Podcasts about la boh

C'est une scène extraordinaire où il a vécu quelques moments forts de sa carrière. Ludovic Tézier sera de retour, le 4 juillet, au Théâtre antique d'Orange, pour une version de concert de La Traviata de Verdi, aux côtés de Jessica Pratt, Eléonore Pancrazi ou encore Javier Camarena et sous la direction de Paolo Arrivabeni. Une soirée qui s'annonce comme l'un des moments forts de la nouvelle édition des Chorégies d'Orange.Le baryton reviendra ce soir à notre micro sur ses liens avec les chorégies où il a laissé tant de grands souvenirs. Il y fut Escamillo dans Carmen de Bizet, Marcello dans La Bohème de Puccini et y chantera cet été l'un de ses rôles fétiches, celui de Giorgio Germont, un personnage auquel il sait donner tant de profondeur et d'humanité.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:22:16 - par : Lionel Esparza - Plongez dans une version devenue mythique de La Bohème de Puccini : l'enregistrement réalisé en 1956, dirigé par le chef britannique Sir Thomas Beecham avec la soprano espagnole Victoria de Los Ángeles et le ténor suédois Jussi Björling. - réalisation : Flora Sternadel, Jeanne Lerch Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:22:16 - par : Lionel Esparza - Plongez dans une version devenue mythique de La Bohème de Puccini : l'enregistrement réalisé en 1956, dirigé par le chef britannique Sir Thomas Beecham avec la soprano espagnole Victoria de Los Ángeles et le ténor suédois Jussi Björling. - réalisation : Flora Sternadel, Jeanne Lerch Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

A podcast introducing LA BOHÈME, narrated by Seattle Opera Dramaturg Jonathan Dean. Musical examples from Seattle Opera's archival recordings of La bohème; from 2007, with Rosario La Spina (Rodolfo) and Nuccia Focile (Mimì), conducted by Vjekoslav Sutej; and from 2013, with Andrew Garland (Schaunard), Arthur Woodley (Colline), Michael Fabiano (Rodolfo), Keith Phares (Marcello), and Jennifer Black (Mimì), conducted by Carlo Montanaro.

Une info oubliez les élections mais pas les paroles

Le mur démographique s'approche à grands pas en France. En 2025, le nombre de décès a été supérieur au nombre de naissances. Et il est donc urgent d'en parler, car c'est l'affaire de tous, c'est notre modèle social qui est en jeu. Dans ce sens, le haut-commissariat à la Stratégie et au Plan a publié un rapport ce mardi pour garantir un meilleur système économique et social face au déclin de la natalité chez nous. Mais ce n'est pas avec de l'argent qu'on encourage les naissances. Antoine Oberdorff rappelle que l'argent ne fait pas le bébé. Le radar devient aussi une compétence municipale. Les communes et les départements sont désormais autorisés à installer ces machines sur leur territoire. C'est l'une des dispositions de la dernière loi sur la décentralisation. On dénombre aujourd'hui 4 819 radars en France. Et selon Le Parisien, la délégation à la sécurité routière table sur 500 radars supplémentaires par an. Ce qui pose, selon François Lenglet, un problème de coût, car en principe, les collectivités territoriales ne percevraient pas le produit des amendes. Il se demande aussi si ces radars sont toujours utiles. Lors de son déplacement officiel en Arménie, Emmanuel Macron s'est mis à chanter, hier soir, "La Bohème" de Charles Aznavour, chanteur français d'origine arménienne, accompagné à la batterie par le Premier ministre arménien. Mais le président de la République a passé 48 heures extrêmement riches à Erevan. Il a rappelé les liens étroits et très anciens qui unissent la France et l'Arménie. Cette visite était aussi l'occasion pour le chef de l'État de signer un accord de partenariat stratégique entre les deux pays. Du lundi au vendredi, à partir de 18h, David Pujadas apporte toute son expertise pour analyser l'actualité du jour avec pédagogie. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Nouveaux pilotes, un brin déjantés, à bord de la Libre Antenne sur RMC ! Jean-Christophe Drouet et Julien Cazarre prennent le relais. Après les grands matchs, quand la lumière reste allumée pour les vrais passionnés, place à la Libre Antenne : un espace à part, entre passion, humour et dérision, débats enflammés, franc-parler et second degré. Un rendez-vous nocturne à la Cazarre, où l'on parle foot bien sûr, mais aussi mauvaise foi, vannes, imitations et grands moments de radio imprévisibles !

Nouveaux pilotes, un brin déjantés, à bord de la Libre Antenne sur RMC ! Jean-Christophe Drouet et Julien Cazarre prennent le relais. Après les grands matchs, quand la lumière reste allumée pour les vrais passionnés, place à la Libre Antenne : un espace à part, entre passion, humour et dérision, débats enflammés, franc-parler et second degré. Un rendez-vous nocturne à la Cazarre, où l'on parle foot bien sûr, mais aussi mauvaise foi, vannes, imitations et grands moments de radio imprévisibles !

