Chaka Khan was born Yvette Marie Stevens on March 23, 1953 into an artistic, bohemian household in Chicago, Illinois.  Bohemian, is not a word used much anymore but it by definition means "socially unconventional, but involved in the arts, or in an artistic way.  Chaka/Yvette was the eldest of five kids born to Charles Stevens and Sandra Coleman, Yvette described her father as a beatnik and her mother as "able to do anything." She was raised in the Hyde Park area, which has been called "an island in the middle of the madness" of Chicago's rough South Side housing projects.  Her sister Yvonne later became a successful musician in her own right under the name Taka Boom. Her only brother, Mark, who formed the funk group Aurra, also became a successful musician. She has two other sisters, Zaheva Stevens and Tammy McCrary. Yvette was raised as a Catholic, and attributed her love of music to her grandmother, who introduced her to jazz as a child. Yvette soon became a fan of rhythm and blues music as a preteen and at eleven formed a girl group, the Crystalettes, that included her sister Taka.  In the late 1960s, Yvette attended several civil rights rallies with her father's second wife, Connie, who was a strong supporter of the movement and joined the Black Panther Party after befriending fellow member, activist and Chicago native Fred Hampton in 1967.   Though many think that she was given the name Chaka while in the Panthers, she has made it clear that her name Chaka Adunne Aduffe Hodarhi Karifi was given to her at age 13 by a Yoruba Baba. In 1969, she left the Panthers and dropped out of high school, having attended Calumet High School and Kenwood High School (now Kenwood Academy).  Chaka began to perform in small groups around the Chicago area, first performing with Cash McCall's group Lyfe, which included her then-boyfriend Hassan Khan. Chaka and Hassan married in 1970.   Chaka was asked to replace Baby Huey of Baby Huey & the Babysitters A great singer and tight band   (CLIP)  Baby Huey Hard Times   After Huey's death in 1970. The group disbanded a year later.     While performing in local bands in 1972, Chaka Khan was spotted by two members of a new group called Rufus and soon won her position in the group (replacing rock n roll singer Paulette McWilliams). The group caught the attention of musician Ike Turner who flew them out to Los Angeles to record at his studio Bolic Sound in Inglewood, California. Ike wanted Khan to become an Ikette; she declined stating she was "really happy with Rufus. But Ike's attention was certainly a boost."     Early on, Chaka caught the attention of music icon Stevie Wonder, who penned her first smash hit with Rufus, “Tell Me Something Good.”   (CLIP).   TELL ME SOMETHING GOOD   The single from the group’s 1974 platinum-selling album, Rags to Rufus, earned Chaka her first GRAMMY® Award. With Chaka as the group’s dynamic center, Rufus became one of the most popular acts around selling out shows throughout the country and dominating the airwaves with hit after hit with songs such as “You Got the Love,” which Chaka co-wrote   (CLIP).  YOU GOT THE LOVE   “Once You Get Started,”    (CLIP).  ONCE YOU GET STARTED   “Sweet Thing,”   (CLIP) SWEET THING   “Everlasting Love,”   (CLIP). EVERLASTING LOVE   “Do You Love What You Feel?”   (CLIP). DO YOU LOVE WHAT YOU FEEL     The biggie “Ain’t Nobody” Chaka’s second GRAMMY Award-winning song with Rufus. Is up...   Rufus and Chaka Khan racked up five RIAA certified gold and platinum albums during their time together.   Rufus keyboardist David "Hawk" Wolinski wrote the song around a repeating synthesizer loop backed by a Linn LM-1 drum computer; however, John J. R. Robinson, the band's drummer, played real drums for the recording session. The band did a democratic vote and they decided to include the song in their album repertoire. Once the song was recorded, Warner executives wanted to issue another song as the album's first single. AND  Wolinski threatened to give the song to American singer Michael Jackson and American producer Quincy Jones for Jackson's album Thriller, if the song was not the lead-off single. The label relented and "Ain't Nobody" was issued and hit number one on the R&B chart for the week ending October 15, 1983.  It was also the song included on the soundtrack album to the 1984 film Breakin'.   The song is performed in the key of E♭ minor with a tempo of 104 beats per minute in common time. Khan's vocals span from G♭3 to E♭5 in the song.   (SONG)  AINT NOBODY   This is the Old School Rewind Podcast this week featuring Chaka Khan..   so we just played Ain't Nobody,  It was inevitable that a singer with Chaka’s star power would eventually venture out on her own. In 1978, Chaka blazed onto the music scene as a solo artist with the release of the smash hit “I’m Every Woman” written by Ashford & Simpson.   (SONG). I'M EVERY WOMAN     Thats Chaka Khan with her first solo hit "I'm every woman."  This is Aaron Goodwin and the Old School Rewind Podcast. From the 35 acres and a microphone farm we tribute the old school..   This week it's Chaka Khan and she has now Paired with the late producer extraordinaire, Arif Mardin (Aretha Franklin, Bette Midler), her catalog grew even more impressive with hits such as “Clouds,” “Papillon,” and “What ‘Cha Gonna Do For Me?” It was during this time that Chaka began pursuing her love of jazz. She and Arif brilliantly re-worked the classic song “Night in Tunisia” with the song’s originator, Dizzy Gillespie, on trumpet. Chaka also recorded an album of jazz standards titled Echoes of an Era, which featured such luminaries as Chick Corea, Stanley Clarke, and Lenny White. Her crowning achievement in jazz was the GRAMMY® Award-winning tune, “Be Bop Medley.” The song’s album, titled Chaka Khan, also won a GRAMMY® for Best Female R&B Vocal Performance.     However, anyone else would be winded..  not Chaka as the biggest and best was yet to come. And , the song that made Chaka Khan a household name and propelled her to superstardom the world over was “I Feel For You,” written and first performed by Prince.   (Clip) Prince I FEEL FOR YOU   This chart-topping, GRAMMY® Award-winning song also made music history. Released in 1984, it was the first R&B song to feature a rap, and rapper, which was the best to ever touch a mic.  Grandmaster Melle Mel.    Khan's version featured a supporting cast including guitar, drum programming, bass guitar, keyboards and arrangement by Reggie Griffin; bass synthesizer and programming by The System's David Frank using an Oberheim DSX sequencer, which was connected to his Minimoog via CV and gate; and chromatic harmonica playing by Stevie Wonder.  The song also uses vocal samples from Wonder's song "Fingertips" (1963). The repetition of Khan's name by Melle Mel at the beginning of the song was a mistake made by producer Arif Mardin, who then decided to keep it.[7]   This version of the song sold more than one million copies in the US and UK, and it helped to relaunch Khan's career. The song hit No. 1 on the Cash Box singles chart and peaked at No. 3 on the Billboard Hot 100 chart from the weeks of November 24, 1984 to December 8, 1984.[8] The song remained on the Billboard Hot 100 for 26 weeks and became one of Billboard's five biggest pop songs of the year for 1985. The single reached No. 1 on both the US dance[9] and R&B charts in late 1984, remaining atop both for three weeks each.[10] In addition, the song also reached No. 1 on the UK Singles Chart.[11] While touring with Prince in 1998 in support of her collaborative album, Come 2 My House, Khan and Prince performed "I Feel for You" as a duet.   Let's jam Chaka  and her biggest with Melle Mel   (SONG) Chaka khan I FEEL FOR YOU     This is the Old School Rewind Podcast. Aaron in your ears with the candy from the early 80's that was oh so sweet.   Old school dance r and b..    We're up to another marvel from David Foster as we feature the single "Through the Fire" is a song recorded by this weeks feature artist.   Yvette Marie Stevens, or  Chaka Khan through the fire is  from her sixth studio album, I Feel for You (1984). The David Foster-produced track was the third single from the album and reached number 60 on the US Billboard Hot 100 chart and number 15 on the Hot R&B/Hip-Hop Songs charts It was one of the few Khan hits to cross to the Adult Contemporary chart. The music video was filmed at Los Angeles' Union Station.  Now in top demand, Chaka lent her voice and producer skills to two of the biggest hits of 1986, Steve Winwood’s “Higher Love” (clip) and Robert Palmer’s “Addicted to Love.”(clip) Both were GRAMMY®-winning songs.   David Foster revealed in his 2011 PBS concert The Hit Man Returns if you heavens seen that. You need to. 5 snaps a stars whatever tomatoes . A killer dvd    David foster super producer says  that "this was the only melody that he ever wrote with someone in mind and that the working title of the piece was actually called "Chaka" because he was very confident that Chaka Khan would perform the song.    The song was sampled by Kanye West on "Through the Wire", the breakout single from his 2004 debut album, The College Dropout.   (CLIP) Kanye Through the wire   The Chaka khan podcast. Old school rewind with Aaron e Goodwin.  Now in top demand, Chaka lent her voice and producer skills to two of the biggest hits of 1986,       The Old School Rewind Podcast comes to a close with Chaka mentions past 1986ish which is our primary focus on the rewind   In 1995, she made her musical theater debut on London’s West End, where she starred in Mama I Want to Sing. In 2002 she traveled to Las Vegas, where she starred in Signed, Sealed Delivered, a critically-acclaimed musical based on the music of Stevie Wonder. Her Broadway debut came in 2008 when she took over the role of Sofia in Oprah Winfrey’s musical The Color Purple.   Chaka’s emotive vocals can also be heard on a number of soundtracks, including Clockers, Set It Off, To Wong Foo, Thanks for Everything, Julie Newmar, Miami Vice, White Knights, Moscow on the Hudson, Disappearing Acts, Waiting to Exhale and Standing In The Shadows Of Motown, as well as Tyler Perry hits Madea’s Family Reunion and Meet The Browns.   From the Chaka khan website,,  During her career, she has collaborated with a long list of artists in diverse genres. Collaborators have included Miles Davis, Quincy Jones, Dizzy Gillespie, Stevie Wonder, Prince, Steve Winwood, Mary J. Blige, George Benson, Larry Graham, the London Symphony Orchestra and countless others. Chaka has received a steady stream of accolades for both her artistry and philanthropy. In June 2012, she was inducted into the Hollywood Bowl Hall of Fame, joining previously inducted music greats such as Frank Sinatra, Liza Minnelli, Stevie Wonder, Garth Brooks, Bonnie Raitt, George Harrison, B.B. King, Carlos Santana, Donna Summer and Kathleen Battle. In 2011, she was honored for her legendary career with a star on the Hollywood Walk of Fame. During the same year, Chaka was honored with the United Negro College Fund’s An Evening of Stars Tribute. The program, which was televised on cable networks and broadcast stations in more than 40 cities nationwide, featured tribute performances by Stevie Wonder, Fantasia, Ledisi, El Debarge, Faith Evans, Angie Stone, Ginuwine, Chaka’s brother, Mark Stevens, and her daughter, Indira Khan, among others. In recent years, Chaka also received the Soul Train Legend Award (2009), the BET Lifetime Achievement Award (2006), the GRAMMY® Honors Award from the NARAS Chicago Chapter (2006) and the World Music Award Lifetime Achievement Award (2003). In 2004, Chaka received an Honorary Doctorate of Music from Berklee College of Music. Chaka’s autobiography, Through the Fire, was published by Rodale Books in 2003 and is currently being adapted into a screenplay.   Despite her busy schedule, Chaka has always made time to support and uplift her community. She has a deep commitment to women and children at risk, which led her to establish the Chaka Khan Foundation in 1999. Initially, the foundation focused primarily on public awareness campaigns around the diagnosis, intervention, and available family resources and the search for a cure for autism. Her efforts were particularly aimed at communities of color and other underserved communities, where awareness about this disorder is low. Her work in this area was inspired by her nephew who has autism and who Chaka describes as “gifted and beautiful and so full of life.” She later expanded the mission of the foundation to focus more broadly on women and children at risk. In July 2012, Chaka received the McDonald Corporation’s 365Black Award, honoring her for her leadership of the Chaka Khan Foundation.   Chaka also is an entrepreneur. In 2004, her line of gourmet chocolates, Chakalates, was sold in 20 Neiman Marcus stores around the country. Plans are underway to re-launch her signature brand of chocolates nationally and internationally. She currently is introducing Khana Sutra, a fragrance line for men, women and the home. The line also includes candles, and room and linen sprays. With a new svelte look, a new album, and a great enthusiasm for her new and expanding activities in music, philanthropy and entrepreneurial ventures, the 10-time GRAMMY® Award-winner is looking forward to a celebration of a lifetime.    From the about button on Chakas website.. Chaka Khan is one of the world’s most gifted and celebrated musicians, with a rich musical legacy. The 10-time GRAMMY® Award-winner is  A songwriter, actor, author, philanthropist, entrepreneur and activist, Chaka Khan has influenced generations of recording artists. She has the rare ability to sing in seven music genres, including R&B, pop, rock, gospel, country, world music and classical. Affectionately known around the world as Chaka, she is revered by millions of fans as well as her peers for her timeless, classic and unmatched signature music style and ability. The late, great Miles Davis often said, “She [Chaka] sings like my horn.” And the Queen of Soul, Aretha Franklin says, “[Chaka] is a one- of- a -kind, premier vocalist.”   Throughout her legendary career, Chaka has released 22 albums and racked up ten #1 Billboard magazine charted songs, seven RIAA certified gold singles and ten RIAA certified gold and platinum albums. Chaka’s recorded music has produced over 2,000 catalog song placements. “I am honored and blessed to celebrate 40 years in music and entertainment,” says Chaka. “I am so humbled by the love, support and gracious spirit of my fans worldwide and the continuous support my peers have shown over the years. Throughout my 40-year career, I have been through the fire a few times over and I’m still here as a living testament to God’s love and grace. Next year, I will be celebrating 40 years in the business and 60 years on earth, which equals one hundred percent Chaka.”   I'll see you next week from the 35 acres and a microphone podcast farm...      (SONG) Chaka khan   love of a lifetime

