Podcasts about La Cenerentola

Rachel PeakeOriginally hailing from Saskatchewan, Rachel is a director and dramaturge of theatre and opera. She is currently the Artistic Director of the Grand Theatre in London, Ontario.​From 2021 to 2023 Rachel was the Associate Artistic Director of the Arts Club Theatre Company in Vancouver. There she oversaw the running of the Artistic Department from 2021-2022 during the Artistic Director's maternity leave. From 2017 to 2020 she was the Associate Artistic Director of the Citadel Theatre in Edmonton, where she led the Citadel's New Play Development initiatives. In January 2023 she won the Ovation Award for Outstanding Direction for her work on Something Rotten!, produced by Theatre Under the Stars.​Rachel recently directed Macbeth for Calgary Opera (Betty Mitchell Award nominee - Outstanding Production of a Musical) , Sense and Sensibility for the Arts Club, 9 to 5: the Musical for the Citadel Theatre, Something Rotten! for Theatre Under the Stars, and The Pearl Fishers for Vancouver Opera. Rachel directed and dramaturged Hyperlink for the elbow, which was nominated for a Critic's Choice in Innovation. Recent directorial credits also include The Garneau Block for the Citadel, La Cenerentola for Vancouver Opera, and Phaedra/ Serenade for Pacific Opera Victoria.​Some additional career highlights include directing and dramaturging the world première opera, Stickboy, for Vancouver Opera; directing the première of The Contest of the Winds for Caravan Farm Theatre; helming SexyVoices, a community-based creation piece about love and sex in the disability community for Realwheels Theatre; directing Angels in America: Part One at Studio 58, and directing and co-conceiving the interactive project Sustainability in an Imaginary World at UBC.​Rachel was the co-Artistic Director of Solo Collective Theatre from 2008-2013 for whom she directed Cool Beans, Play With Monsters, After Jerusalem, The Project, and The Trolley Car.  She also spent four years as Resident Stage Director of Dark by Five at Gros Morne Summer Music where she directed and co-created fifteen new interdisciplinary works. ​Rachel interned at the Komische Oper in Berlin, at Stratford's Michael Langham Workshop for Classical Direction, and in the Shaw Festival's Neil Munro Directing Internship. She also studied extensively with her mentor, James Fagan Tait. Rachel is a graduate of the University of Alberta and Studio 58.Grand TheatreThe Grand Theatre is known for world-class theatre created and built in London, Ontario. As southwestern Ontario's premiere producing theatre and one of the most beautiful theatre spaces in Canada, the company has deep ties to the community and to its artists, artisans, and technicians. As a vibrant cultural hub and not-for-profit professional theatre, the Grand serves to gather, inspire, and entertain audiences in London and beyond. At our home in downtown London, we create productions on two stages: the Spriet Stage (839 seats) and the Auburn Developments Stage (144 seats). The Grand season of theatrical offerings runs from September to May, and we collaborate with companies and artists across the country through our co-productions that see London-made artistic and creative work travel to audiences nation-wide. Through our successful New Play Development Program, the Grand is committed to developing and premiering new, original works and supporting the growth and reach of theatre writers and creators. Our recently renovated venue offers a contemporary and welcoming environment that is also home to several successful music series', community arts rentals, and cultural and special events. 

Recorded March 11th, 2025. A lecture by Fergus Sheil (Founding Artistic Director of Irish National Opera) for the Music Composition Centre Talks. Fergus is the founding artistic director of Irish National Opera. He has conducted a wide-ranging repertoire of over 50 different operas in performance, recordings and on film. Highlights include Strauss' Salome, Der Rosenkavalier and Elektra, Rossini's William Tell and La Cenerentola, Brian Irvine and Netia Jones's Least Like The Other, Verdi's Aida, La traviata and Rigoletto as well as Wagner's Tristan und Isolde. Before founding Irish National Opera in 2018, Fergus was Artistic Director of Wide Open Opera, which he founded in 2012 and Opera Theatre Company. He has produced opera in over 30 venues throughout Ireland as well as bringing productions to the UK (Edinburgh International Festival, Royal Opera House and The Barbican), USA, Holland, Luxembourg and Italy. As conductor, Fergus has worked with major orchestras and opera companies in Ireland as well as fulfilling engagements in the USA, Canada, South Africa, Australia, UK, France, Netherlands, Denmark, Sweden, Malta and Estonia. Fergus Sheil studied music at Trinity College, graduating in 1992. While at TCD he founded the Trinity Orchestra. He currently delivers a module in career development at TCD's Music Department and in 2023 he was awarded an honorary Doctor in Letters from TCD. Learn more at www.tcd.ie/trinitylongroomhub