Mimì is one of opera's most beloved heroines. Gentle. Luminous. Dying beautifully in a Parisian garret while the orchestra swells around her.She was also, in Henri Murger's source novel, a fickle, materialistic flirt her lover described as being "wedded to a thunderstorm." A gadabout. Complicated. Inconvenient. Not particularly easy to mourn.Puccini made a decision. You've been feeling the consequences ever since.In this episode, host Ashley Daniel Foot sits down with Vancouver Opera's researcher and editor Jane Potter — the creative force behind our composer series for the past three years — to pull apart the opera everyone thinks they know. They cover the missing act that explains Rodolfo's jealous rage. The real woman Puccini erased to create his heroine. The two source characters — Francine and Mademoiselle Mimì — whose DNA got merged into the figure we recognize. The Viscount nobody talks about.They also go deep on Kevin Ng's essay Beautiful Deaths: How La Bohème Transformed Tuberculosis into Art — tracking how consumption went from epidemic catastrophe to aristocratic beauty standard, from Lord Byron to Rent to Moulin Rouge!, and how Puccini wrote the disease's physical reality directly into the music itself.Plus: the 1896 premiere critics who called it "a momentary error" and suggested Puccini return to the straight road before further damage was done. The audience that sold out 24 performances that same month. And Benjamin Britten, who in 1951 delivered the greatest backhanded opera critique of the 20th century.La Bohème runs April 25 through May 3 at the Queen Elizabeth Theatre. Tickets at vancouveropera.ca. Kevin Ng's essay Beautiful Deaths is available now on the Inside Vancouver Opera Substack.

Maestro Jonathan Darlington on Puccini, broken batons, being mistaken for Richard Gere in Italian lifts, and why La Bohème will undo you — every time.Jonathan Darlington led Vancouver Opera for nearly twenty years. He's since conducted at the Vienna State Opera, the Semperoper Dresden, the Paris Opera Ballet, the Royal Swedish Opera, and the Nürnberger Symphoniker, where he's now Chief Conductor. He lives in Paris — ten minutes from the neighbourhood where La Bohème is actually set. And he keeps coming back to Vancouver.This week he's back in the pit at the Queen Elizabeth Theatre for La Bohème — Puccini's love story about young artists in Paris trying to stay warm, fall in love, and stay alive. It's the fastest-selling production in Vancouver Opera's sixty-six year history.In this conversation, Ashley Daniel Foot asks Darlington what's actually going through his mind in the sixteen bars before the curtain rises, how the streets of Vancouver have changed the way he hears Puccini, why he still wants to conduct one specific opera just to erase a humiliation from thirty years ago, and what it felt like to open Sweeney Todd surrounded by a large metal contraption on stage while trying to frighten the audience — a task made easier, he admits, by the fact that he was already terrified himself.Plus: Andrew Lloyd Webber, Carlos Kleiber, Mirella Freni, four piccolos playing fortissimo, a Vancouver harpsichord builder who makes his batons by hand, and the pre-show meal of champions.La Bohème runs April 25 to May 3 at the Queen Elizabeth Theatre. Tickets at vancouveropera.ca.

"Aimer, dit-elle". S'il suffisait d'un verbe pour que l'histoire se termine bien. "Elle" Violetta de La Traviata aime et se sacrifie pour l'honneur d'Alfredo. "Elle" Mimi de La Bohême s'éteint "dans le love" auprès de Rodolfo. C'est un opéra studio de la compagnie Lyricando, à voir au Théâtre de l'Épée de Bois jusqu'au 19 avril. Dominique Serena aime. Ses yeux pétillent quand elle parle d'Italie. Marco Masini a aimé et le chante dans son album Perfetto Imperfetto.

“Henri Rousseau”L'ambition de la peintureau Musée de l'Orangerie, Parisdu 25 mars au 20 juillet 2026Entretien avec Juliette Degennes, conservatrice du patrimoine – musée de l'Orangerie, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 20 mars 2026, durée 19'35,© FranceFineArt.https://francefineart.com/2026/03/21/juliette-degennes/Communiqué de presseCommissariat :Juliette Degennes, conservatrice du patrimoine, musée de l'OrangerieNancy Ireson, commissaire associée, conservatrice consultante, Fondation BarnesChristopher Green, conservateur consultant, professeur émérite, Courtauld Institute of ArtPour la première fois, le musée de l'Orangerie organise, en collaboration avec la Fondation Barnes de Philadelphie, une exposition consacrée à Henri Rousseau. Inaugurée en octobre dernier à Philadelphie, elle est présentée à Paris du 25 mars au 20 juillet 2026. À la suite du récent changement de statut de la Fondation Barnes, qui lui permet désormais de prêter ses oeuvres, le musée de l'Orangerie devient la première institution au monde à coproduire une exposition issue de ses collections. Il accueille à cette occasion neuf oeuvres prêtées de manière inédite par la Fondation, réunissant un important corpus de tableaux d'Henri Rousseau passés entre les mains du marchand Paul Guillaume.Cette collaboration s'impose comme une évidence dans l'histoire des deux institutions : Paul Guillaume, dont la collection constitue le coeur du musée parisien, a été l'intermédiaire d'Albert Barnes pour l'achat de ses dix-huit peintures de Rousseau. Il a lui-même été un fervent collectionneur de l'artiste, ayant possédé jusqu'à cinquante oeuvres de la main du peintre, si l'on en croit les albums documentaires conservés dans le fonds du musée. Neuf d'entre elles appartiennent aujourd'hui à la collection du musée de l'Orangerie, auxquelles s'ajoute une acquisition récente de deux petits portraits. L'exposition et son catalogue reviendront sur cette étroite collaboration entre le marchand parisien et le collectionneur américain, et plus largement sur le réseau de collectionneurs et de marchands dans lequel le peintre s'est inscrit de son vivant. Une cinquantaine d'oeuvres seront présentées à cette occasion, issues des collections de ces deux institutions et de prêts d'oeuvres clés d'institutions européennes et américaines dont La Bohémienne endormie, chef-d'oeuvre du Museum of Modern Art de New York.Cette exposition revient sur la carrière d'Henri Rousseau (1844-1910), sa pratique picturale et ses ambitions professionnelles, en lien avec le marché de l'art. Venu à Paris depuis sa Mayenne natale, il décide à l'âge de 49 ans de prendre sa retraite de l'octroi pour se consacrer entièrement à la peinture. L'artiste a su diversifier les genres et les techniques pour se faire une place sur la scène artistique parisienne : compositions envoyées au Salon des Indépendants, réponses à des commandes publiques pour orner les hôtels de ville d'Île-de-France, portraits commandés par son entourage, paysages destinés à la vente, ou encore autoportraits plus intimes. L'exposition entend dépasser les légendes entourant le nom du « Douanier Rousseau » pour étudier en profondeur son parcours artistique. Des sections thématiques permettront d'aborder la matérialité des oeuvres et de les replacer dans le contexte du marché de l'art moderne auquel Paul Guillaume et Albert Barnes ont largement participé.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Original Broadcast: February 16, 2026