Kathleen Battle is an American operatic soprano known for her distinctive vocal range and tone.Lyric Opera of ChicagoLuciano Pavarotti an Italian operatic tenor who also crossed over into popular music, eventually becoming one of the most commercially successful tenors of all time.Plácido Domingo is a Spanish opera singer, conductor, and arts administrator.Dame Kiri Te Kanawa is a New Zealand soprano.Wolfgang Amadeus Mozart was a prolific and influential composer of the classical era.Shirley Verrett was an African-American operatic mezzo-soprano who successfully transitioned into soprano roles, i.e. soprano sfogato.Don Carlos is a grand opera composed by Giuseppe Verdi.Pomona is a German-language opera by Reinhard Keiser.Susanna is the countess Almaviva’s maid in The Marriage of Figaro.Clara is a character in the opera Porgy and Bess, by the American composer George Gershwin.Susanne Mentzer is an American operatic mezzo-soprano. She is best known for singing trouser roles, such as Cherubino in Mozart's Le nozze di Figaro, Idamante in Mozart's Idomeneo, Octavian in Richard Strauss' Der Rosenkavalier and the composer in Strauss' Ariadne auf Naxos, as well as other music of Mozart, Strauss, Rossini, Berlioz and Mahler.The Chicago Opera Theater (COT) is an American opera company based in Chicago, Illinois.Renée Fleming is an American soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.In music performance and notation, legato indicates that musical notes are played or sung smoothly and connected.Tatyana and Eugene Onegin are character is the opera Eugene Onegin composed by Pyotr Tchaikovsky.The Magic Flute is an opera by Mozart.Così fan tutte is an Italian-language opera buffa by Mozart.Victoria Okafor is an American opera soprano.Barbarina is a character in in The Marriage of Figaro.Operalia, The World Opera Competition, founded in 1993 by Plácido Domingo, is an annual international competition for young opera singers.Liù is a character in the opera Turandot by Giacomo Puccini.Deborah Birnbaum is an internationally established voice teacher.The Gershwin Initiative at the University of Michigan."Summertime" is an aria composed in 1934 by George Gershwin for the 1935 opera Porgy and Bess.Morris Robinson is an American bass opera singer and former All-American college football player who has performed with the Metropolitan Opera at Carnegie Hall, at La Scala in Milan, Italy, at the Sydney Opera House and in numerous other Opera Houses throughout the United States and internationally. He was the first African-American artist to sign with a major classical record label.Mimì is a character in the opera La bohème.Countess Rosina Almaviva is a character in the opera The Marriage of Figaro.Micaëla is a character in the opera Carmen.Carmen is an opera by French composer Georges Bizet.Cendrillon (Cinderella) is an opera—described as a "fairy tale"—by Jules Massenet.Castor and Patience will premiere during Cincinnati Opera's 100th anniversary season in 2020.Me Before You is a romance novel written by Jojo Moyes.Game of Thrones is an American fantasy drama television series created by David Benioff and D. B. Weiss for HBO. It is an adaptation of A Song of Ice and Fire, George R. R. Martin's series of fantasy novels, the first of which is A Game of Thrones.Breaking Bad is an American neo-Western crime drama television series created and produced by Vince Gilligan.Instacart is an American technology company that operates as a same-day grocery delivery and pick-up service in the U.S. and Canada.The Eagle OTR and Salazar are restaurants in Cincinnati.Beyoncé is an American singer, songwriter and actress.Drake is a Canadian rapper, singer, songwriter, record producer, actor, and entrepreneur.Radiohead are an English rock band. The band consists of Thom Yorke, brothers Jonny Greenwood and Colin Greenwood, Ed O'Brien, and Philip Selway.Muse are an English rock band. The band consists of Matt Bellamy, Chris Wolstenholme, and Dominic Howard.Teletubbies is a British pre-school children's television series.