durée : 00:03:49 - Fabrice Murgia pour la Cenerentola est L'invité d'ici matin

Am 30. November erlebte die Oper "La Cenerentola" ihre Premiere am Staatstheater Augsburg. Rossinis komisches Gesellschaftsporträt lässt dabei auch gleich die Geschichte des Aufführungsortes lebendig werden: die Textilverarbeitung im Augsburger martini-Park und die Erlebnisse einer der zahlreichen Gastarbeiterinnen und Gastarbeitern, die diesem Industriezweig zum Erfolg verhalfen. Zum ersten Mal inszeniert der deutschlandweit sehr erfolgreiche Theater- und Filmregisseur Manuel Schmitt in Augsburg. Robert Jungwirth war für uns dort.

Comenzamos el martes con el turista musical que hoy nos lleva hasta Burundi para descubrir al rapero Gael Faye con su tema 'Tot le matin'. Continuamos con nuestro violinista de confianza, Necko Vidal, que desgrana toda la perversión y el golferío de las óperas clásicas como 'Così fan tutte' o 'La Cenerentola'. A las 8, la actualidad y estrenamos nueva sección: 'Canciones que quieres olvidar y no puedes'. Por último, Dani Fernández nos presenta su nuevo álbum ' La Jauría' que se estrenará el próximo 25 de octubre, e interpreta en directo y en exclusiva su tema 'Joderme la vida'.Escuchar audio

durée : 00:13:14 - Le Disque classique du jour du vendredi 13 septembre 2024 - Premier album de Aigul Akhmetshina, la jeune mezzo fougueuse qui prend d'assaut le monde de l'opéra. Elle interprète des airs célèbres de Carmen, de Werther de Massenet, de La Cenerentola et du Barbier de Séville.

durée : 00:13:14 - Le Disque classique du jour du vendredi 13 septembre 2024 - Premier album de Aigul Akhmetshina, la jeune mezzo fougueuse qui prend d'assaut le monde de l'opéra. Elle interprète des airs célèbres de Carmen, de Werther de Massenet, de La Cenerentola et du Barbier de Séville.

ATENÇÃO: A entrevista foi feita em francês. Para acessar o vídeo com legenda, recomendamos acesse o nosso canal no YouTube ( https://youtu.be/f8rr2Ny_UNE ) Nesse vídeo, Christopher Forey, fala sobre como sua carreira de iluminador, atuando em diversos países europeus, construiu uma perspectiva sobre diferentes núcleos de trabalho dentro da iluminação na Europa. Christophe Forey criou as luzes para inúmeras apresentações de teatro, ópera e dança. ‌ Ele trabalha regularmente com os diretores Moshe Leiser e Patrice Caurier: Carmen, Fidelio, Leonore, Traviata, Mazeppa no WNO; Hamlet, Der Rosenkavalier, Pelléas et Mélisande, O Anel de Nibelungo, Don Carlo no Grande Teatro de Genebra; La Cenerentola, Turco na Itália, Maria Stuarda na Royal Opera House em Londres; Clari de Halevy, Gesualdo de M-A Dalbavie, Mosè, Comte Ory, Otello de Rossini na Ópera de Zurique; Giulio Cesare de Handel, Norma de Bellini, Iphigénie en Tauride de Gluck, O italiano em Argel de Rossini no Festival de Salzburgo, Giovanna d'Arco de Verdi no Scala de Milão; Don Giovanni e Nozze di Figaro de Mozart, A Coroação de Poppea de Monteverdi para Angers-Nantes-Opéra, Teseo de Händel no Teatro de Viena, etc. ‌ Ele também trabalhou com Günther Krämer, Lucinda Childs (Orfeo, Canções de Antes, Œdipus-Rex, O Mandarim Maravilhoso de Bartok), Silviu Purcarete (Parsifal de Wagner), Robert Gironès (Argélia 54-62 de Jean Magnan), Bruno Boëglin (Roberto Zucco de BM Koltès), Jean-Marc Bourg (Uma frase para minha mãe de Christian Prigent), Benjamin Dupé, Jean-Claude Berutti, Sarath Amarasingam, Cédric Dorier (incluindo Danse Delhi de Ivan Viripaev), Vincent Huguet (Os Contos de Hoffmann em Bilbau).

