Podcasts about Kurt Weill

Wulf, Dieter www.deutschlandfunkkultur.de, Aus der jüdischen Welt

For this round of Fox Studios 1934 we watched Change of Heart (directed by John G. Blystone), Janet Gaynor and Charles Farrell's final pairing, co-starring with James Dunn and a brink-of-stardom Ginger Rogers as college friends in unrequited love configurations; and Marie Galante (directed by Henry King), from source material by Jacques Duval best known as the basis for Kurt Weill's songs for the stage musical version, with young French actress Ketti Gallian paired with a visibly perplexed Spencer Tracy. The latter lacks atmosphere and the former lacks story, but we find lots to like/talk about in the performances.  Time Codes: 0h 00m 25s:      1934 & Fox Film Corporation 0h 03m 46s:      CHANGE OF HEART [dir. John G. Blystone] 0h 24m 36s:      MARIE GALANTE [dir. Henry King]   Studio Film Capsules provided by The Fox Film Corporation: 1915-1935 by Aubrey Solomon Additional studio information from: The Hollywood Story by Joel W. Finler 1934 Information from Forgotten Films to Remember by John Springer         Also referenced: Stepin Fetchit: The Life and Times of Lincoln Perry by Mel Watkins                           +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

There was only one way to follow up my interview with the iconic, the unique Steven Blier published earlier this week, and that is with an episode dedicated to his dazzling at the keyboard and his accomplishments as the co-founder and artistic director of NYFOS, the New York Festival of Song, which is just concluding its 38th season. Going all the way back to Steve's first recordings in the late 1980s, I have compiled a setlist that is a testament to his love of song, and his ever-expanding interests in that field. Performances both live and studio, many of them straight from Steve's own archives, feature composers ranging from Franz Schubert to Leonard Bernstein, Eubie Blake to Albert Roussel, Eduard Toldrà to Marc Blitzstein, and Billy Strayhorn to Kurt Weill , including work commissioned specifically by and for Blier and NYFOS. And that's just the tip of the iceberg. These are performed by vocal colleagues of Steven's past and present, including William Sharp, Lorraine Hunt Lieberson, Darius de Haas, Stephanie Blythe, Christopher Trakas, Corinne Winters, Kurt Ollmann, Lisa Vroman, Federico De Michelis, Joshua Blue, Sasha Cooke, Brett Polegato, and many, many others. Kudos to this magnificent artist who has enriched all of our lives! Countermelody is the 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 author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Diese Quellen bieten eine umfassende Analyse des Lebens und Wirkens von Bertolt Brecht, wobei sein revolutionärer Beitrag zum modernen Theater und zur Lyrik im Mittelpunkt steht. Sie beleuchten seine Zusammenarbeit mit Komponisten wie Kurt Weill und Hans Eisler, insbesondere bei Welterfolgen wie der „Dreigroschenoper“, die bürgerliche Moralvorstellungen durch eingängige Melodien und scharfe Gesellschaftskritik herausforderte. Ein zentrales Thema ist der Verfremdungseffekt, der das Publikum zur kritischen Distanz anregen sollte, sowie Brechts eigene dialektische Entwicklung vom Expressionisten zum politisch engagierten „Stückeschreiber“. Zudem thematisieren die Texte die persönlichen und künstlerischen Spannungen während seines Exils und seiner Rückkehr nach Ost-Berlin. Letztlich verdeutlichen die Quellen, dass Brechts Werk durch seine sprachliche Präzision und die Mobilisierung der Zuschauerintelligenz bis heute eine zeitlose Aktualität bewahrt.Bertolt Brecht bricht in seinen Gedichten Erwartungen systematisch durch dialektische Spannungsverhältnisse, die den Leser aus einer passiven Konsumhaltung reißen und seine Intelligenz mobilisieren sollen. Er nutzt dabei verschiedene Techniken des „dialektischen Sprungs“, um scheinbare Gewissheiten zu erschüttern:Brecht verwendet häufig eine Einlulltechnik, bei der er über mehrere Strophen eine bestimmte Erwartung oder ein Narrativ aufbaut, um dieses in der letzten Strophe radikal zu zerstören.Ein prägnantes Beispiel ist das Gedicht Was bekam des Soldaten Weib: Über mehrere Strophen werden prachtvolle Geschenke aus verschiedenen Städten (Schuhe aus Prag, Linnen aus Warschau, Seide aus Paris) aufgezählt, was den Eindruck erweckt, der Krieg lohne sich.Der dialektische Umschlag erfolgt in der letzten Strophe: Aus Russland erhält die Frau den Witwenschleier. Damit wird das zuvor mühsam errichtete „Gebäude“ der Kriegserträge eingerissen und die brutale Realität des Todes gegenübergestellt.In späten Gedichten wie Rückkehr nutzt Brecht dialektische Sprünge, um die Position des Sprechers zu verschieben.In der ersten Strophe tritt der Heimkehrer noch als souveränes Subjekt auf, das den Bomberschwärmen folgt und fragt: „Wie finde ich die Vaterstadt?“.In der zweiten Strophe verkehrt sich dieses Verhältnis: Nicht mehr das „Ich“ findet die Stadt, sondern die Stadt „empfängt“ den Heimkehrer. Der Heimkehrer wird zum Objekt, das im Zeichen des Todes (der Bomben und Feuersbrünste) steht, die er selbst mitgebracht hat. Dieser Sprung zwingt den Leser, die moralische Position des Heimkehrers neu zu bewerten.Brecht setzt oft Sätze unvermittelt nebeneinander, ohne die logische Verknüpfung (das „Scharnier“) mitzuliefern.In einem Beispiel stehen die „Schlächter“, die aus Bibliotheken treten, neben „Müttern“, die den Himmel nach Erfindungen der Gelehrten absuchen.Der Leser ist gezwungen, diesen gedanklichen Sprung selbst zu vollziehen und die Verbindung zwischen den gelehrten Erfindungen und der Zerstörungskraft der „Schlächter“ herzustellen.Manchmal bricht Brecht Erwartungen, indem er die eigentliche Pointe oder den „Sieg“ der Vernunft im Text gar nicht ausspricht.Im Gedicht Der Schneider von Ulm endet die Erzählung mit dem Absturz des Schneiders und dem Triumph des Bischofs, der behauptet, der Mensch werde nie fliegen.Der dialektische Sprung findet hier im Kopf des Lesers statt: Da dieser weiß, dass Menschen heute fliegen, erkennt er die Denkfaulheit der Autorität (des Bischofs), obwohl das Gedicht vordergründig das Scheitern des Schneiders schildert.Zusammenfassend lässt sich sagen, dass diese dialektischen Sprünge bei Brecht als „Intelligenz-Appell“ fungieren. Er stellt die Dinge „auf den Kopf“, um dem Leser ein „frisches, neues, dreistes Urteil“ zu ermöglichen.1. Die „Destruktionsstrophe“ am Gedichtende2. Umkehrung von Subjekt und Objekt (Perspektivwechsel)3. Das Fehlen des logischen „Scharniers“4. Dialektik durch Auslassung (Appell an den Leser)5. Verfremdung bekannter Motive