The Metropolitan OperaNaomi Andre attended Westtown SchoolEric Mitchko is the General Director for the North Carolina Opera.Barnard College, Columbia UniversityThe Magic Flute is an opera by Wolfgang Amadeus Mozart.Der Rosenkavalier is a comic opera by Richard Strauss.Tatiana Troyanos was an American mezzo-soprano of Greek and German descent, remembered as "one of the defining singers of her generation" (Boston Globe).Dame Gwyneth Jones is a Welsh operatic dramatic soprano.Kathleen Battle is an American operatic soprano known for her distinctive vocal range and tone.Khovanshchina is an opera by Modest Mussorgsky.Dialogues des Carmélites is an opera, divided into twelve scenes with linking orchestral interludes, by Francis Poulenc.Manon Lescaut is an opera by Giacomo Puccini.Columbia UniversityJessye Norman is an American opera singer and recitalist.Sieglinde is a character in Die Walküre, the second of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen.Leona Mitchell is an American operatic soprano and an Oklahoma Music Hall of Fame inductee.Mimi is a character in the opera La bohème, composed by Giacomo Puccini.Martina Arroyo is an American operatic soprano who had a major international opera career from the 1960s through the 1980s. She was part of the first generation of black opera singers of Puerto Rican descent to achieve wide success, and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world.Aida is an opera by Giuseppe Verdi.Dame Kiri Te Kanawa is a New Zealand soprano.The Māori are the indigenous Polynesian people of New Zealand.Nabucco is an Italian-language opera composed in 1841 by Giuseppe Verdi.Samuel Ramey is an American operatic bass.Andrea Gruber is an American dramatic soprano particularly admired for her interpretations of the works of Puccini, Verdi, and Wagner.James Levine is an American conductor and pianist. He is primarily known for his tenure as Music Director of the Metropolitan Opera, a position he held for 40 years.Alfred Walker is an American operatic bass-baritone.Michèle Crider is an American lirico spinto operatic soprano.Mark Rucker, baritone, serves as professor of voice at MSU's College of Music.Porgy and Bess is an English-language opera by the American composer George Gershwin.Fidelio is Ludwig van Beethoven's only opera.Marian Anderson was an American contralto singer, one of the most celebrated of the twentieth century.Elizabeth Taylor Greenfield, dubbed "The Black Swan" (a play on Jenny Lind's sobriquet, "The Swedish Nightingale”, was an African-American singer considered the best-known black concert artist of her time.James Alan Bland, also known as Jimmy Bland, was an African-American musician and song writer.Thomas Dartmouth Rice, known professionally as Daddy Rice, was an American performer and playwright who performed blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time."Oh, Dem Golden Slippers" is a popular song commonly sung by blackface performers in the 19th century.Prada S.p.A. is an Italian luxury fashion house, specializing in leather handbags, travel accessories, shoes, ready-to-wear, perfumes and other fashion accessories, founded in 1913 by Mario Prada.Gucci is an Italian luxury brand of fashion and leather goods. Gucci was founded by Guccio Gucci in Florence, Tuscany, in 1921.Ralph Shearer Northam is an American politician and physician serving as the Governor of Virginia.Matilda Sissieretta Joyner Jones, known as Sissieretta Jones, was an American soprano. She sometimes was called "The Black Patti", a reference to Italian opera singer Adelina Patti.The Daughters of the American Revolution is a lineage-based membership service organization for women who are directly descended from a person involved in the United States' efforts towards independence.Eleanor Roosevelt was an American political figure, diplomat and activist, and served as First Lady of the United States.Rosa Parks was an American activist in the civil rights movement best known for her pivotal role in the Montgomery bus boycott.Mattiwilda Dobbs was an African-American coloratura soprano and one of the first black singers to enjoy a major international career in opera.Lillian Evanti was an African-American opera singer.Mary Lucinda Cardwell Dawson was an African-American musician and teacher and the founding director of the National Negro Opera Company.Theodore Drury, born in Kentucky, was a singer and music promoter.Dr. Kristen Turner’s work has been published in the Journal of the Society for American Music, and the Journal of Musicological Research. Her research interests are in 19th century opera, 19th and 20th century American musical culture, African American music, music and politics, and music and gender.Sir Rudolf Bing, KBE was an Austrian-born opera impresario who worked in Germany, the United Kingdom and the United States, most notably as General Manager of the Metropolitan Opera in New York City from 1950 to 1972.Ulrica is a character in the opera Un ballo in maschera, an opera by Giuseppe Verdi.RCA Studio B is a music recording studio in Nashville, Tennessee built in 1956. Originally known simply by the name “RCA Studios”, it became known in the 1960s for being an essential factor to the development of the production style and technique known as the Nashville Sound.“O don fatale” is an aria from the opera Les Troyens, a French grand opera by Hector Berlioz.Dom Sébastien, Roi de Portugal is a French grand opera by Gaetano Donizetti.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.The Julliard SchoolWilliam Warfield was an American concert bass-baritone singer and actor.Alice Ford is a character in the opera Falstaff.Donna Anna is a character in the opera Don Giovanni.Franco Corelli was an Italian tenor who had a major international opera career between 1951 and 1976.Il Trovatore is an opera by Giuseppe Verdi.Madame Butterfly is an opera by Giacomo Puccini.Liù is a character in the opera Turandot by Giacomo Puccini.The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi.Joe is a character in the musical Show Boat by Jerome Kern.La Scala is an opera house in Milan, Italy.Otello is an opera by Giuseppe Verdi.Atlanta Symphony OrchestraRussell Thomas is an American operatic tenor.Robert Spano is an American conductor and pianist.The Gershwin Initiative at the University of MichiganHouston Grand OperaLyric Opera of ChicagoFrancesca Zambello is an American opera and theatre director. She serves as General Director of The Glimmerglass Festival and Artistic Director of the Washington National Opera.The Neil Simon Theatre, formerly the Alvin Theatre, is a Broadway venue built in 1927.Götterdämmerung is the last in Richard Wagner's cycle of four music dramas titled Der Ring des Nibelungen.Treemonisha is an opera by African-American composer Scott Joplin, who is most noted for his ragtime piano works.Harry Lawrence Freeman was a United States opera composer, conductor, impresario and teacher. He was the first African-American to write an opera (Epthalia, 1891) that was successfully produced.Voodoo is an opera in three acts with music and libretto by Harry Lawrence Freeman.William Menefield is a Cincinnati-born composer. How work Fierce will be premiered by the Cincinnati Opera in 2020.Sheila Williams is the author of Dancing on the Edge of the Roof, On the Right Side of a Dream, The Shade of My Own Tree and Girls Most Likely.