Création Jasper de Lange Illustrations Mateusz Kopacz, Hanna Kuik Éditeur Iello

Coming in at #9 Cigar of the Year for 2025 is the Aging Room La Bohème Poeta. La Bohème was initially released in 2014 by Rafael Nodal under his Boutique Blends Cigars portfolio. La Bohème is the name of an opera composed by Giacomo Puccini, a favorite of Nodal's. It was a brand that was intended to bring together three passions of Nodal's: music, Cuban Culture, and, of course, his love of cigars. In 2017, things changed for Nodal. He would move distribution over to Altadis U.S.A. and join the Altadis team as Director of Product Capability (and later, Vice President). At the time this happened, some streamlining and reorganizing of the brands under Boutique Blends Cigars took place, and one line that was put on hold was La Bohème. Late in 2024 word came that La Bohème would indeed be making a comeback. This time branded as the Aging Room La Bohème, featuring a brand-new blend. Full Details: https://wp.me/p6h1n1-yso  

Coming in at #9 Cigar of the Year for 2025 is the Aging Room La Bohème Poeta. La Bohème was initially released in 2014 by Rafael Nodal under his Boutique Blends Cigars portfolio. La Bohème is the name of an opera composed by Giacomo Puccini, a favorite of Nodal's. It was a brand that was intended to bring together three passions of Nodal's: music, Cuban Culture, and, of course, his love of cigars. In 2017, things changed for Nodal. He would move distribution over to Altadis U.S.A. and join the Altadis team as Director of Product Capability (and later, Vice President). At the time this happened, some streamlining and reorganizing of the brands under Boutique Blends Cigars took place, and one line that was put on hold was La Bohème. Late in 2024 word came that La Bohème would indeed be making a comeback. This time branded as the Aging Room La Bohème, featuring a brand-new blend. Full Details: https://wp.me/p6h1n1-yso

durée : 00:04:33 - C'est une chanson - par : Frédéric Pommier - Semaine spéciale Charles Aznavour ! Aujourd'hui, nous réécoutons l'entretien de Frédéric Pommier avec le comédien et humoriste Gil Alma, qui avait choisi d'évoquer "La Bohême", chanson qui lui rappelle le jour de la naissance de son premier fils. (Rediffusion de l'émission du 20/10/2022.) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

SynopsisOpera fanatics are a passionate lot. “It's an addiction,” they say. “Something to die for.” Now, if opera is an addiction, then today's date marks the birthdate of an Italian composer who might be described as the ultimate operatic gateway drug. We're talking, of course, about Giacomo Antonio Domenico Michele Secondo Maria Puccini, who was born in Lucca, in 1858. Puccini is the composer of three of the most popular operas ever written: La Bohème (in 1896), Tosca (in 1900), and Madama Butterfly (in 1904).Puccini lived and worked during the end of the 19th century and the beginning of the 20th, and his music brilliantly blended the gorgeous melodies of the 19th century Italian bel canto tradition with the raw, often brutal dramatics of the emerging verismo, or “realism” theatrics of the 20th century. Unlike 19th century operas, when time stands still while a soprano sings how happy (or miserable) she is, in Puccini's operas time always moves on, often relentlessly as the action hurls toward the, usually, unhappy ending, when the soprano dies of consumption, throws herself off a castle tower, or dies by ritual suicide with a Japanese dagger.After all, Puccini's operas really are “something to die for.”Music Played in Today's ProgramGiacomo Puccini (1858-1924): “Pinkerton's Farewell” and “The Death Of Butterfly” from Madama Butterfly; Kostelanetz Orchestra; Andre Kostelanetz, conductor; Columbia MDK 46285

Hat Puccini wirklich, wie er später behaupten wird, Manuskripte verbrannt, um die Wohnung zu heizen? So wie die verarmten Künstler in seiner Oper "La Bohème"? Oder erfand er diese Anekdote, damit sein Aufstieg noch märchenhafter wirkt?

Peter Filichia, James Marino, and Michael Portantiere talk about Marjorie Prime, Guys and Dolls @ Shakespeare Theatre Company, Irving Berlin’s White Christmas @ The Goodspeed, West Side Story @ LaGuardia High School, Oedipus @ Studio 54, Cheyenne Jackson @ Carnegie Hall, and La Bohème @ the Met June Squibb in read more

On this episode of "Behind the Curtain," UCLA scholar and musicologist Dr. Kristi Brown-Montesano returns with another installment of "Serious Fun with Opera." She turns the pages of "La Bohème" all the way back to Henri Murger's original source material, immersing us in 1800's Paris and paying special attention to muses Mimì and Musetta. Enjoy this literary journey and be sure to get your tickets to "La Bohème" at LAOpera.org.