Diese Quellen bieten eine umfassende Analyse des Lebens und Wirkens von Bertolt Brecht, wobei sein revolutionärer Beitrag zum modernen Theater und zur Lyrik im Mittelpunkt steht. Sie beleuchten seine Zusammenarbeit mit Komponisten wie Kurt Weill und Hans Eisler, insbesondere bei Welterfolgen wie der „Dreigroschenoper“, die bürgerliche Moralvorstellungen durch eingängige Melodien und scharfe Gesellschaftskritik herausforderte. Ein zentrales Thema ist der Verfremdungseffekt, der das Publikum zur kritischen Distanz anregen sollte, sowie Brechts eigene dialektische Entwicklung vom Expressionisten zum politisch engagierten „Stückeschreiber“. Zudem thematisieren die Texte die persönlichen und künstlerischen Spannungen während seines Exils und seiner Rückkehr nach Ost-Berlin. Letztlich verdeutlichen die Quellen, dass Brechts Werk durch seine sprachliche Präzision und die Mobilisierung der Zuschauerintelligenz bis heute eine zeitlose Aktualität bewahrt.Bertolt Brecht bricht in seinen Gedichten Erwartungen systematisch durch dialektische Spannungsverhältnisse, die den Leser aus einer passiven Konsumhaltung reißen und seine Intelligenz mobilisieren sollen. Er nutzt dabei verschiedene Techniken des „dialektischen Sprungs“, um scheinbare Gewissheiten zu erschüttern:Brecht verwendet häufig eine Einlulltechnik, bei der er über mehrere Strophen eine bestimmte Erwartung oder ein Narrativ aufbaut, um dieses in der letzten Strophe radikal zu zerstören.Ein prägnantes Beispiel ist das Gedicht Was bekam des Soldaten Weib: Über mehrere Strophen werden prachtvolle Geschenke aus verschiedenen Städten (Schuhe aus Prag, Linnen aus Warschau, Seide aus Paris) aufgezählt, was den Eindruck erweckt, der Krieg lohne sich.Der dialektische Umschlag erfolgt in der letzten Strophe: Aus Russland erhält die Frau den Witwenschleier. Damit wird das zuvor mühsam errichtete „Gebäude“ der Kriegserträge eingerissen und die brutale Realität des Todes gegenübergestellt.In späten Gedichten wie Rückkehr nutzt Brecht dialektische Sprünge, um die Position des Sprechers zu verschieben.In der ersten Strophe tritt der Heimkehrer noch als souveränes Subjekt auf, das den Bomberschwärmen folgt und fragt: „Wie finde ich die Vaterstadt?“.In der zweiten Strophe verkehrt sich dieses Verhältnis: Nicht mehr das „Ich“ findet die Stadt, sondern die Stadt „empfängt“ den Heimkehrer. Der Heimkehrer wird zum Objekt, das im Zeichen des Todes (der Bomben und Feuersbrünste) steht, die er selbst mitgebracht hat. Dieser Sprung zwingt den Leser, die moralische Position des Heimkehrers neu zu bewerten.Brecht setzt oft Sätze unvermittelt nebeneinander, ohne die logische Verknüpfung (das „Scharnier“) mitzuliefern.In einem Beispiel stehen die „Schlächter“, die aus Bibliotheken treten, neben „Müttern“, die den Himmel nach Erfindungen der Gelehrten absuchen.Der Leser ist gezwungen, diesen gedanklichen Sprung selbst zu vollziehen und die Verbindung zwischen den gelehrten Erfindungen und der Zerstörungskraft der „Schlächter“ herzustellen.Manchmal bricht Brecht Erwartungen, indem er die eigentliche Pointe oder den „Sieg“ der Vernunft im Text gar nicht ausspricht.Im Gedicht Der Schneider von Ulm endet die Erzählung mit dem Absturz des Schneiders und dem Triumph des Bischofs, der behauptet, der Mensch werde nie fliegen.Der dialektische Sprung findet hier im Kopf des Lesers statt: Da dieser weiß, dass Menschen heute fliegen, erkennt er die Denkfaulheit der Autorität (des Bischofs), obwohl das Gedicht vordergründig das Scheitern des Schneiders schildert.Zusammenfassend lässt sich sagen, dass diese dialektischen Sprünge bei Brecht als „Intelligenz-Appell“ fungieren. Er stellt die Dinge „auf den Kopf“, um dem Leser ein „frisches, neues, dreistes Urteil“ zu ermöglichen.1. Die „Destruktionsstrophe“ am Gedichtende2. Umkehrung von Subjekt und Objekt (Perspektivwechsel)3. Das Fehlen des logischen „Scharniers“4. Dialektik durch Auslassung (Appell an den Leser)5. Verfremdung bekannter Motive