On this week’s episode we’re talking all things music covers! I mean let’s be honest, some of us don’t truly appreciate a song until one of our favorite artists recreates it and makes it their own. Most of the time the new rendition is better than the original. Or in Taylor Swift’s case...it’s best to leave certain songs untouched. So tune in as we dissect a few of our favorite (and not so favorite) covers. You might be surprised by what you hear! Have something to add to the convo?? - Use the hashtag #VIEWSPOD on your socials! Spotify Playlist Covers Vol.1: - https://open.spotify.com/playlist/4rLY7vFkffx9cvvIFpQLVH Other Covers You Should Check Out: • Arima Ederra x Boogieman (originally by Mos Def) - https://www.youtube.com/watch?v=NMZTz_T-YKw • Childish Gambino x So Into You (originally by Tamia) - https://www.youtube.com/watch?v=UfQHEpf2q8k • Miguel x Porcelain (originally by Red Hot Chili Peppers) - https://www.youtube.com/watch?v=l48DPVyuGoA • JoJo x Glory (originally by Kathleen Battle & Jessye Norman) - https://www.youtube.com/watch?v=b04OX5B7nzA Follow Us: https://linktr.ee/viewsfromthechixx www.viewsfromthechixx.com

Darryl Jordan, a singer/songwriter/musician/conductor, graduated from New York University and Boston University, where he received his Bachelor’s and Master’s degrees, respectively in 2003. This year, he will complete his Ed. Doctorate in Music and Music Education from Teachers College, Columbia University. He has spent the better part of his career training multi-faceted young singers for a new generation in Harlem as the Chair of Performing Arts and Vocal Music at the Urban Assembly School for the Performing Arts. Armed with the desire to “develop singers for every stage,” he has spent the past twenty years training singers in Maryland, D.C., and New York for everything from classical to jazz. His students have performed in many great halls including Carnegie Hall, Alice Tully Hall, Jazz at Lincoln Center, National Black Theater, the Apollo Theater, Aaron Davis Hall, Meyerhoff Symphony Hall, Baltimore’s Center Stage, and a host of churches, community centers, and public events! Thanking God for his own musical gift, he continues to perform as a baritone/tenor soloist in and outside of the Tri-State area. Performing with everything from Gregory Sheppard Artists Management, Opera Ebony, Redeemer Presbyterian Church, St. Frances De Sales R.C. Church, Mott Haven Reformed Church, Randolph Noel and the Brooklyn Arts Ensemble, Dion Parsons and the 21st Century Band, as chorus member and soloist in The Underground Railroad: A Spiritual Journey with famed soprano Kathleen Battle at the Metropolitan Opera House, and most recently with the pit ensemble of Born for This, a new musical by BeBe Wigans. A sought after conductor and clinician, he most recently conducted Nyack’s Off-Broadway Production of The Wiz in his third conducting assignment with the school having conducted In the Heights and Westside Story in previous years. He is a regular conductor with Nyack's Chorale in their Celebration of God’s Faithfulness performances at Lincoln Center. He is proud to be the choral director at the historic Calvary Fellowship A.M.E. and former choir director at the historic Mt Lebanon Baptist Church in Brooklyn. A solo artist with his music group FreeMind, he brings a unique brand of neo-gospel-soul music to the world! An Apollo Amateur Night winner, he is set to released his second project TIME this year! Creative and Dynamic, he seeks to empower the community through the gift of song.

Oliver Camacho returns from a father and son-in-law concert at the Ravinia Festival for a double-header ‘Monday Evening Quarterback’ review... Matt Cummings offers up a family feud style ‘Pop Quiz’ with disastrous results... In the ‘Two Minute Drill’, Anne Midgette follows up on her sexual harassment expose with a classical music primer, "Bel Canto" rears its head again, and Kathleen Battle turns 70... www.facebook.com/OBSCHI1/

Conductors Sara Jobin and Clarence Smith join us for a preview of the TSO's upcoming concert with opera legend Kathleen Battle, which also features the Clarence Smith Community Chorus and the Voices at BGSU.

This episode of Opera for Everyone features Luciano Pavarotti as Nemorino and Kathleen Battle as Adina in a 1990 Metropolitan Opera production of Gaetano Donizetti's L'Elisir D'Amore conducted by James Levine. This "Opera Buffa" - comedic opera - premiered in 1832 at Teatro Cannobiana, in Milan. The opera in two acts with a libretto by Felice Romani, is set in a small village in the Italian countryside. The story focuses on a romance between the beautiful young Adina, and Nemorino a shy and insecure man who works on her land. L'Elisir D'Amore is considered to represent the best of the bel canto tradition that reigned in Italian opera in the early 19th century The show-stopping tenor aria “Una furtiva lagrima” in Act II is a favorite aria for many opera lovers.

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For our Broadway look at the holidays, we're joined by T. Oliver Reid from the new revival of Once on This Island, with songs performed by Judy Garland, Kathleen Battle, Sammy Davis, Jr., Barbara Cook, and more.