La Cenerentola de Gioachino Rossini

"La Cenerentola", de Rossini, va ser el primer t

Zemmoa es un símbolo generacional, un personaje fundamental en la construcción del sonido de la escena Queer contemporánea. Con más de 80 canciones editadas en su propio sello discográfico, Zemmporio Records, y tras haber sido pionera protagonizando campañas para marcas como Calvin Klein, Absolut o Adidas como mujer trans mexicana, se ha convertido en un icono imprescindible de la cultura trans representando a México en el mundo. En el camino ha arrojado discos y canciones que ya forman parte del ADN de la música hecha en México como “Fashion Victims”, “Pendejo” y “Mi amor soy yo”, la cual cuenta con más de dos millones de reproducciones en Spotify. Zemmoa fue imagen de la campaña global Glow, publicando su imagen en Times Square en 2023, y se ha presentado como acto principal en el Zócalo de la Ciudad de México frente a más de cien mil personas en 2019, además de festivales como Ceremonia, Trópico y el Vive Latino junto a Plastilina Mosh. En el extranjero ha dado shows en ciudades como París, Bruselas, Barcelona y Chicago, entre otros. Ahora, con su más reciente disco “The Early Years”, hace un recuento de su resiliencia a través de la música y presenta una nueva etapa en su carrera al convertirse en la primera persona trans en México en firmar un contrato con Universal Music. Con otro disco más a punto de salir, comienza una nueva era que la encuentra más empoderada que nunca, lista para vislumbrar un futuro todavía más luminoso para ella, para todas las generaciones que la acompañan y para todas las que están por venir. Es un orgullo tenerla en Cable a Tierra.Síguenos en Instagramhttp://instagram.com/cableatierrapodhttp://instagram.com/tanialicious Hosted on Acast. See acast.com/privacy for more information.

durée : 02:05:11 - Musique matin du mercredi 13 mars 2024 - par : Jean-Baptiste Urbain - Sept ans après ses premiers pas à l'opéra avec "La Cenerentola" de Rossini, Guillaume Gallienne remet le couvert et signe, pour l'Opéra Comique, la mise en scène d'un diptyque surprenant : l'opéra "L'Heure espagnole" de Maurice Ravel et le ballet "Pulcinella" d'Igor Stravinsky. - réalisé par : Yassine Bouzar