durée : 01:28:27 - par : Lionel Esparza - En ce 1er mai, on célèbre les musiciens qui ont fait de la paresse un art de vivre : Rossini posant la plume à 37 ans pour ne plus jamais écrire d'opéra, Liadov laissant filer L'Oiseau de feu vers Stravinsky, Brahms différant de 20 ans sa 1e Symphonie, Kurt Weill & Mozart glorifiant les fainéants... - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:27 - par : Lionel Esparza - En ce 1er mai, on célèbre les musiciens qui ont fait de la paresse un art de vivre : Rossini posant la plume à 37 ans pour ne plus jamais écrire d'opéra, Liadov laissant filer L'Oiseau de feu vers Stravinsky, Brahms différant de 20 ans sa 1e Symphonie, Kurt Weill & Mozart glorifiant les fainéants... - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

The post-WW1 Weimar Republic in Germany was the height of European civilization. Its scientists and scholars led the world. Its Bauhaus architecture was the rage. Its arts featured such luminaries as Fritz Lang, Bertolt Brecht, Kurt Weill and Thomas Mann. Yet, out of this modern democracy sprang Nazism, German fascism, and one of the most barbaric regimes ever. How did Hitler happen? It is one of the most important questions of history. What happened in Germany has disturbing resonances for our own time. Fascist-like regimes are taking power in many countries. We ignore disturbing signs at our peril from torchlight parades in Charlottesville with crowds chanting, “Jews Will Not Replace Us” to a synagogue massacre in Pittsburgh to the murder of African-Americans in a church in Charleston. What can we learn from the past to ensure it doesn't happen again? Recorded at Hunter College. Interviewed by David Barsamian

Thrash (Netflix) | Eine Kleinstadt gegen Hurricane und Haie – oder: Wie wichtig ist das „H“ im Titel? „Und der Haifisch, der hat Zähne / Und die trägt er im Gesicht“ – so beginnt die „Moritat von Mackie Messer“ von Bertolt Brecht und Kurt Weill aus dem Jahr 1928. Damals gab es weder Netflix noch den norwegischen Genre-Regisseur Tommy Wirkola („Violent Night“) – und genau hier endet auch schon unser kleiner Ausflug in die Hochkultur. Denn „Thrash“, den der Streamingdienst am 10. April veröffentlicht hat, ist ein Mix aus Hai-Horror und Katastrophenfilm. Im Zentrum steht eine australische Küstenstadt, in der die Warnung vor einem Hurrikan der höchsten Kategorie von vielen ignoriert wird. Nur der Marinewissenschaftler Dale Edwards schlägt Alarm und versucht vergeblich, seine Nichte Dakota zu überzeugen. Als der Sturm schließlich auf Land trifft, offenbart sich das ganze Ausmaß der Katastrophe: Gewaltige Wassermassen überfluten die Straßen und spülen zudem hungrige Haie mitten in die Stadt. Das klingt zunächst nach einer Story aus dem Hause The Asylum („Sharknado“), doch zumindest unser Stu würde diesen Vergleich energisch zurückweisen – was allerdings nicht automatisch bedeutet, dass er „Thrash“ für großartig hält. Was genau er zum Film zu sagen hat und wie unser Tele-Stammtisch-Delfin Johannes das Ganze einordnet, erfahrt ihr im Podcast – in dem weder Brecht noch Weill eine Rolle spielen, dafür aber Haie. Und ihre Zähne. Ach ja, und die Frage, ob „Thrash“ tatsächlich Trash ist, steht natürlich auch im Raum – aber sorry, diese Pointe war uns dann doch zu plump für diesen Text. Dann lieber ein Hauch Hochkultur. Viel Spaß mit der neuen Folge vom Tele-Stammtisch! Trailer Werdet Teil unserer Community und besucht unseren Discord-Server! Dort oder auch auf Instagram könnt ihr mit uns über Filme, Serien und vieles mehr sprechen. Website | Youtube | PayPal | BuyMeACoffee Großer Dank und Gruß für das Einsprechen unseres Intros geht raus an Engelbert von Nordhausen. Thank you very much to BASTIAN HAMMER for the orchestral part of the intro! I used the following sounds of freesound.org: 16mm Film Reel by bone666138 wilhelm_scream.wav by Syna-Max backspin.wav by il112 Crowd in a bar (LCR).wav by Leandros.Ntounis Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0)