Wynton Marsalis joined us for Behind The Note Podcast today! We talked many things including leadership, building a team, and turning vision into reality. Rate Behind The Note Podcast on the platform you're using right now to read this script and to listen to the show. Press Play. Enjoy. Share. ---------------------------------------------------------------------------- Here is Wynton's Bio straight from his website: Wynton Marsalis is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture. He is the world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz. By creating and performing an expansive range of brilliant new music for quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet, Wynton has expanded the vocabulary for jazz and created a vital body of work that places him among the world’s finest musicians and composers. The Early Years Wynton was born in New Orleans, Louisiana, on October 18, 1961, to Ellis and Dolores Marsalis, the second of six sons. At an early age he exhibited a superior aptitude for music and a desire to participate in American culture. At age eight Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker, and at 14 he performed with the New Orleans Philharmonic. During high school Wynton performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with the popular local funk band, the Creators. At age 17 Wynton became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center. Despite his youth, he was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student. Wynton moved to New York City to attend Juilliard in 1979. When he began to pick up gigs around town, the grapevine began to buzz. In 1980 Wynton seized the opportunity to join the Jazz Messengers to study under master drummer and bandleader Art Blakey. It was from Blakey that Wynton acquired his concept for bandleading and for bringing intensity to each and every performance. In the years to follow Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, John Lewis, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz legends. Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts every year for 15 consecutive years. With the power of his superior musicianship, the infectious sound of his swinging bands and an exhaustive series of performances and music workshops, Marsalis rekindled widespread interest in jazz throughout the world. Wynton embraced the jazz lineage to garner recognition for the older generation of overlooked jazz musicians and prompted the re-issue of jazz catalog by record companies worldwide. He also inspired a renaissance that attracted a new generation of fine young talent to jazz. A look at the more distinguished jazz musicians of today reveals numerous students of Marsalis’ workshops: James Carter, Christian McBride, Roy Hargrove, Harry Connick Jr., Nicholas Payton, Eric Reed and Eric Lewis, to name a few. Classical Career Wynton’s love of the music of Bach, Beethoven, Mozart and others drove him to pursue a career in classical music as well. He recorded the Haydn, Hummel and Leopold Mozart trumpet concertos at age 20. His debut recording received glorious reviews and won the Grammy Award® for “Best Classical Soloist with an Orchestra.” Marsalis went on to record 10 additional classical records, all to critical acclaim. Wynton performed with leading orchestras including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, The Cleveland Orchestra, Saint Louis Symphony Orchestra, English Chamber Orchestra, Toronto Symphony Orchestra and London’s Royal Philharmonic, working with an eminent group of conductors including: Leppard, Dutoit, Maazel, Slatkin, Salonen and Tilson-Thomas. A timeless highlight of Wynton’s classical career is his collaboration with soprano Kathleen Battle on their recording Baroque Duet. Famed classical trumpeter Maurice André praised Wynton as “potentially the greatest trumpeter of all time.” Record Production To date Wynton has produced over 80 records which have sold over seven million copies worldwide including three Gold Records. His recordings consistently incorporate a heavy emphasis on the blues, an inclusive approach to all forms of jazz from New Orleans to modern jazz, persistent use of swing as the primary rhythm, an embrace of the American popular song, individual and collective improvisation, and a panoramic vision of compositional styles from dittys to dynamic call and response patterns (both within the rhythm section and between the rhythm section and horn players). Always swinging, Marsalis blows his trumpet with a clear tone and a unique, virtuosic style derived from an encyclopedic range of trumpet techniques. The Composer Wynton Marsalis is a prolific and inventive composer. The dance community embraced Wynton’s inventiveness by awarding him with commissions to create new music for Garth Fagan (Citi Movement-Griot New York & Lighthouse/Lightening Rod), Peter Martins at the New York City Ballet (Jazz: Six Syncopated Movements and Them Twos), Twyla Tharp with the American Ballet Theatre (Jump Start), Judith Jamison at the Alvin Ailey American Dance Theatre (Sweet Release and Here…Now), and Savion Glover (Petite Suite and Spaces). Marsalis collaborated with the Lincoln Center Chamber Music Society in 1995 to compose the string quartet At The Octoroon Balls, and again in 1998 to create a response to Stravinsky’s A Soldier’s Tale with his composition A Fiddler’s Tale. With his collection of standards arrangements, Wynton reconnected audiences with the beauty of the American popular song (Standard Time Volumes I-VI). He re-introduced the joy in New Orleans jazz with his recording The Majesty Of The Blues. He extended the jazz musician’s interplay with the blues in Levee Low Moan, Thick In The South and other blues recordings. With Citi Movement, In This House On This Morning and Blood On The Fields, Wynton invented a fresh conception for extended form compositions. His inventive interplay with melody, harmony and rhythm, along with his lyrical voicing and tonal coloring assert new possibilities for the jazz ensemble. In his dramatic oratorio Blood On The Fields, Wynton draws upon the blues, work songs, chants, call and response, spirituals, New Orleans jazz, Ellingtonesque orchestral arrangements and Afro-Caribbean rhythms; and he uses Greek chorus-style recitations to move the work along. The New York Times Magazine said the work “marked the symbolic moment when the full heritage of the line, Ellington through Mingus, was extended into the present.” The San Francisco Examiner stated, “Marsalis’ orchestral arrangements are magnificent. Duke Ellington’s shadings and themes come and go but Marsalis’ free use of dissonance, counter rhythms and polyphonics is way ahead of Ellington’s mid-century era.” Wynton extended his achievements in Blood On The Fields with All Rise, an epic composition for big band, gospel choir, and symphony orchestra – a classic work of high art – which was performed by the New York Philharmonic under the baton of Kurt Masur along with the Morgan State University Choir and the Lincoln Center Jazz Orchestra (December 1999). Marsalis collaborated with Ghanaian master drummer Yacub Addy to create Congo Square, a groundbreaking composition combining elegant harmonies from America’s jazz tradition with fundamental rituals in African percussion and vocals (2006). For the anniversary of the Abyssinian Baptist Church’s 200th year of service, Marsalis blended Baptist church choir cadences with blues accents and big band swing rhythms to compose Abyssinian 200: A Celebration, which was performed by the Jazz at Lincoln Center Orchestra and Abyssinian’s 100 voice choir before packed houses in New York City (May 2008). In the fall of 2009 the Atlanta Symphony Orchestra premiered Marsalis’ composition Blues Symphony. By infusing blues and ragtime rhythms with symphonic orchestrations Wynton creates a fresh type of enjoyment of classical repertoire. Employing complex layers of collective improvisation, Marsalis further expanded his repertoire for symphony orchestra with Swing Symphony, premiered by the renowned Berlin Philharmonic in June 2010, creating new possibilities for audiences to experience a symphony orchestra swing. Marsalis’ rich and expansive body of music for the ages places him among the world’s most significant composers. Television, Radio & Literary In the fall of 1995 Wynton launched two major broadcast events. In October PBS premiered Marsalis On Music, an educational television series on jazz and classical music. The series was written and hosted by Marsalis and was enjoyed by millions of parents and children. Writers distinguished Marsalis On Music with comparisons to Leonard Bernstein’s celebrated Young People’s Concerts of the 50s and 60s. That same month National Public Radio aired the first of Marsalis’ 26-week series entitled Making the Music. These entertaining and insightful radio shows were the first full exposition of jazz music in American broadcast history. Wynton’s radio and television series were awarded the most prestigious distinction in broadcast journalism, the George Foster Peabody Award. The Spirit of New Orleans, Wynton’s poetic tribute to the New Orleans Saints’ first Super Bowl victory (Super Bowl XLIV) received an Emmy Award for Outstanding Short Feature (2011). From 2012 to 2014 Wynton served as cultural correspondent for CBS News, writing and presenting features for CBS This Morning on an array topics from Martin Luther King, Nelson Mandela and Louis Armstrong to Juke Joints, BBQ, the Quarterback & Conducting and Thankfulness. Marsalis has written six books: Sweet Swing Blues on the Road, Jazz in the Bittersweet Blues of Life, To a Young Musician: Letters from the Road, Jazz ABZ (an A to Z collection of poems celebrating jazz greats), Moving to Higher Ground: How Jazz Can Change Your Life and Squeak, Rumble, Whomp! Whomp! Whomp! a sonic adventure for kids. Awards and Accolades Wynton Marsalis has won nine Grammy Awards® in grand style. In 1983 he became the only artist ever to win Grammy Awards® for both jazz and classical records; and he repeated the distinction by winning jazz and classical Grammys® again in 1984. Today Wynton is the only artist ever to win Grammy Awards® in five consecutive years (1983-1987). Honorary degrees have been conferred upon Wynton by over 25 of America’s leading academic institutions including Columbia, Harvard, Howard, Princeton and Yale (see Exhibit A). Elsewhere Wynton was honored with the Louis Armstrong Memorial Medal and the Algur H. Meadows Award for Excellence in the Arts. He was inducted into the American Academy of Achievement and was dubbed an Honorary Dreamer by the “I Have a Dream Foundation.” The New York Urban League awarded Wynton with the Frederick Douglass Medallion for distinguished leadership and the American Arts Council presented him with the Arts Education Award. Time magazine selected Wynton as one of America’s most promising leaders under age 40 in 1995, and in 1996 Time celebrated Marsalis again as one of America’s 25 most influential people. In November 2005 Wynton Marsalis received The National Medal of Arts, the highest award given to artists by the United States Government. United Nations Secretary-General Kofi Annan proclaimed Wynton Marsalis an international ambassador of goodwill for the Unites States by appointing him a UN Messenger of Peace (2001). In 1997 Wynton Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio Blood On The Fields. During the five preceding decades the Pulitzer Prize jury refused to recognize jazz musicians and their improvisational music, reserving this distinction for classical composers. In the years following Marsalis’ award, the Pulitzer Prize for Music has been awarded posthumously to Duke Ellington, George Gershwin, Thelonious Monk and John Coltrane. In a personal note to Wynton, Zarin Mehta wrote: “I was not surprised at your winning the Pulitzer Prize for Blood On The Fields. It is a broad, beautifully painted canvas that impresses and inspires. It speaks to us all … I’m sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you.” Wynton’s creativity has been celebrated throughout the world. He won the Netherlands’ Edison Award and the Grand Prix Du Disque of France. The Mayor of Vitoria, Spain, awarded Wynton with the city’s Gold Medal – its most coveted distinction. Britain’s senior conservatoire, the Royal Academy of Music, granted Mr. Marsalis Honorary Membership, the Academy’s highest decoration for a non-British citizen (1996). The city of Marciac, France, erected a bronze statue in his honor. The French Ministry of Culture appointed Wynton the rank of Knight in the Order of Arts and Literature and in the fall of 2009 Wynton received France’s highest distinction, the insignia Chevalier of the Legion of Honor, an honor that was first awarded by Napoleon Bonaparte. French Ambassador, His Excellency Pierre Vimont, captured the evening best with his introduction: “We are gathered here tonight to express the French government’s recognition of one of the most influential figures in American music, an outstanding artist, in one word: a visionary… I want to stress how important your work has been for both the American and the French. I want to put the emphasis on the main values and concerns that we all share: the importance of education and transmission of culture from one generation to the other, and a true commitment to the profoundly democratic idea that lies in jazz music. I strongly believe that, for you, jazz is more than just a musical form. It is tradition, it is part of American history and culture and life. To you, jazz is the sound of democracy. And from this democratic nature of jazz derives openness, generosity, and universality.” Jazz at Lincoln Center In 1987 Wynton Marsalis co-founded a jazz program at Lincoln Center. In July 1996, due to its significant success, Jazz at Lincoln Center was installed as new constituent of Lincoln Center, equal in stature with the New York Philharmonic, Metropolitan Opera, and New York City Ballet – a historic moment for jazz as an art form and for Lincoln Center as a cultural institution. In October 2004, with the assistance of a dedicated Board and staff, Marsalis opened Frederick P. Rose Hall, the world’s first institution for jazz. The complex contains three state-of-the-art performance spaces (including the first concert hall designed specifically for jazz) along with recording, broadcast, rehearsal and educational facilities. Jazz at Lincoln Center has become a preferred venue for New York jazz fans and a destination for travelers from throughout the world. Wynton presently serves as Managing and Artistic Director for Jazz at Lincoln Center. Under Wynton’s leadership, Jazz at Lincoln Center has developed an international agenda presenting rich and diverse programming that includes concerts, debates, film forums, dances, television and radio broadcasts, and educational activities. Jazz at Lincoln Center is a mecca for learning as well as a hub for performance. Their comprehensive educational programming includes a Band Director’s Academy, a hugely popular concert series for kids called Jazz for Young People, Jazz in the Schools, a Middle School Jazz Academy, WeBop! (for kids ages 8 months to 5 years), an annual High School Jazz Band Competition & Festival that reaches over 2000 bands in 50 states and Canada. In 2010 the Jazz at Lincoln Center Orchestra established its first residency in Cuba with a rich cultural exchange of performances with Cuban musicians including Chucho Valdes and Omara Portuondo and education programs for kids. Education In 2011 Harvard University President Drew Faust invited Wynton to enrich the cultural life of the University community. Wynton responded by creating a 6 lecture series which he delivered over the ensuing 3 years entitled Hidden In Plain View: Meanings in American Music, with the goal of fostering a stronger appreciation for the arts and a higher level of cultural literacy in academia. From 2015 to 2021 Wynton will serve as an A.D. White Professor at Cornell University. A.D. White Professors are charged with the mandate to enliven the intellectual and cultural lives of university students. Giving Back Wynton Marsalis has devoted his life to uplifting populations worldwide with the egalitarian spirit of jazz. And while his body of work is enough to fill two lifetimes, Wynton continues to work tirelessly to contribute even more to our world’s cultural landscape. It has been said that he is an artist for whom greatness is not just possible, but inevitable. The most extraordinary dimension of Wynton Marsalis, however, is not his accomplishments but his character. It is the lesser-known part of this man who finds endless ways to give of himself. It is the person who waited in an empty parking lot for one full hour after a concert in Baltimore, waiting for a single student to return from home with his horn for a trumpet lesson. It is the citizen who personally funds scholarships for students and covers medical expenses for those in need. Immediately following Hurricane Katrina, Wynton organized the Higher Ground Hurricane Relief Concert and raised over $3 million for musicians and cultural organizations impacted by the hurricane. At the same time, he assumed a leadership role on the Bring Back New Orleans Cultural Commission where he was instrumental in shaping a master plan that would revitalize the city’s cultural base. Wynton Marsalis has selflessly donated his time and talent to non-profit organizations throughout the country to raise money to meet the many needs within our society. From My Sister’s Place (a shelter for battered women) to Graham Windham (a shelter for homeless children), the Children’s Defense Fund, Amnesty International, the Sloan Kettering Cancer Institute, Food For All Seasons (a food bank for the elderly and disadvantaged), Very Special Arts (an organization that provides experiences in dance, drama, literature, and music for individuals with physical and mental disabilities) to the Newark Boys Chorus School (a full-time academic music school for disadvantaged youths) and many, many more – Wynton responded enthusiastically to the call for service. It is Wynton Marsalis’ commitment to the improvement of life for all people that portrays the best of his character and humanity. In 2011 Wynton joined with Harvard University President, Drew Faust to present a series of 6 lectures to the student body over 3 years. The series entitles Hidden In Plain View: Hidden Meanings in American Music was developed to foster a stronger appreciation of the arts and a higher level of cultural literacy amount college students.