Anna Maria Rota, Vittorio Gui Glyndebourne Festival, 9 August 1959, Broadcast

Cantante, actor, dramaturgo, promotor cultural, maestro de canto, místico, excéntrico, y activista nudist4, lo facilita autodenominándose una V3dette.Dentro del ámbito operístico ha logrado sobresalir gracias a una presencia escénica brillante, consecuencia de haberse graduado como actor; posee además estudios de danza clásica y pantomima, y amplia experiencia en montajes teatrales para el Instituto Nacional de Bellas Artes. Como ejecutante de música de concierto, su repertorio abunda en la música barroca, piezas Mozartianas y de Lied alemán.Se ha presentado en los escenarios más relevantes del rubro cultural, incluidos el Auditorio Nacional, el Palacio de Bellas Artes y la Sala Nezahualcóyotl de la UNAM, así como distintos teatros y salas de concierto de diversos estados de la república.En ópera debuta en el estreno en México de la ópera El Niño y la Noche del compositor francés Franck Villard, en el papel de Evarist. Ha interpretado roles bufos como Don Magnifico, en La Cenerentola, y Don Bartolo de Il Barbiere di Siviglia, ambas de Gioachino Rossini. Asimismo, en octubre de 2020 estrenó para la Offenbach Operetta Studio la versión cinematográfica de Gianni Schicchi, de Giacomo Puccini, en el rol protagónico, y con quienes sigue trabajando en su formato cinematográfico de operas como II Tabarro de Gaetano Donizetti y Los Siete Pecados Capitales, de Kurt Weill.Desde el inicio de su carrera demostró especial interés en la música tradicional mexicana resaltando los sones, boleros y canciones de protesta, teniendo participaciones eventuales en centros culturales.A partir del 2017 y junto con el maestro Óscar Aguilar conformó múltiples programas de concierto entre los que destacan el Stand Up-Concierto La Chavela... Bien Vargas, un homenaje a la cantante Chavela Vargas en el centenario de su natalicio (con la creación de dicho espectáculo, Alexander Soto celebró diez años de trayectoria artística), el espectáculo Soy lo Prohibido, una recopilación de boleros, y Mi Primera Vez, concierto dedicado a los géneros ranchero, tango y paso doble. Como intérprete de música tradicional resalta su capacidad de transmitir al espectador gracias su calidad interpretativa.Enlaces a su trabajo:https://youtu.be/_ItSYF_kPIYhttps://youtu.be/zXeO6OTto3ghttps://youtube.com/playlist...https://vm.tiktok.com/ZMY6fk9ya/https://vm.tiktok.com/ZMY6fr4mj/ALEXANDER SOTO “Toda una Vdette” conversa con “Neuronautas y el Doc” acerca de su trabajo y trayectoria laboralPara contactarlo:Facebook, Instagram, YouTube, TikTok @AlexanderSotoOficialTwitter @AlexanderSotoOF¡Dale play!#cantante #musica #opera #teatro #actor #dramaturgo #cultura #canto #mistico #activista #vedette #filosofia #inba #concierto #auditorionacional #bellasartes #fonca #solistas #recitaldemúsica #espectaculo #musicacoral #contemporâneo #musicapopular #cabaret #comediamusical #musicales #tradicionalmexicana #sones #boleros #romance #protestante #rancheros #tango #gestióncultural #cultura #docência #tecnicavocal #holístico #OperaComoMedioEspiritual #ConversandoConUribaMeloso #UrbinaMeloso #albur #alburfino #tepito #musico #mexico #cdmx #podacst

Frederic Chopin - Variations on Non piu mesta from Rossini's La CenerentolaEmily Beynon, fluteSimon Crawford-Phillips, pianoMore info about today's track: Naxos 8.572585Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Gioacchino Rossini - La Cenerentola: OverturePrague Sinfonia OrchestralChristian Benda, conductorMore info about today's track: Naxos 8.570935Courtesy of Naxos of America, Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Rossinis Oper "La Cenerentola" feierte am 3. Juni 2023 am Nürnberger Staatstheater Premiere. Regisseur Jan Philipp Gloger siedelt die Oper im Millieu der Casting-Shows an und macht es dem Publikum nicht einfach, sich für eine Favoritin zu entscheiden.

La storia di James Walter Braddock, eroe della working class americana che durante la Grande Depressione, dalla miseria più totale riuscì a diventare, nel 1935, campione del mondo dei pesi massimi.