durée : 00:05:19 - Le 13/14 - par : Julien Baldacchino - Le metteur en scène est nommé aux Molières pour son spectacle "Je suis trop vert", en tournée actuellement dans toute la France. Il a choisi une chanson écrite par Kurt Weill et ici interprétée par Cathy Berberian, une chanson pour enfants pas si innocente. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:12:21 - Le Disque classique du jour du mercredi 11 mars 2026 - HK Gruber et son complice, l'Orchestre de Chambre Suédois, présentent trois œuvres du célèbre compositeur de comédies musicales, dont le ballet satirique Les Sept Péchés Capitaux, une critique acerbe de la société capitaliste qui met en lumière le conflit perpétuel entre l'argent et la morale. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:12:21 - Le Disque classique du jour du mercredi 11 mars 2026 - HK Gruber et son complice, l'Orchestre de Chambre Suédois, présentent trois œuvres du célèbre compositeur de comédies musicales, dont le ballet satirique Les Sept Péchés Capitaux, une critique acerbe de la société capitaliste qui met en lumière le conflit perpétuel entre l'argent et la morale. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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Season 8, Episode 162 In the season premiere episode of THE STORY SONG PODCAST, your hosts review the 1959 jazz classic, “Mack the Knife,” performed by Bobby Darin and written by Kurt Weill and Bertolt Brecht (with English lyrics by Marc Blitzstein) for the musical, The Threepenny Opera. “Mack the Knife” by Bobby Darin (from the album That's All) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Continue the conversation; follow SSP on social media. Follow us on Bluesky (@storysongpodcast.bsky.social), Instagram (storysongpodcast), Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the season premiere episode of THE STORY SONG PODCAST, your hosts review the 1959 jazz classic, “Mack the Knife,” performed by Bobby Darin and written by Kurt Weill and Bertolt Brecht (with English lyrics by Marc Blitzstein) for the musical, The Threepenny Opera. “Mack the Knife” by Bobby Darin (from the album That's All) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Bluesky (@storysongpodcast.bsky.social), Instagram (storysongpodcast), Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hablamos con Paco Formento, director de "La Ópera de los tres centavos", la adaptación teatral del célebre texto de Bertolt Brecht con música de Kurt Weill que representarán el alumnado del tercer curso de la Escuela Municipal de Teatro de Zaragoza los días 10 y 11 de febrero a las 20.00 horas en el Teatro Principal. También nos acompañan en la entrevista Eva Castillo Andrés y Leyre Peláez González, alumnas de la Escuela Municipal de Teatro.

Folk musician Martin Carthy speaks about his long career and about his recent decision to retire from live performance following a diagnosis of late-onset Alzheimer's Disease; As a major retrospective of the work of Gwen John goes on display at National Museum Cardiff, the exhibition's curator Lucy Wood and historian of visual culture Becca Voelcker discuss this formidable and fascinating modernist. 77-year-old curator Alison Luchs of the National Gallery of Art in Washington DC has gone viral with her social media videos in which she speaks to Gen Z in their own language. She speaks to Front Row about slaying as an online phenomenon. And ENO's new Music Director Designate, German conductor André de Ridder, speaks to us about his plans for the opera company and about the forthcoming production of Rise and Fall of the City of Mahagonny by Kurt Weill and Bertold Brecht, a piece which he has described as "frighteningly relevant". Presenter: Kate Molleson Producer: Mark Crossan

Von Youkali bis Fantasyland. Katie Bray stolpert durch einen wilden Sound-Cocktail aus Oper, Jazz und Pop. Ein schräger Textmix zeigt, wie grenzenlos moderne Musikphantasien heute gespielt werden.

To kick off Black History Month 2026 (which, contrary to the current US administration, is still a thing, and not just on Countermelody, either!), I present to you another Zwischenfach singer, the (mezzo-)soprano Inez Matthews. She was born in Ossining, NY on 23 August 1917 and died in the Bronx on 28 March 2004. She is probably most famous for singing the role of Serena on the legendary 1951 (nearly) complete recording of Porgy and Bess (as well as lending her voice to the 1959 Otto Preminger film) which was conducted by Lehman Engel and starred icons Lawrence Winters and Camilla Williams. She also created the role of Irina in Kurt Weill's Lost in the Stars (opposite Todd Duncan, who created the role of Porgy in 1935). She also sang in the 1952 revival of Virgil Thomson and Gertrude Stein's Four Saints in Three Acts, alongside her brother Edward, who created the role of Saint Ignatius in the work's 1934 premiere. In spite of these impressive credentials, Inez Matthews today is not nearly as well-remembered as, say, either Winters or Williams. In addition to these accomplishments, Matthews also recorded in 1954 Schubert's two major song cycles Schöne Müllerin and Winterreise as well as the posthumous Schwanengesang collection. That as early the mid-1950s Inez Matthews was the first Black artist (and only the second woman after Lotte Lehmann) to record those Schubert cycles, is extroardinary; that her performances are so exceptionally good, lends these recordings more than mere historical value. However, until the song cycles were recently reissued by Parnassus Records as part of their “Black Swans” series, these remained virtually inaccessible to listeners. Today's episode includes selections from almost all the above-mentioned recordings, as well as an exceptional 1953 recording of spirituals accompanied by Jonathan Brice, brother of the esteemed contralto Carol Brice. And let us also tip our hats to Herr Schubert, who just celebrated his 229th birthday! Countermelody is the 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 author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Quinta entrega en “La Hora Rockdelux” con su nuevo formato audiovisual desde Radio Primavera Sound. Santi Carrillo y Juan Cervera, tras la avalancha de listas con lo mejor de 2025, echan el freno y recuperan algunos álbumes muy recomendables que quedaron fuera de los listados: bandas sonoras firmadas por M83 y Daniel Lopatin (Oneohtrix Point Never), el regreso de Jesse Sykes & The Sweet Hereafter, el debut de Sabine McCalla, la inmersión de Rufus Wainwright en el cancionero de Kurt Weill y el resplandor pop de This Is Lorelei. En el estilo habitual del ya veterano pódcast radiofónico, pero ahora con imágenes –vía YouTube de RPS Music, el canal musical de Radio Primavera Sound– de la charla entre los dos directores de Rockdelux.