Kurt Kaiser studied at the American Conservatory of Music in Chicago and earned two degrees from Northwestern University. He has more than 300 copyrighted songs to his name. Kurt joined Word, Inc., in 1959 as Director of Artists and Repertoire and later became Vice President and Director of Music for Word. He has arranged and produced albums for many gifted artists, among them Kathleen Battle, Ernie Ford, Hale & Wilder, Jerome Hines, Burl Ives, Ken Medema, Christopher Parkening, George Beverly Shea, Joni Eareckson Tada, Ethel Waters, Anne Martindale Williams, Christopher Adkins and many others. In 1992 Kaiser was awarded a special Lifetime Achievement Award from the American Society of Composers, Authors and Publishers for his contributions to the Christian music industry. He received an Honorary Doctor of Sacred Music degree from Trinity College in Illinois and an Honorary Doctor of Humane Letters from Baylor University. Kurt received the Hines Sims Award and was inducted into the Gospel Music Hall of Fame. The Faithfulness in Service Award was presented to him in 2003.

Virginia Arts Festival soprano Kathleen Battle at the Wilder Center.

L'Italiana in Algeri may seem like a classic battle of the sexes story set in North Africa, but it's really all about Italy. At least that's one way to look at it. On this episode of He Sang/She Sang, author Fred Plotkin, soprano Ying Fang and mezzo-soprano Rihab Chaieb discuss the politics, patriotism and musical brilliance of Rossini's escape-story masterpiece. Fred Plotkin's YouTube pick (Marilyn Horne, Pablo Montarsolo, Myra Merritt, Douglas Ahlstedt, Spiro Malas)   Merrin Lazyan's YouTube pick (Anna Goryachova, Alex Esposito, Yijie Shi, Mario Cassi)   This episode features excerpts from the following album: Rossini: L'Italiana in Algeri (Erato, 1981)— Marilyn Horne, mezzo-soprano; Samuel Ramey, bass; Kathleen Battle, soprano; Clara Foti, mezzo-soprano; Nicola Zaccaria, bass; Ernesto Palacio, tenor; Domenico Trimarchi, baritone; I Solisti Veneti conducted by Claudio Scimone