Early winter weather has us pondering an alternate definition of “slush pile,” albeit the mucky, grey residue remaining after a city snowfall. Our Slush Pile is far more fresh, but still a wintry mix as we discuss the short story “Catherine of the Exvangelical Deconstruction” by Candice Kelsey. You might want to jump down the page and read or listen to it in full first, as there are spoilers in our discussion!   The story is set on the day of the Women's March, following 2017's Inauguration Day, but only references those events in the most glancing of ways. Instead the protagonist glances away to an array of distractions: Duolingo, a Frida Kahlo biography, a bat documentary, European architecture, banjo music, a stolen corpse flower, daydreaming, and actual dreaming. In the withholding of the protagonist's interiority, Sam sees a connection to Rachel Cusk's Outline, while Jason is reminded of early Bret Easton Ellis. The editors discuss how fiction might evoke the internet's fractioning of our attention, by recreating the fractioning or reflecting it?   We'd like to offer congratulations to Sam whose debut book of short stories, “Uncertain Times,” just won the Washington Writers Publishing House Fiction Prize. As always, thanks for listening!   At the table: Dagne Forrest, Samantha Neugebauer, Jason Schneiderman, Kathleen Volk Miller, Lisa Zerkle, and Lilllie Volpe (Sound Engineer)   Listen to the story “Catherine of the Exvangelical Deconstruction” read in its entirety by Dagne Forrest (separate from podcast reading) (Bio): Candice M. Kelsey (she/her) is a bi-coastal writer and educator. Her work has received Pushcart and Best-of-the-Net nominations, and she is the author of eight books. Candice reads for The Los Angeles Review and The Weight Journal; she also serves as a 2025 AWP Poetry Mentor. Her next poetry collection, Another Place Altogether, releases December 1st with Kelsay Books. (Website): https://www.candicemkelseypoet.com/ (Instagram): @Feed_Me_Poetry   Catherine of the Exvangelical Deconstruction Catherine's thumb hovers over Duolingo's question, her mind dim from doom scrolling, chest dead as TikTok. The green owl stares. She swears its beak is twitching.  “Got 5 minutes?”  She swipes Duo, that nosy bastard, and his taunting French flag icon away. “Non.” The apartment is dim, the air too still. Days feel hollow and unhinged, as if she's Edmond Dantès tossed off the cliff of Chatêau d'If, a brief and misplaced shell weighted to the depths of the sea. So much for learning a language to calm the nerves. Frida Kahlo's face stares from the page of a book she hasn't finished reading. “I should just return this already.” There are days she commits to her syllabus of self-education and days she resents it. Kahlo's eyes pierce her, and giving up feels like large-scale feminist betrayal—how she has shelved the artist, her wounds, tragic love, and all. But even sisterhood is too much this January 21st, and of all people, Kahlo would understand. Catherine opens her laptop and starts a documentary about bats instead. Chiroptera. A biologist with kind eyes speaks of their hand-like bones, the elastin and collagenous fiber wings. The chaos of nature is its own magic realism. She learns bats are vulnerable like the rest of us. Climate disruption and habitat loss. Plus white nose syndrome and the old standby, persecution by ignorant humans who set their caves aflame. In the documentary, there is a bat with the liquid amber eyes of a prophet. Maybe that's what this world has had too much of, she begins to consider. Mid-deconstruction of decades in the white, evangelical cesspit of high control patriarchy, Catherine sees the world as one big field day full of stupid ego-competitions like cosmic tug-a-wars. And prophets were some of the top offenders. King Zedekiah, for one, had the prophet Jeremiah lowered into a well by rope, intending he sink into the mud and suffocate. All because he warned the people of their emptiness. Her mind wanders to Prague, to art, to something far away that might fill her own cistern life. “Maybe next summer,” she whispers. “Charles Bridge, St. Vitus.” The rhythm of bluegrass hums through the speakers, enough to anchor her here, in this room, in this thin sliver of a world she cannot escape. “That could be the problem; I need to learn Czech. No, fuck Duo.” J'apprendrai le français. J'irai à Prague. Je verrai les vieux bâtiments. But then, something strange. The banjo's pluck feels different, deeper, its twang splitting the air. She Googles the history of Bluegrass, and the words tumble from the page, layering like the weight of a corpse settling into the silt off the coast of Marseille. The banjo isn't Appalachian in origin but rather West African—specifically from the Senegalese and Gambian people, their fingers strumming the akonting, a skin drum-like instrument that whispered of exile, of worlds ripped apart. American slavers steeped in the bitter twisting of scripture trafficked them across the Middle Passage, yet in the cruel silence of the cotton fields, they turned their pain into music. How are we not talking about this in every history class in every school in every state of this nation? The akonting, an enslaved man's lament, was the seed of a gourd that would bloom into the sounds of flatpicking Southerners. Still, the banjo plays on in Catherine's apartment. A much more tolerable sound than Duolingo's dong-ding ta-dong. But she can't quite cleanse her mind of the French lessons, of Lily and Oscar. Il y a toujours plus. Her voice is barely a whisper, trying to reassure herself. There must be more. A recurring dream, soft and gleaming like a pearl—her hands moving over cool clams, shucking them on a beach house in Rhode Island. It's a faint memory, but no less ever present. Aunt Norma and Uncle Francis' beach cottage and the closest thing to a Hyannis Port Kennedy afternoon of cousins frolicking about by the edge of a long dock lured back by the steam of fritters. But this time, Ocean Vuong stands beside her. He's talking about the monkey, Hartford, the tremors of the world. And the banjo has morphed into Puccini's La Bohème, which laces through the rhythm of Vuong's syntax like a golden libretto. They notice a figure outside the window, a shadow in the sand—the new neighbor? He's strange. A horticulturist, they say. Catherine hasn't met him, but there are rumors. “Did he really steal it?” Vuong asks. She practices her French—it's a dream after all—asks “Le cadavre fleuri?” They move to whispers, like a star's breath in night air. Rumor stands that in the middle of California's Eaton fire, the flower went missing from the Huntington Museum in Pasadena. The Titan Arum, bloated and bizarre in its beauty and stench, just vanished. Fran at the liquor store says the new neighbor, gloves always pressed to the earth, took it.  At night, she hears him in the garden, talking to the roots. She imagines his voice, murmuring something incomprehensible to the moonlight. Like that's where the truth lies—beneath the soil, between the cracks of broken promises, smelling faintly of rot. She recalls the history she once read, so distant, so impossibly rotten. During WWI, when the Nazis swept through Prague, they forced Jewish scholars to scour their archives. They wanted to preserve the so-called “best” of the Jews—manuscripts, texts, holy materials—for their future banjo-twisted Museum of an Extinct Race. She shudders. The music, the wild joy of the banjo, now seems infected with something ancient and spoiled. The act of collecting, of preserving, feels obscene. What do you keep? What do you discard? Whom do you destroy? She wakes from the dream, her phone still alive with French conjugations. The bluegrass hums, but it's heavier, like a rope lowering her into Narragansett Bay. The neighbor's house is dark. But she thinks she can see him, a silhouette against the trees, standing still as a warning. Everything is falling apart at the seams, and she is both a part of it and apart from it. Like each church she left, each youth group and AWANA or Vacation Bible School where she tried to volunteer, to love on the kids, to be the good follower she was tasked with being.  She leans her forehead against the cool glass of the window, closing her eyes. The ache is there, the same ache that never quite leaves. It's sharp, it's bitter, it's whole. The small, steady thrum beneath it all. Il y a toujours plus. Maybe tomorrow she will satisfy Duo. Maybe next fall she will dance down a cobbled street in Prague. Find five minutes to feel human. Perhaps she will be whole enough, tall as St. Vitus Cathedral, to face whatever is left of this America. She closes her eyes to Puccini's Mimi singing Il y a toujours plus and dueling banjos while her neighbor secretly drags a heavy, tarp-covered object across his yard under the flutter of Eastern small-footed bats out for their midnight mosquito snack. A scene only Frida Kahlo could paint.