A actriz Anabel Alonso e a cantante Sés son dúas das principais novidades da programación cultural do primeiro trimestre en Narón, presentada no Pazo da Cultura pola alcaldesa, Marián Ferreiro. A rexidora destacou unha oferta marcada pola diversidade, a calidade artística e o equilibrio entre grandes nomes do panorama estatal e o apoio firme á creación galega. No ámbito escénico, Anabel Alonso protagonizará "La mujer rota", de Simone de Beauvoir, mentres que Coque Malla chegará con "La ópera de los tres centavos", dirixida por Mario Vega a partir do texto de Bertolt Brecht e da música de Kurt Weill. O gran referente do trimestre será José Sacristán, que o 6 de marzo representará "El hijo de la cómica", unha homenaxe persoal a Fernando Fernán Gómez. A programación inclúe tamén teatro galego contemporáneo con propostas como Bailar agora, Sahara, a barca do deserto e Costa da morte. Cartografía dun naufraxio. No apartado musical, Sés presentará o seu novo disco Nadando na incerteza o 7 de febreiro. A oferta complétase con espectáculos familiares e de monicreques, consolidando o Pazo da Cultura como un referente cultural no norte de Galicia.

What's the point of pursuing something you can never reach? Hope, apparently.Mezzo-soprano Katie Bray makes a compelling case. Her new album In Search of Youkali explores Kurt Weill's musical response to longing, exile, and the fragile idea of belonging.

durée : 01:28:36 - Concert : " Love Life ", une comédie musicale inédite de Kurt Weill et Alan Jay Lerner - par : Laurent Valière - Comme chaque début d'année, 42e rue vous offre son concert du Nouvel An ! Aujourd'hui, une comédie musicale jamais enregistrée "Love Life", la première comédie musicale concept dès 1947, la collaboration entre Kurt Weill et Alan Jay Lerner, l'auteur de "My Fair Lady". - réalisé par : Céline Parfenoff Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:35 - Le Disque classique du jour du jeudi 01 janvier 2026 - La mezzo-soprano britannique Katie Bray chante les pièces de Kurt Weill. Son album est traversé par l'idée de Youkali, un territoire utopique, miroir de la quête du compositeur en exil à la recherche d'une terre où poser, enfin, ses bagages. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:41 - En pistes ! du jeudi 01 janvier 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Un concerto de Mozart pour commencer 2026 ! Nous poursuivrons avec Kapoustine pour un moment de jazz, puis ferons un détour par le cabaret et la musique de Kurt Weill - réalisé par : Delphine Keravec Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:35 - Le Disque classique du jour du jeudi 01 janvier 2026 - La mezzo-soprano britannique Katie Bray chante les pièces de Kurt Weill. Son album est traversé par l'idée de Youkali, un territoire utopique, miroir de la quête du compositeur en exil à la recherche d'une terre où poser, enfin, ses bagages. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:41 - En pistes ! du jeudi 01 janvier 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Un concerto de Mozart pour commencer 2026 ! Nous poursuivrons avec Kapoustine pour un moment de jazz, puis ferons un détour par le cabaret et la musique de Kurt Weill - réalisé par : Delphine Keravec Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Sabia que Kurt Weill, além de compor peças inesquecíveis, também lutou contra a segregação racial? Na despedida, Martim Sousa Tavares reflete sobre como a música pode alavancar mudanças sociais. See omnystudio.com/listener for privacy information.

L'any 2024, el m

Mac the Knife, terror of the London criminal underworld, is a character paradoxically best known to many as the subject of the upbeat, bubbly eponymous 1955, 1959, and 1960 hit single.  However, his fictional roots go much deeper, to a nearly 300-year old opera called The Beggar's Opera.  From here, Mac's trail led to 1928's The Threepenny Opera, by Bertolt Brecht and Kurt Weill, that is the subject of today's episode.  Join Pat and guest Maria Coulter for a conversation about this opera, which is as atypical as it was popular. A classically trained soprano, Maria is able to provide special insights, having performed the role of Lucy Brown in 2022.

Cecelia Sharpe speaks with Kaneza Schaal, Director of Detroit Opera's double-bill production "Highways and Valleys" featuring the music of William Grant Still and Kurt Weill.

Rufus Wainwright hat einen Lauf: „Wainwright Does Weill“ ist bereits das dritte Album des kanadischen Multitalents in diesem Jahr.

Acteur en zanger Maarten Heijmans is te zien in het iconische muziektheaterstuk ‘Die Dreigroschenoper'. Hij kruipt in de huid van de sluwe ganger Macheath. In deze satirische vertoning van Bertolt Brecht en Kurt Weill botsen moraal en macht in een wereld vol verraad, corruptie en ironie. Klassiek, cabaret, jazz en chanson vloeien samen tot een rauw, muzikaal portret van een wereld vol verleiding, macht en morele dubbelzinnigheid. Maarten Heijmans brak door met zijn rol als Ramses Shaffy in de televisieserie Ramses, bekroond met een International Emmy Award. Presentatie: Willemijn Veenhoven

Reil, Juliane www.deutschlandfunk.de, Corso

[@ 2 min] Alright, this week…Victor Ryan Robertson goes Inside the Huddle! The genre-defying tenor is wrapping up performances of La Traviata with Louisville Opera and is set to star in a double-bill of two rarely performed American works: William Grant Still's 'Highway 1,' and Kurt Weill's 'Down in the Valley 'with Detroit Opera. AND it turns out that he gave up a career in tennis to pursue singing. Uh-oh. Weston's outnumbered. [@ 36 min] Plus, in the Two Minute Drill...Grammy nominations are in, and Washington National Opera looks for a way out... GET YOUR VOICE HEARD Stream new episodes every Saturday at 10 AM CT on amplisoundsradio.com operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