"När vinden vänder" handlar om sex människor som lyckades förverkliga sig och sina musikaliska drömmar mot alla odds. I första delen berättas om Constance Mozart, grovt förtalad hustru till Mozart. Medverkar gör svenska musikvetaren Viveca Servatius, författare till biografin Constance Mozart och brittiska dirigenten Jane Glover, som skrev Mozart's Women.Ordet Constance betyder trogen, trofast, noggrann, beständig. Det här programmet kommer att visa att Constance Mozart var just så. Dessutom var hon mycket musikalisk en god pianist och en ypperlig sångerska. I motsats till hur hon har skildrats av musikhistorikerna, nämligen som ointelligent, omusikalisk och som en försumlig och ovärdig hustru till Mozart.Constance Weber föds i Tyskland 1762 och gifter sig som 20-åring med Wolfgang Amadeus Mozart i Stephansdomen i Wien.De är gifta under drygt nio år och Constance föder i äktenskapet sex barn, varav fyra barn dör i späd ålder. Två söner överlever.Constance lever under en tid när kvinnornas rörelse- och yttrandefrihet alltmer inskränktes, men trots detta kan hon betraktas som musikhistoriens mest nedvärderade kvinna, skriver musikforskaren Viveca Servatius i sin biografi Constance Mozart.-Min bild av Constance Mozart hade formats negativt genom Mozartbiografier och annan kurslitteratur på Musikvetenskapliga institutionen, berättar musikvetaren Viveca Servatius i programmet.-I den ena Mozartbiografin efter den andra framställdes Constance som den grå askungen, som genom Mozarts naiva kärlek långsamt växer in i rollen som den bortskämda fru Mozart.Enligt dessa är Constance en konstig, lat, otrogen kvinna som inte förstår Mozarts storhet. Men så läser Viveca Servatius biografin 1791: Mozart's Last Year av Robbins Landon och hennes bild av Mozarts hustru förändras totalt.Dirigenten Jane Glover har dirigerat i operahusen över hela västvärlden, inte minst Mozartoperor. Under en period var hon konstnärlig ledare för London Mozart Players.-Den briljanta pjäsen Amadeus av Peter Schaffer blev den förfärliga filmen Amadeus av Milo Forman. Filmen låtsas vara en sann historia. Personen som överlever moraliskt är Mozart, medan Constance skildras som ett blåst, vulgärt fnask, menar dirigenten Jane Glover.-Den person som startade förtalet av Constance, och som var den negativa mytens upphov, var Mozarts far Leopold Mozart, som i det längsta försökte hindra sonen att gifta sig med Constance Weber.  Musikhistorikerna svalde Leopolds obarmhärtiga lögner, förklarar Jane Glover. Constance är i verkligheten en bra tjej med en stark känsla för ekonomi. Hon är festlig och älskar livet, och mellan Constance och Wolfgang brinner en stark passion.Leopold Mozart avskyr Constances familj Weber. Hos dem musiceras det ständigt och två av Constances tre systrar, Josepha och Aloisia, är skickliga sångerskor, ja, Aloisia hyllas som sin tids viktigaste sopran.Äldsta systern Josepha blir den allra första Nattens Drottning i Mozarts opera Trollflöjten. Constance själv sjunger bl a sopransolot Et incarnatus est vid uruppförandet 1783, av den då ofullbordade Mozarts stora C-mollmässa, i Benediktinerkyrkan i Salzburg. En mycket svårsjungen mässa.Under åren med Constance skapar Wolfgang sina bästa verk. Vinden vänder 1791 när den blott 29-åriga Constance blir änka. Mozart avlider endast 35 år gammal. Constance överlever honom med mer än 50 år!För Constance vänder vinden återigen när hon efter Mozarts död möter den danske diplomaten Georg Nissen, som är utstationerad i Wien. 1809 gifter de sig och skapar ett harmoniskt, lyckligt äktenskap. De bosätter sig mellan 1810 och 1820 i hans hemstad Köpenhamn. Nissen skriver en biografi över Mozart och Constance ser till att biografin trycks efter Nissens död 1826.Constance ägnar största delen av sitt liv åt att promovera Mozarts musik och bevara hans musikaliska kvarlåtenskap. Det är bland annat hennes förtjänst att Mozarteum finns i Salzburg.Människor från hela världen vallfärdar till Salzburg för att se Mozarts änka Constance som, under sina sista år, spenderar somrarna i ett litet hus utanför stadens centrum.-Constance var en älsklig, modest kvinna. Hon njöt av att visa upp sin välskötta trädgård med alla blommor och hon visade känslosamt fram Mozarts kvarlåtenskap med stolthed och glädje, berättar Jane Glover.Constance dör i Salzburg 1842, 80 år gammal.Låtlista:12:03 Rudy Stevenson, Lisle Atkinson, Bobby Hamilton, Nina Simone - Wild Is The Wind Album: Four Women Kompositör: Dimitri Tiomkin Bolag: VERVE 12:05 Jimmy Scott, Ray Charles - If I Should Lose You Album: Falling In Love Is Wonderful Kompositör: Ralph Rainger, Leo Robin Bolag: RHINO RECORDS 12:06 Ronald Brautigam - Rondo In D, K 485 Kompositör: WOLFGANG AMADEUS MOZART Bolag: Bis 12:10 Mitsuko Uchida - Sonat För Piano Nr 12 F-Dur Kv 332: Sats 2, Adagio Album: Sonat För Piano Nr 12 F-Dur Kv 332 Adagio Kompositör: Wolfgang Amadeus Mozart Bolag: UNIVERSAL MUSIC 12:12 Edita Gruberova, Nikolaus Harnoncourt, Zürich-Operans Orkester - Die Zauberflöte: Nr 14 Album: Die Zauberflöte Kompositör: Wolfgang Amadeus Mozart Bolag: TELDEC 12:14 Renée Fleming, Charles Mackerras, Orchestra Of Saint Luke's (New York) - Die Entführung Aus Dem Serail: Nr 6, Akt 1, "Ach Ich Liebte" Album: Mozart Arias Kompositör: Wolfgang Amadeus Mozart Bolag: DECCA 12:18 Jane Glover, London Mozart Players - Serenad Kv 361 B-Dur För 12 Blåsare & Kontrabas Album: Serenad Kv 361 B-Dur - Gran Partita Kompositör: Wolfgang Amadeus Mozart Bolag: NOVELLO 12:22 Jane Glover, London Mozart Players - Serenad Kv 361 B-Dur För 12 Blåsare & Kontrabas Album: Serenad Kv 361 B-Dur - Gran Partita Kompositör: Wolfgang Amadeus Mozart Bolag: NOVELLO 12:26 Kurt Sanderling, Bbc Northern Symphony Orchestra (Manchester) - Don Giovanni: Uvertyr Album: Don Giovanni Overture Kompositör: Wolfgang Amadeus Mozart Bolag: BBC RECORDS 12:29 Frederica Von Stade, Edo De Waart, Rotterdams Filharmoniska Orkester - Le Nozze Di Figaro: Nr 6 Kompositör: Wolfgang Amadeus Mozart Bolag: PHILIPS 12:32 Kathleen Battle, André Previn, Royal Philharmonic Orchestra (London) - Vorrei Spiegarvi Oh Dio...Ah Conte (Kv 418) Album: Arior Kompositör: Wolfgang Amadeus Mozart Bolag: EMI 12:37 Kathleen Battle, André Previn, Royal Philharmonic Orchestra (London) - Vorrei Spiegarvi Oh Dio...Ah Conte (Kv 418) Album: Arior Kompositör: Wolfgang Amadeus Mozart Bolag: EMI 12:40 Barbara Hendricks, Neville Marriner, Academy Of Saint Martin-In-The-Fields (London), Justin Sillman - Mässa Nr 18 C-Moll Kv 427: Nr 14, Et Incarnatus Est Album: Airs Sacrés Kompositör: Wolfgang Amadeus Mozart Bolag: EMI 12:46 Barbara Hendricks, Neville Marriner, Academy Of Saint Martin-In-The-Fields (London), Justin Sillman - Mässa Nr 18 C-Moll Kv 427: Nr 14, Et Incarnatus Est Album: Airs Sacrés Kompositör: Wolfgang Amadeus Mozart Bolag: EMI 12:49 Hans Pålsson - Fantasi För Piano Kv 396 C-Moll Album: Sonatas And Fantasias Kompositör: Wolfgang Amadeus Mozart Bolag: CHAMBER SOUND 12:55 Hans Pålsson - Fantasi För Piano Kv 396 C-Moll Album: Sonatas And Fantasias Kompositör: Wolfgang Amadeus Mozart Bolag: CHAMBER SOUND 12:58 Cheryl Studer, Neville Marriner, Academy Of Saint Martin-In-The-Fields (London) - La Clemenza Di Tito: Nr 23, Akt 2, "Non Piu Di Fiori"      Album: Queen Of The Night      Kompositör: Wolfgang Amadeus Mozart     Bolag: PHILIPS

The former Moores School director and composer teaches us about carols, and shares some of his favorites. It’s Christmastime in the Classroom! David Ashley White – Professor of Composition at (and former director of) the Moores School of Music, composer, and guy who writes hymns for actual hymnals – teaches us what makes a “carol” and shares some of his favorites with us. There are oldies, goodies, and stuff you’ve never heard. We assure you, it will put you in the Christmas spirit. Not the ghosty kind. The happy kind. PS, MERRY CHRISTMAS, listeners! We hope your holidays are both merry and bright.   Composer David Ashely White. Photo courtesy of the Moores School website. Audio production by Todd “Feliz Navi-Todd” Hulslander with elfin shenanigans by Dacia Clay. Music in this episode: Handel: Messiah, HWV 56 – For Unto Us A Child Is Born, Susan Gritton, Bernarda Fink, Etc.; Paul McCreesh: Gabrieli Consort & Players. Handel: Messiah (Disc 1). Mary Had A Baby, Kathleen Battle, Christopher Parkening. Angels’ Glory. Sunny Bank (I Saw Three Ships, Julie Andrews. A Christmas Treasure Holiday.  Cherry Tree Carol, Sting. If On A Winter’s Night… O Come, O Come Emmanuel, Sufjan Stevens. Songs for Christmas. Tomorrow shall by my dancing day, Harry Christophers: The Sixteen, 20th Century Christmas Collection. White Christmas, Anne Sofie Von Otter. Home For Christmas. Sweet Was the Song, Palmer Memorial Episcopal Choir. By David Ashley White. Deck The Halls, Julie Andrews. A Christmas Treasure.