Í bók sinni, Þegar múrar falla, fjallar Hörður Torfason um persónuleg og samfélagsleg mál, reynslu og átök hans við samfélagið síðastliðin 50 ár. Hann segir að hann hafi þurft að brjóta niður þá múra sem voru innra með honum til þess að geta tekist á við ytri múra. Það gerði hann með sýnileika og hugrekki. Hörður kom í þáttinn í dag og sagði okkur betur frá bókinni og innri og ytri múrum. Sigurður Þorri Gunnarsson fjölmiðlamaður og Jóhanna Vigdís Hjaltadóttir fréttakona verða saman með jólaþætti á aðventunni, Uppskrift að jólum. Markmiðið er að hafa það huggulegt á aðventunni, elda mat, kynnast skemmtilegu fólki, og þau velta fyrir sér jólatónlist og kynna sniðugar jólahugmyndir. Fyrsti þátturinn er einmitt á á dagskrá annað kvöld. Á síðustu árum hefur Óður getið sér gott orð fyrir skemmtilegar sýningar þar sem ungt og hæfileikaríkt tónlistarfólk færir sígilda tónlist í nýjan búning. Óður hefur sýnt 57 sýningar af fjórum óperuuppfærslum frá stofnun árið 2021. La bohéme eftir Puccini er ein vinsælasta ópera allra tíma og birtist í þeirra flutningi fyrsta sinn á íslensku í nýrri þýðingu. Sagan segir frá ungum listamönnum í París á 19.öld þar sem heit ástríða þeirra fyrir lífinu glímir við kaldan raunveruleikann. Ragnar Pétur Jóhannsson og Níela Thibaud Girerd komu í þáttinn í dag. Tónlist í þættinum í dag: Sleðaferð / Skapti Ólafsson (Leroy Anderson, texti Jólakettir) Gjöfin / Hörður Torfason (Hörður Torfason) Jólakveðjur / Eyjólfur Kristjánsson (Þorgeir Ástvaldsson, texti Þorsteinn Eggertsson) Hvít jól / Vilhjálmur og Ellý Vilhjálms (Irving Berlin, texti Stefán Jónsson) UMSJÓN: GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

In this second episode of "Opera in the Community," musicologist Dr. Tiffany Kuo uses the lens of "La Bohème" to speak with three arts leaders and artist advocates —Asuka Hisa, who walks us through the exhibits at ICA LA; Mackenzie Royce, who shares about the affordable housing and work space rental programs at ArtShare LA; and artist Fatima Burns, who talks about the importance of having a safe place to create. Dr. Kuo shows us that although times can still be tough for the creative class, we've come a long way from the starving artist days of "La Bohème" to having robust institutional support for artists, right here in Los Angeles. Don't miss Puccini's blockbuster opera, get your tickets to "La Bohème" now at LAOpera.org.

In this episode—an excerpt from our Exploring Opera series— LA Opera Chorus Director Jeremy Frank guides you through the musical moments of "La Bohème." Join Jeremy as he shares his wealth of knowledge about Puccini and the arias of Mimì and Musetta and all of your favorite bohemians. Don't miss this classic opera, and be sure to catch Jeremy Frank one hour before each performance in Stern Grand Hall for our popular pre-performance lectures. Tickets to "La Bohème" are available now at LAOpera.org.

On today's episode of "Behind the Curtain," LA Opera Chorus Director Jeremy Frank sits down with "La Bohème" star Janai Brugger. Follow Janai's journey all the way back to the start as she shares spectacular stories about following her dreams, approaching opera as an actor, balancing work and family, and her unbelievable experience at the Operalia competition. She also shares her approach to embodying Mimì, a role debut and the timeless beauty of "La Bohème." Get your tickets to this lavish production of "La Bohème," playing November 22 through December 14, at LAOpera.org.