Rufus Wainwright is a singer-songwriter and composer renowned for his distinctive voice and the theatricality of his performances. Born into a family of folk musicians, his mother was Kate McGarrigle and his father is the songwriter Loudon Wainwright III. Since his debut in 1998, his 11 studio albums have been characterised by their candid autobiographical themes, with songs about addiction, sexuality and fraught family dynamics. He has also worked as a classical composer, with his operas Prima Donna and Hadrian, and a choral piece called Dream Requiem. As a performer he has created musical tributes to Judy Garland, Shakespeare's Sonnets, the songs of Kurt Weill, and most recently has staged symphonic versions of his much-loved Want albums.Rufus Wainwright tells John Wilson about his earliest musical experiences, singing with his mother and aunties in Montreal, Canada where he spent his early years. He chooses The Wizard Of Oz as one of his formative creative influences and explains why the film's star, Judy Garland, became such an important musical role model for him. Rufus reveals how hearing Verdi's Requiem at the age of 13 led to a lifelong love of opera and an aspiration to write classical compositions. He also recalls the impact that seeing La Dolce Vita, director Federico Fellini's masterpiece about wealth and decadence in 1960s Rome, had on him as a teenager. Producer: Edwina Pitman

Steve Avo Lindsey in conversation with David Eastaugh  https://linktr.ee/steveavolindsey A nervous suitor, a guitarist at the end of his Strat and his tether, wistful ex-partners on a work trip to Wales. Art school Futurists and singalongs in Cooper's Bar, Denmark Street and suburbia's (two) ups and downs – and earbudded Londoners on the Tube, sailing away on their own private playlists. “In my head,” confides STEVE ‘AVO' LINDSEY, making his solo long-playing debut just five decades into his music career, “this sounds like a Nick Lowe album.”   But given that PING is the work of the Wirral-born bassist of DEAF SCHOOL and frontman of new wave chart act THE PLANETS who would later become a music exec known for his ears and acumen, it's hardly surprising that these twelve tracks offer more than just fond footnotes to Lowe.   Factor in Lindsey's love of Donald Fagen and Jimmy Webb, Arctic Monkeys and Tom Waits, Todd Rundgren and Nashville-style storytelling, and his lo-fi, groove-driven takes on Motown, and you'll have an idea of what to expect from this joyful, playful, gorgeously varied sheaf of love letters to music and Merseyside, sweaters and Swordfishtrombones.   Listen to tracks like the finger-clicking soul of ‘Beautiful 45' and the bottoms-up vaudeville of ‘Cheers My Dears', the rockaway baroque pop of ‘Royal Iris' and the sultry Latinisms of ‘To Know You Better', and you'll also hear warm and winning musical contributions from family and friends: Lindsey's daughter Uainín Lindsey on backing vocals; the late Tony ‘Wims' Wimshurst, ex-Planets and Nasty Pop, on lead guitar; and drummer Josh McCartney, the nephew of a local lad named Paul.   But first, some back story. When Deaf School invented itself in 1974 at Liverpool College of Art, Lindsey, one of two Steves in the band, modestly opted for the moniker Mr Average. Deaf School would become (nearly) famous for its extravagant Sparks-via-Kurt Weill pop and its distinctly un-average cast of sirens, showmen, keyboard philosophers and future superstar producers.

Doja Cat acaba de publicar "Vie", su nuevo disco, un viaje de pop muy años 80's, que contiene la portada del día de hoy, "Take Me Dancing", junto a SZA. Escuchamos el tercer avance del quinto disco Tame Impala, "Dracula", una canción luminosa y misteriosa, al mismo tiempo y recordamos que Kevin Parker viene a España en abril, por primera vez en ocho años. Aparte, compartimos "Mack The Knife", la canción que avanza el disco que Rufus Wainwright ha grabado, en directo, junto a The Pacific Jazz Orchestra: "I'm A Stranger Here Myself- Wainwright Does Well", que es un buto a Kurt Weill y que llega el 21 de noviembre y también, "Cheap Hotel", nueva canción de FKA Twigs.DOJA CAT, SZA - Take Me DancingTAME IMPALA - DraculaDISCLOSURE & CHRIS LAKE & LEVEN KALI - one2threeDEPEDRO, GORKA URBIZU - La Brisa (Cruce de Caminos)LA M.O.D.A. - La Vida En RosaIVÁN FERREIRO - Hoy Por AyerFLORENCE + THE MACHINE - One Of The GreatsINDIGO DE SOUZA, MOTHÉ - SeriousFKA Twigs - Cheap HotelRUFUS WAINWRIGHT - Mack The KnifeMILES KANE - Without YouKNEECAP - H.O.O.D.BARRY B - Quieres Autodestruirte ConmigoELUJAY - Rogue HeartPortugal. The Man - MushIBIBIO SOUND MACHINE + VILLAGE CUTS - Anyone Like YouEscuchar audio

For the latest Whisper in the Wings from Stage Whisper we welcomed on the performer Adriene Haan. She joined us to talk about her amazing show Adrienne Haan sings Kurt Weill. This was such an incredible conversation about a brilliant composer and his works, in addition to getting to learn all about this amazing performer. So tune in and run to get your tickets for this one night event!The York Theatre PresentsAdrienne Haan sings Kurt WeillSeptember 22nd at 7:30pm@ Theatre at St. Jean'sTickets and more information are available at yorktheatre.orgAnd be sure to follow Adrienne to stay up to date on all her upcoming projects and productions:adriennehaan.com@adriennehaan