Pianist Cyrus Chestnut has played with everyone from Aretha Franklin to Kathleen Battle to Betty Carter to James Moody. His blend of soul and swing has elevated him to become one of the most reliable pianists of his generation. His recent CD, Midnight Melodies from the newly-formed label, The Smoke Sessions, spent a month at […]

Romanza sin palabras (arpa): Mª Rosa Calvo-ManzanoRéquiem:  Kathleen Battle (soprano), Andreas Schmidt (barítono), Timothy Farrell  (órgano), Philharmonia Chorus & Orchestra, Carlo Maria Giulini (director) Una composición hermosa como pocas, que entronca directamente con lo mejor de un género, el Réquiem, que ha dado obras maestras como esta. Fauré asombra y llega a los más profundo por todo lo que tiene de sencillez, de inspiración, de canto y melodías convertidos en esperanza, oración eterna para los vivos que lloran a sus seres queridos.   Escuchar audio

It’s that time of year again, when orchestras across the land are dusting off their holiday pops programs and choruses are warming up for Messiahs and sing-a-along carol extravaganzas. But for the recording industry, Christmas music has changed. The big orchestral albums of the sort that conductors like Arthur Fiedler or Eugene Ormandy used to make have fallen by the wayside. So have the grand star vehicles, with a sequined opera diva belting out Christmas songs backed up by a choir and orchestra. But as we hear in this edition of Conducting Business, what remains are plenty of smaller-scale recordings that either attempt to make a cozier or refined spiritual statement (as with many early-music groups), or round up a bunch of stars from different genres to perform the standards. The changes are partly driven by economics, said Anastasia Tscioulcas, who covers classical music for NPR Music. “Where did the recordings go? They’re very expensive to make,” she told host Naomi Lewin. “The big star-studded album with the full symphony orchestra behind them and maybe chorus thrown in for good measure is extremely expensive to produce.” The new realities are a reflection of changes in the classical music business. “The number of stars that have that sort of appeal has descended dramatically,” noted Anne Midgette, classical music critic of the Washington Post. “Renee Fleming and Anna Netrebko are the only opera singers who have that sort of mass appeal.” Of course, Christmas is not a time for snobbery or strict adherence to high-minded artistic ideals, say the panelists. Nostalgia is a big part of what drives the business. Listeners are often attracted to a holiday album by their favorite star, which sticks with them later in life. Steven Epstein, a multi-Grammy Award-winning record producer, says a simpler aesthetic has come to dominate. “The most successful Christmas albums are those where the arrangements are not complex and that the melodies don’t get lost,” he said. Epstein’s imprint can be found on several albums that follow an increasingly popular template: gather together stars from different genres and try and capture some of their respective fan bases. The most recent recording of this sort is “Musical Gifts from Joshua Bell and Friends,” which was released last month, but Epstein cites a similar effort from back in 1989: "Crescent City Christmas," for which Wynton Marsalis was joined by singers like Jon Hendricks and Kathleen Battle. “That is what really brings in the consumer are the additional guest artists,” Epstein noted. Midgette sees no loss in the decline of the diva Christmas record. “Artistically these things are negligible – and I say that as somebody who has my favorite Christmas albums, which have been basically the same since I was about seven." Listen to the full podcast above and tell us below: What are your most and least favorite holiday albums? Sidebar: A Few of our favorite Christmas Recordings Anne Midgette:Christmas from a Golden Age (Naxos) (singers including Victoria de los Angeles, John McCormack, Rosa Ponselle and others)The Messiah Remix (Cantaloupe) (featuring remixed versions by Paul Lansky, Eve Beglarian, Phil Kline and others) Anastasia Tsioulcas:Vince Guaraldi: "A Charlie Brown Christmas"Robert Shaw Chorale: "The Many Moods of Christmas" Steven Epstein:Christmas with the Mormon Tabernacle Choir Naomi Lewin:Britten's Ceremony of Carols (Philadelphia Singers, Benita Valente, Maureen Forrester, David Gordon)...And an honorable mention for worst Christmas collaboration: Michael Bolton and Placido Domingo sing "Ave Maria" from "Merry Christmas from Vienna" .chart_div { width: 600px; height: 300px; } loadSurvey( "which-piece-classical-holiday-music-most-overexpos", "survey_which-piece-classical-holiday-music-most-overexpos");

Join host Patrick D. McCoy as he broadcast an hour long show dedicated to the brilliant soprano Kathleen Battle.  McCoy will share is initial introduction to Ms. Battle's glorious art and will play excerpts from her body of recorded works.  This show will honor Ms. Battle for her musical greatness and in no way wlll dimiss her many contributions to the world of music.  "This show is long overdue, and one very special and dear to my heart."  McCoy said.  Guests include Metropolitan Opera soprano Anita Johnson, who will speak specifically on Ms. Battle's influence on her choice to pursue singing and Monica Perdue, a soprano based in Chicago, IL and longtime admirer join the broadcast. Devoted fans and supportive colleagues are invited to be considered as guest on the show by e-mailing theafricanamericanvoice@gmail.com with Kathleen Battle in the subject line.  Only guest who share the intended spirit of this broadcast will be considered. Born in 1948 in Portsmouth, Ohio, Kathleen Battle is world renowned for her silvery, lyric soprano voice.  Whether she is championing the works of Handel or essaying jazz standards, Ms. Battle's voice is in a league of its own.

The acclaimed arranger of African American spirituals, Jacqueline Hairston drops in to discuss the debut of her choral ensemble in New York's famed Carnegie Hall.  Ms. Hairston is admired her gifts as a singer, conductor, pianist, composer and arranger.  Her spiritual arrangements have been sung all over the world, notably by the internationally renowned soprano, Kathleen Battle.

SHOW PREMIERE: For many classical music is something that is perceived to be an elitist art form. Yet, classical music is responsible for the successes of many people, whether they have pursued it as career or not. Callers share how they were first introduced to this great music.

**SPECIAL DATE AND TIME: Monday October 12th, 2009 at 7:00 p.m.EST**   Beginning in 1989, this Philadelphia-born bassist moved to New York City to further his classical studies at the Juilliard School, only to be snatched up by alto saxophonist, Bobby Watson. Since then, McBride's list of accomplishments have been nothing short of staggering. As a sideman in the jazz world alone, he's worked with the best of the very best - Freddie Hubbard, Sonny Rollins, J.J. Johnson, Ray Brown, Milt Jackson, McCoy Tyner, Roy Haynes, Chick Corea, Herbie Hancock and Pat Metheny. In the R&B world, he's not only played with, but also arranged for Isaac Hayes, Chaka Khan, Natalie Cole, Lalah Hathaway, and the one and only Godfather of Soul himself, James Brown. In the pop/rock world, he's extensively collaborated with Sting, Carly Simon, Don Henley, and Bruce Hornsby. In the hip-hop/neo-soul world, he's collaborated with the Roots, D'Angelo, and Queen Latifah. In many other specialty projects, he's worked closely with opera legend Kathleen Battle, bass virtuoso Edgar Meyer, the Shanghai Quartet and the Sonus Quartet. Since 2000, McBride has blazed a trail as a bandleader with the Christian McBride Band. McBride's fellow bandmates- saxophonist Ron Blake, keyboardist Geoffrey Keezer and drummer Terreon Gully - have sympathetically shared McBride's all-inclusive, forward-thinking outlook on music. Releasing two CD's - 2002's "Vertical Vision", and 2006's "Live at Tonic". www.christianmcbride.com. ***SHOW IS AT A SPECIAL DATE AND TIME: Monday October 12th, 2009 at 7:00 p.m. EST**