Mike The Intern talks with Jonathan Stinson about La Bohème at the Gillioz Theatre this weekend!See omnystudio.com/listener for privacy information.

Today some real meat and potatoes Italian opera. Oh, wait, perhaps we should call it spaghetti alla bolognese rather than meat and potatoes. So often on the podcast I bring singers to the fore that are not as well known as some of the biggest stars in opera. But today I bring you both Luciano Pavarotti and Mirella Freni, two of the most popular and celebrated Italian opera stars in the history of opera, especially opera in the late twentieth century. As many already know, the two singers both grew up in Modena, where their working-class mothers worked in the same cigar factory; as budding opera singers, they subsequently studied voice with the same teacher in Mantova. They remained lifelong friends and often sang together, especially in La Bohème. In 1980, the two returned to their native Modena where they performed together at the Teatro Comunale di Modena, known since 2021 as the Teatro Comunale Pavarotti-Freni. The concert was conducted by Freni's ex-husband Leone Magiera, also a native of Modena. In this concert, they performed duets from their shared repertoire: Elisir d'amore, Traviata, and L'amico Fritz. They also performed solo arias from La figlia del reggimento and Vespri siciliani (Freni) and Werther and L'africana (Pavarotti). The material is supplemented on today's episode with arias from both singers in contemporaneous live performances at the Arena di Verona. And this entire songfest is topped with the cherry of a live 1965 concert on French television of “O soave fanciulla” in which their joined voices are heard in the first flush of youth. 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 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.  

On this episode of "Behind the Curtain," Classical KUSC's Gail Eichenthal is joined by international director of opera and theater Brenna Corner. They discuss the addiction that is opera, the grandness of the operatic scale, advice for aspiring singers and directors, and, of course, "La Bohème." Dig deep into Brenna's directorial process here on Behind the Curtain, and then get your tickets to this timeless story, playing November 22 through December 14 at LAOpera.org.

In this episode of "Behind the Curtain," Richard Seaver Music Director Maestro James Conlon compares and contrasts Giacomo Puccini's "La Bohème" and Giuseppe Verdi's "La Traviata," painting a lively picture of 19th-century France. From consumptive heroines to young lovers in strife, these operas tug at our heartstrings while maintaining a timeless relevance. Experience the drama of "La Bohème" from November 22 through December 14 at LA Opera. Tickets are on sale now at LAOpera.org.

Welcome to Season 05 Episode 5.05- the "First Frost" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Dr. Jessica Hillman-McCord and cast members from The Lightning Thief; Mr. Tim Kennedy/La Bohème; and Mr. Chris Coole/Showman and Coole Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Time Stamps (Approximate) Dr. Jessica Hillman-McCord/The Lightning Thief  01:48 Mr. Tim Kennedy/Live at the Met 20:54 Arts Calendar 38:20 Mr. Chris Coole/Showman and Coole 43:21 Artist Links Dr. Jessica Hillman-McCord Mr. Tim Kennedy Mr. Chris Coole Media "Death by Dawn", from Twilight in the Hollow, Absent State Productions, December 2024 "Bring on the Monsters", from the original cast recording of The Lightning Thief:The Percy Jackson Musical, Rob Rokicki, composer; Broadway Records, July 2017 "O Soave Fanciulli", from the opera La Bohème, Giacomo Puccini, composer; libretto by Luigi Illica and Giuseppe Giacosa; performed by Freddie De Tommaso (Rodolpho) and Juliana Grigoryan (Mimi), Metropolitan Opera House, October 2025 "Eulogy of the Crows", from Twilight in the Hollow, Absent State Productions, December 2024 "You'll Be There", written and performed by John Showman and Chris Coole, February 2022 "Monster Mash", written by Bobby Pickett and Lenny Capizzi (Aug. 1962, Garpax Records); performed by Hayseed Dixie, Feb. 2017 SUNY Fredonia School of Music Event Calendar Box Office at SUNY Fredonia Lake Shore Center for the Arts Main Street Studios Ticket Website WCVF Fredonia WRFA Jamestown   BECOME AN OPERA HOUSE MEMBER!    

Welcome back to Behind the Curtain's mini series, 20 Years with Maestro Conlon, in which Classical KUSC's Gail Eichenthal sits down with Maestro James Conlon to discuss his legacy here at LA Opera. In this episode, we explore Italian opera—Rossini, Puccini, Verdi, and beyond—touching on bel canto and what makes a 'perfect opera.' Get your tickets now for Puccini's "La Bohème" and Verdi's "Falstaff" at LAOpera.org.

If you're enjoying the content, please like, subscribe, and comment!⁠ @PeterBarber ⁠ - https://youtube.com/@PeterBarber?si=qvSNdjEkfsk7480NThe Bass Gang - https://youtube.com/@TheBassGangOfficial?si=NE22aN4Lc4gqQMDkPeter Barber is an American opera singer, music producer, YouTuber, and podcaster. He is currently composing a 30 song musical titled "Melody of War", scheduled for release Summer 2026. He has been a member of the Arizona Opera Studio, where he has performed Basilio in The Barber of Seville, Capulet in Roméo et Juliette, Masetto in Don Giovanni, and Colline in La Bohème. Peter has spent multiple summers performing with The Santa Fe Opera, the Aspen Music Festival, and Music Academy of the West. At this point, he has performed over 30 operatic roles. Outside of the opera world, Peter has grown a substantial audience on YouTube, surpassing 360,000 subscribers via musical analysis videos, music videos, and his podcast, Vocal Arts. He is also a founding member of award-winning musical group, The Bass Gang. They have released four EPs, as well as numerous singles, amassing over 25 million views/streams between YouTube and Spotify alone.______________________Follow us!@worldxppodcast Instagram - https://bit.ly/3eoBwyr@worldxppodcast Twitter - https://bit.ly/2Oa7BzmSpotify - http://spoti.fi/3sZAUTGYouTube - http://bit.ly/3rxDvUL#composer #music #opera #operasinger #performance #acapella #bass #producer #solo #artist #interview #open #environment #singer #singing #vocals #explore #explorepage #podcastshow #longformpodcast #longformpodcast #podcasts #podcaster #explore #podcast #newshow #worldxppodcast

durée : 00:04:21 - Les Nuits de France Culture - par : Albane Penaranda - Dans "La Bohème", Charles Aznavour remonte le temps, celui de la jeunesse et des rêves insouciants. Ibrahim nous en propose une écoute singulière. - réalisation : Emily Vallat