Dias que se acortan, nostalgias que se alargan, melancolía que se abre paso.. Otoñales sonatas en La bemol mayor, avistamiento de hojas que se lleva el viento, pero eso era antes."Depresión posvacacional” lo llaman ahora. LIstz, el primero de los músicos en recibir tratamiento de "Rock star" pasea hoy inadvertido junto a Kurt Weill, el autor de “September Song” o Bobby Darin, el de “Cuando llegue Septiembre”. Robert Gordon , el autor de ”Anatomia de la Melancolía”, un verdadero "best seller" del XVII, ya no tiene quien le lea pero fisicamente bien, químicamente, inestable ¿Qué me pasa doctor?. Esto no es un podcast es una inmersión radical en la melancolía. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

durée : 00:20:10 - « Johnny Johnson » de Kurt Weill - Johnny Johnson est une comédie musicale dont le livret et les paroles sont de Paul Green et la musique de Kurt Weill . Sa première a eu lieu en 1936 à Broadway. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Kurt Weill (born March 2, 1900) and Vernon Duke (born Vladimir Dukelsky, October 10, 1903) were both European born composers who composed “serious” concert music before emigrating to the United States and becoming two of the greatest exponents of American popular song. Kurt Weill felt strongly that music should have a political point of view, his "Three Penny Opera" and "Mahagony", both composed in Germany before he emigrated to the United States are biting social commentaries on the drawbacks of capitalism run amuck.   Vernon Duke wrote concert music throughout his career under his birth name. His music was commissioned by Diaghalev for his ballet company that also commissioned Stravinvisky's groundbreaking work, as well as Koussevitsky for the New York Philharmonic. He had a close personal relationship with Russian composer Prokofiev. His Broadway career was no less stellar, over the course of 30 odd years they produced a number of songs that have become standards in the great American songbook.

The collaboration between Kurt Weill and Bertolt Brecht is rightly legendary. The two men could not have been more different from each other, and like the Brahms/Joachim relationship I mentioned in my recent show about the Brahms Double concerto, the friendship between Weill and Brecht was stormy to say the least. The two collaborated on some of the most memorable works of the Weimar era in Germany, such as the Threepenny Opera, which features a pretty famous tune called Mack the Knife. Their final collaboration was on the “sung ballet” The Seven Deadly Sins. This is a piece that was written at a point of remarkably high tension within Weimar Germany. On an artistic level, the 1920s and early 1930s had seen a veritable explosion in the world of culture, with art, dance, theater, and music all featuring artists who were pushing the boundaries with wild experimentation and a kind of ecstatic fervor that produced some of the world's greatest and most memorable cultural achievements. On a parallel track however, the rise of the Nazis cast a pall over all of this. By 1933, both Brecht and Weill(who was Jewish) knew that Germany was not a place that they could stay safely. Weill ended up in Paris and then in the US for the rest of his life, while Brecht bounced around Europe before returning to East Germany after the war, hoping to be a part of the Marxist Utopia that he believed had been founded there.  The simmering combination of Weill's mastery of transforming popular forms into a unique kind of classical music along with Brecht's pointed satire and brilliantly inventive libretti resulted in the Seven Deadly Sins, a piece that that brutally satirizes extreme capitalism and the degradation of the human soul that supposedly results from it. This is a nakedly political piece, and I should make it clear that by talking about it, by choosing to feature it on the show, and by regularly performing it, I don't necessarily endorse its views. Brecht was extreme in all ways, as we'll get to today, and the power of this piece in my opinion doesn't come from its politics, but from its remarkable and devastating portrayal of a human soul and the tragedies that can befall it. This is one of my favorite pieces of the whole 20th century, and I'm so happy to share it with you today. Join us!

Last night the winners of this year's Women's Prize were announced. The winner for fiction is Yael van der Wouden for her novel The Safekeep and the non-fiction prize by Rachel Clarke for her book The Story of a Heart, which tracks the lifesaving gift of a transplant. Anita Rani discusses the winning books with the Chair of Judges for the Fiction Prize, author Kit de Waal, and Chair of Judges for the Non-Fiction Prize, journalist and author Kavita Puri.Race Across The World reached its finale on BBC One this week, after a nearly 9,000-mile dash across Asia, from the Great Wall in north eastern China to the southernmost tip of India, via the Himalayan peaks of Nepal. This year's winner were mother and son team Caroline Bridge and her 21-year-old son Tom. Caroline talks to Anita about the experience.An entrepreneur and mother was refused entry to a tech event in London because she had brought her eight-month-old baby with her. Anita speaks to the woman in question, Davina Schonle, and the director and producer Jude Kelly about the issue of banning babies from events of this nature.It's festival season, with Glastonbury starting at the end of June. However it's not just the music and the atmosphere that festival goers need to be thinking about. The UK Health Security Agency has warned that measles is circulating across the country, with high numbers in the South West and London. Anita is joined by the UK Health Security Agency Deputy Director of Vaccination Programmes, Dr Julie Yates - who is the former public health lead in South West on Glastonbury.Grammy-nominated Ute Lemper has had a career spanning stage, film and music. She is renowned for her interpretations of Kurt Weill, Brecht and chanson legends like Marlene Dietrich. Ute won the American Theatre World Award and the Laurence Olivier Award for her performance as Chicago's Velma Kelly both on Broadway and in London's West End, and the Molière Award for her performance as Sally Bowles in Cabaret in Paris. Utel Lemper now has a new album, Pirate Jenny, celebrating the music of legendary composer Kurt Weill. She joins Anita to talk about her passion for his work.Presenter: Anita Rani Producer: Rebecca Myatt

Ute Lemper is an internationally celebrated German singer and actress. She first gained international acclaim playing Sally Bowles in Cabaret in Paris, a performance that earned her the Molière Award for Best Newcomer. She went on to star as Velma Kelly in Chicago in both the West End and on Broadway, winning the Olivier Award for Best Actress in a Musical and a Theatre World Award. Her early career also included key roles in Cats in Vienna and Peter Pan and The Blue Angel in Berlin. Ute has become an international cabaret icon, renowned for her interpretations of Kurt Weill, Marlene Dietrich, Édith Piaf, and Astor Piazzolla. She has performed at prestigious venues such as La Scala, Lincoln Center, and the Sydney Opera House. Her recording career includes over 30 albums, with standout projects like Ute Lemper Sings Kurt Weill, Illusions, and Punishing Kiss, featuring songs by Elvis Costello, Tom Waits, and Nick Cave. She was named Billboard's Crossover Artist of the Year in 1993/94. Her film work includes notable roles in L'Autrichienne as Marie Antoinette, Peter Greenaway's Prospero's Books, and Prêt-à-Porter. She also provided the German voice for Ariel in Disney's The Little Mermaid and Esmeralda in The Hunchback of Notre Dame. With multiple Grammy nominations and a ballet created for her by Maurice Béjart, Ute Lemper remains one of the most dynamic and influential performers of her generation .Ute Lemper is our guest in episode 499 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .For Ute Lemper's concert dates and tickets, music and videos, visit - https://www.utelemper.comFollow Ute Lemper on Instagram: @utelemperFollow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Hosted on Acast. See acast.com/privacy for more information.

Ute Lemper reflects on her four decade career as a globally acclaimed vocalist, composer, and actor. We discuss her bold reinterpretation of Kurt Weill, the weight of German history in her work, and how staying true to her creative instincts has led to timeless collaborations with artists like Tom Waits and Elvis Costello. Follow Ute Lemper:YouTubeInstagram WebsiteFollow Creatives Prevail:InstagramTikTokWe would love to hear from you! Please give us a review, this really helps get others to listen in. Any suggestions on how we can improve? DM us on Instagram or TikTok.Intro music: ‘Somebody' (Instrumental) by The Runner UpOutro music: ‘Let's Ride' (Instrumental) by Gabe KubandaHost: Mike ZimmerlichProduced by: Omelette PrevailPost-Production: EarthtoMoira

This is the third and final segment of my conversation with Michael Owen, author of the recent book,  Ira Gershwin — A Life in Words. On this episode, Michael and I focus on the period of Ira Gershwin's career following the death of his brother George, during which he had success on Broadway and in Hollywood with composers such as Kurt Weill, Jerome Kern, Arthur Schwartz, and Harold Arlen, and shows and movies such as Lady In the Dark, The Barkleys Of Broadway, and A Star Is Born, If you missed the first two parts in this series, you may want to catch up with those before listening to this one. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members, such as Cheryl Hodges Seldon. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: ⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Witty actor and singer Jacob Keith Watson is making waves on the Broadway stages. He appeared as Enoch Snow in the Tony-nominated Broadway revival of Carousel. Jacob has also been seen on Broadway in Hello, Dolly!, Brian Crawley's Violet, Craig Lucas' Amélie as Joseph Buquet, Monsieur Reyer in The Phantom of the Opera, Robert Livingston in the acclaimed Encores! revival of 1776, as well as Amos Hart in the National/International tour of Chicago the Musical. Regional and Opera credits include the title role in Shrek with the Sacramento Music Circus and roles in Benny & Joon at the Papermill Playhouse, La bohème, Pagliacci, Pirates of Penzance, Rigoletto, HMS Pinafore, Chicago, Bye Bye Birdie, Seussical, Six Characters in Search of an Author, As You Like It, Twelfth Night, Othello, and The Doctor in Spite of Himself. Symphony engagements includes Kurt Weill on Broadway and New York, New York both with Maestro James Holmes and the Kurt Weill foundation and the tenor soloist in Elijah, Messiah, and Carmina Burana. Jacob is an Arkansas native and proud past winner of the prestigious Lotte Lenya Competition, the NATS National Music Theatre Competition and a regional finalist in the Metropolitan Opera National Council Auditions.

Recién estrenado el año 70, el dramaturgo y cineasta alemán Rainer Werner Fassbinder llevó a escena Las amargas lágrimas de Petra Von Kant, y dos años más tarde la adaptó al cine. Considerado uno de sus melodramas más célebres, ha conocido múltiples versiones escénicas y cinematográficas. En España se estrenó en 1989 con Lola Herrera como protagonista, y existe también una versión para Estudio 1 en TVE con Rosa María Sardá.Ahora, una nueva mirada a este texto llega a Nave 10 de Madrid, en una producción dirigida por Rakel Camacho y con Ana Torrent en el papel de Petra. Ambas nos acompañan esta tarde para hablar del montaje, que se puede ver hasta el 20 de abril.Nos vamos también a Sevilla, donde el Teatro Central ha acogido la XI edición de los Premios Lorca de las Artes Escénicas de Andalucía. Estos galardones reconocen a los espectáculos y profesionales andaluces que han estrenado o girado en 2024. La información la aporta María Fernández, que también ha conversado con algunos de los premiados.En el Teatro Español de Madrid, Pilar Valenciano dirige Esta noche, gran velada, una obra de Fermín Cabal sobre un boxeador atrapado entre su sueño y una decisión moral. Estará en cartel hasta el 25 de mayo y nos lo cuenta Ana Gil.Además, repasamos el programa de la Orquesta Sinfónica y Coro de RTVE, que interpretarán piezas de John Williams, Vivaldi y Mozart los días 10 y 11 de abril en el Teatro Monumental. Nos lo detalla Inko Martín.Y terminamos con la sesión musical de Martín Llade, dedicada esta vez al compositor alemán Kurt Weill, fallecido en Nueva York un 3 de abril de 1950.Escuchar audio

Today I present the male lead creator of Gershwin's towering masterpiece, Porgy and Bess, the magnificent Todd Duncan (12 February 1903 – 28 February 1998), whose other creations included work by Kurt Weill, Cole Porter, and a pop standard that might surprise you. Duncan also made extraordinarily important contributions as a teacher, a recitalist, and as a civil rights figure. All of these aspects of his life are explored in this episode, which features recordings from all corners of his artistic and musical life, including two live broadcasts of excerpts from Porgy and a number of rare recordings of art song and a treasurable (if craggily-recorded) album of spirituals. Here was a man who pursued his career and his life with a strong sense of his own self-worth, but also kindness, integrity, and humility. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.