In this episode, veteran broadcast journalist Gail Eichenthal of Classical California KUSC sits down once again with Maestro James Conlon for the second episode of our miniseries, "20 Years with Maestro Conlon." This time, they transport us to the Classical period, with special emphasis on Maestro's legacy conducting Beethoven and Mozart—including Beethoven's only opera, "Fidelio," and Mozart's final opera, "The Magic Flute," which is the wonderful conclusion to this LA Opera season. From "La Bohème" to "The Magic Flute," get your tickets for this glittering LA Opera season at LAOpera.org.

durée : 00:07:36 - "La Bohème" - Nous accueillons Cassie Martin, révélation de la guitare classique, qui offre un arrangement de "La Bohème". Séquence virtuosité et émotion, grâce à un arrangement du morceau icônique de Charles Aznavour par Sébastien Clerc. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Puccini's operas remain some of the most beloved in the repertoire, their soaring melodies and emotional intensity instantly recognisable to audiences worldwide.From the romance and tragedy of La Bohème, to the raw passion of Tosca and the exotic splendour of Turandot, Puccini created worlds of intense drama and unforgettable melody.In this episode we are joined by musician and broadcaster Sandy Burnett as he explores what makes Puccini's music so distinctive and enduring. With insights from musical experts, Sandy uncovers the orchestral colours, vocal writing and dramatic instincts that defined Puccini's genius.Academy Travel is a leading specialist in small-group cultural tours, allowing you to travel with like-minded companions and learn from internationally renowned experts. Like our podcast, our tours are designed to appeal to travellers with a strong interest in history, archaeology, architecture, the visual arts and the performing arts.Learn more here - https://academytravel.com.au/

durée : 00:19:53 - Les Nuits de France Culture - par : Philippe Garbit - En 1992, le clown, écrivain et psychologue Howard Buten, auteur du best-seller "Quand j'avais cinq ans je m'ai tué" évoque son parcours à travers ses chansons et musiques préférées : des comédies musicales de son enfance à Brassens en passant par l'opéra avec "La Bohème", et "Tosca" de Puccini. - réalisation : Virginie Mourthé - invités : Howard Buten

durée : 00:04:57 - Classic & Co - par : Anna Sigalevitch - Ce matin, Anna Sigalevitch nous parle de la Bohème de Puccini, dans la mise en scène de Claus Guth qui se joue à l'opéra Bastille jusqu'au 14 octobre prochain, sous la direction de Domingo Hindoyan. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:58:03 - Avec philosophie - par : Géraldine Muhlmann, Nassim El Kabli - La Bohème, phénomène de marginalité du poète, apparaît, au XIXe siècle, comme une façon spécifique à l'artiste de poser le problème de sa situation dans la société. Mais alors, mythe ou réalité effective ? - réalisation : Nicolas Berger - invités : Martine Lavaud Professeure de littérature française à l'université d'Artois, spécialiste du romantisme, de Théophile Gautier, des rapports entre sciences et Littérature au XIXe siècle; Jean-Didier Wagneur Écrivain, critique littéraire

In this episode from the vault, LA Opera Connects' Dr. Andréa Fuentes sits down with Colombia University's Dr. Shana Redmond to talk about why La Bohème so deeply resonates with us. They discuss the friendships, the economic struggle, the resilience, and the gender paradigms that populate this timeless opera, and what gives it its enduring charm. They also travel trains of thought-- from RENT to Paul Robeson to grand visions for the future of the art form. Get your tickets to La Bohème now at LAOpera.org and don't forget to leave a comment, rating, or review on this episode.

Jiunn, Seth, John and Aaron discuss their review experience with the Aging Room La Bohéme Poeta https://developingpalates.com/reviews/cigar-reviews/team-cigar-review-aging-room-la-boheme-poeta/

As we joyfully prepare for our 40th Anniversary Season, which includes an original LA Opera production of La Bohème, we're going into the vault to bring you a special episode from 2016: a La Bohème talk by Duff Murphy. Here, he shares fascinating knowledge about Puccini, La Bohème's reception in its time, who the opera is dedicated to, and how the lush, enduring classic almost didn't come to be. How well do you know La Bohème? Listen in and get your tickets now to La Bohème, playing this November 22 through December 14. Tickets available at LAOpera.org.

On today's show: a one-man show about a serial killer murdering gay men in San Francisco in the 70's, then a sneak peak into San Francisco Opera's "La Bohème" and a documentary about the personal experiences and political history of Caregiving.

Nicole Cabell is an award-winning American soprano known for her rich voice and versatile artistry. Born in California with African American, Korean, and Caucasian heritage, she rose to international fame after winning the 2005 BBC Cardiff Singer of the World Competition. She has performed leading roles at top opera houses like the Royal Opera House and the Metropolitan Opera. Her acclaimed recordings include the solo album Soprano and performances in La Bohème and Imelda de' Lambertazzi. Cabell also serves as an Associate Professor of Voice at the Eastman School of Music, where she mentors young singers.

durée : 01:07:13 - Les Nuits de France Culture, archives d'exception - par : Philippe Garbit - L'écrivain métis Alexandre Privat d'Anglemont était l'un des symboles de la vie de bohème au 19e siècle. Ami de Baudelaire, on a retenu de lui ses deux livres sur Paris. On le redécouvre grâce à cette série des "Inconnus de l'Histoire" enregistrée en 1983. - réalisation : Virginie Mourthé - invités : Claude Pichois Professeur de littérature

Vince Kramer & I have conversation about his 1st beers, becoming a metalhead, getting into writing, Bizarro Fiction, his new book "Let's Kill God" and his hangover cure. Throughout this chat, Vince drank Wayfinder Beer's "Golden Tiger" the 5.3% Czech Amber Lager while I enjoyed Mellön Brasserie's "La Bohème, La Bohème" the 5% Czech / Bohemianlager that was hopped with Saaz & Sladek Hops. This is a Heavy MTL presents Vox&Hops episode! Heavy MTL is Montreal's premier metal promoter. They host one of North America's best Metal Festivals & present countless amazing events during the rest of the year. I am truly honored & extremely excited to have them involved in the podcast. Make sure to check out Vox&Hops' Brewtal Awakenings Playlist which has been curated by the Metal Architect Jerry Monk himself on either Spotify or Apple Music. This playlist is packed with all the freshest, sickest & most extreme albums each week! Episode Links: Website: https://www.voxandhops.com/ Join The Vox&Hops Mailing List: http://eepurl.com/hpu9F1 Join The Vox&Hops Thirsty Thursday Gang: https://www.facebook.com/groups/162615188480022 Vince Kramer Books: https://www.amazon.ca/stores/author/B0063X4TF0/allbooks Wayfinder Beer: https://www.wayfinder.beer/ Mellön Brasserie: https://mellonbrasserie.ca/ Vox&Hops Brewtal Awakenings Playlist: https://www.voxandhops.com/p/brewtal-awakenings-metal-playlist/ Heavy MTL: https://heavymontreal.com/ Sound Talent Media: https://soundtalentmedia.com/ Evergreen Podcasts: https://evergreenpodcasts.com/ SUPPORT THE PODCAST: Vox&Hops Metal Podcast Merchandise: https://www.indiemerchstore.com/collections/vendors?q=Vox%26Hops Use the Promo Code: VOXHOPS10 to save 10% off your entire purchase. Pitch Black North: https://www.pitchblacknorth.com/ Use the Promo Code: VOXHOPS15 to save 15% off your entire purchase. Heartbeat Hot Sauce: https://www.heartbeathotsauce.com/ Use the Promo Code: VOXHOPS15 to save 15% off your entire purchase.

Send us a textThis week, a journey through the bonkers world of financial markets, absurd cultural phenomena, and personal reflections from the splendid shores of St. Barts.A Brief Memoir MomentI share a childhood anecdote about an imaginary kangaroo in my parents' wardrobe, a metaphor for life's absurdities and the early seeds of my contrarian mindset. From tales of youthful rebellion to the consequences of throwing stones at buses, I paint a vivid picture of life lessons learned the hard way and before the internet..The Week in MarketsI dive into the paradox of December markets:- Winners Ride High: Stocks like Nvidia continue their wild run, even as tech giants like Apple remain geopolitical pawns in the US-China game, the market cocks-a-snoop: Warren Who?- The Madness of MicroStrategy: Michael Saylor's strategy of leveraging meme stock madness to buy Bitcoin? Genius or depravity? I call it capitalism at its most unhinged.- Retail Phenomena: Ulta Beauty's rise as the "crown jewel of vanity" and Estée Lauder's fall from grace become metaphors for the insecurity-driven consumer economy and a stock market seeking unattainable perfection.Macro MusingsI connect the dots between today's financial euphoria and the late 1920s:- Foreign capital is flooding into US markets, fueling asset inflation and American exceptionalism.- AI dominance, bolstered by the US tech ecosystem, is likened to the golden age of the 1920s.- I critique the global disarray, from Europe's leaderless states to China's economic skids, and I hail America's continued structural advantage.Cultural HighlightsFrom Charles Aznavour's La Bohème to Nekfeu's Plume, I try weave some French musical genius into my narrative, underscoring the importance of art and reflection amidst financial madness.Closing ThoughtsSo keep tuning in for more acid insights, market musings, and the occasional existential riff. Because, together, unified, we've got the power.Hugh⬇️ Subscribe on Patreon or Substack for full episodes ⬇️https://www.patreon.com/HughHendryhttps://hughhendry.substack.comhttps://www.instagram.com/hughhendryofficialhttps://blancbleustbarts.comhttps://www.instagram.com/blancbleuofficial⭐⭐⭐⭐⭐ Leave a five star review and comment on Apple Podcasts!

While it may have taken a few detours for Jonathan Tetelman to become the opera star he is today, the journey has been well worth it. Tetelman initially found success with his voice quite young, singing in the American Boychoir School and recording with the Trans-Siberian Orchestra. Yet following years of vocal study, Tetelman stepped away from the arias to become a nightclub DJ in New York City. It was only upon realizing that opera was indeed his passion that Tetelman returned to the genre and found incredible success in the great music halls and houses across the globe. Tetelman now captivates audiences with performances in Madama Butterfly, Carmen, and La Bohéme – and with his albums “Arias” and “The Great Puccini.” Jonathan Tetelman speaks with host Alec Baldwin about the challenging transition from baritone to tenor, the work he puts in behind-the-scenes to understand his characters and how he navigates the physical demands of his career.See omnystudio.com/listener for privacy information.