Synopsis On today's date in 1909, Richard Strauss's opera Elektra had its premiere in Dresden. The libretto, a free adaptation of the grim, ancient Greek tragedy by Sophocles, was by the Austrian poet and playwright Hugo von Hofmannsthal. In ancient Greek tragedies, violence occurred off-stage, and for his libretto, Hofmannsthal honored that tradition. But the music of Strauss evoking the tragedy's violence unleashed a huge orchestra with a ferocity that stunned early listeners. After its American premiere, one New York critic wrote of “a total delineation of shrieks and groans, of tortures physical in the clear definition and audible in their gross realism . . .Snarling of stopped trumpets, barking of trombones, moaning of bassoons and squealing of violins.” Even Strauss himself later admitted Elektra (quote) “penetrated to the uttermost limits of … the receptivity of human ears,” and what he called his “green horror” opera might cause him to be type-cast as a purveyor of creepy-crawly music. And so, Strauss prudently suggested to Hofmansthal “Next time, we'll write a MOZART opera.” Almost two years later to the day, on January 26, 1911, their “Mozart” opera, Der Rosenkavalier, or the The Rose Bearer premiered. It's set in 18th century Vienna, and for this opera Strauss included anachronistic, but eminently hummable waltz tunes. Music Played in Today's Program Richard Strauss (1864 –1949) Elektra Alessandra Marc, sop.;Vienna Philharmonic; Giuseppe Sinopoli, conductor. DG 453 429 Richard Strauss Der Rosenkavalier Waltz Suite Philadelphia Orchestra; Eugene Ormandy, conductor. Sony 60989 On This Day Births 1851 - Flemish composer Jan Blockx, in Antwerp; 1886 - German composer and conductor Wilhelm Furtwängler, in Berlin; 1911 - American composer and pianist Julia Smith, in Denton, Texas; 1913 - Polish composer Witold Lutoslawski, in Warsaw; 1921 - American composer and conductor Alfred Reed, in New York City; Premieres 1817 - Rossini: opera, "La Cenerentola" (Cinderella), in Rome at the Teatro Valle; 1902 - Franz Schmidt: Symphony No. 1, in Vienna; 1909 - R. Strauss: opera "Elektra," in Dresden at the Hofoper, conducted by Ernst von Schuch, with soprano Annie Krull in the title role; 1946 - R. Strauss: "Metamorphosen," in Zürich; 1957 - Walton: Cello Concerto, by the Boston Symphony conducted by Charles Munch, with Gregor Piatigorsky the soloist; 1963 - Karl Amadeus Hartmann: Symphony No. 8, by the West German Radio Symphony, Rafael Kubelik conducting; 1987 - Paul Schoenfield: "Café Music" for piano trio at a St. Paul Chamber Orchestra concert. Links and Resources On Richard Strauss More on Richard Strauss

Me e Pi leggono e commentano:Maria la cenerentola - fiaba popolare trentina Testi raccolti e scritti da Mauro Neri(Illustrazioni di Sonia Tubaro)Parte del libro: Trentino da fiabaSiamo su• Facebook: https://www.facebook.com/parlandompodcast• Instagram: https://www.instagram.com/parlandom_podcast/• Telegram: https://t.me/parlandom| Sigla: Kids Playing - MaxKoMusic - https://icons8.com/music/author/maxkomusic

durée : 00:54:51 - Affaires culturelles - par : Arnaud Laporte - Acteur, scénariste, réalisateur, le sociétaire de la Comédie Française a déjà reçu 2 Molières et 4 Césars. Alors que Guillaume Gallienne va reprendre sa mise en scène de “La Cenerentola” de Rossini à l'Opéra de Paris, nous essayons d'en savoir plus sur ce qui nourrit ce boulimique de travail. - invités : Guillaume Gallienne réalisateur et comédien (sociétaire de la Comédie Française)

Kindness is key in Rossini's take on Cinderella.

Lamentamos una nueva desaparición, la de la mezzosoprano Teresa Berganza. Como es costumbre analizamos su voz y su arte, comentamos sus opiniones y sus teorías y la escuchamos en tres arias mozartianas: las dos de Cherubino de Las bodas de Fígaro, Smanie implacabili de Dorabella de Così fan tutte Dela grabación en vivo de su debut en Aix-wn-Provence en 1957- y la de Sesto, Parto, parto, de La clemencia de Tito. Nos canta también el fox-trot de Los Gavilanes de Guerrero, El paño moruno de las 7 Canciones populares españolas de Falla –y comparamos su versión con las de Conchita Supervía y Victoria de Los Ángeles-, el rondó de Angelina de La Cenerentola de Rossini y la Habanera de Carmen de Bizet. Escuchar audio

Mallory Harding, mezzo-soprano, and Artistic Director of New Moon Opera joins the show to discussBiographyChicago-based mezzo-soprano Mallory Harding most recently performed with Haymarket Opera in their filmed production of Acis and Galatea, and previously covered the role of Maxualinda and sang in the chorus in their production of The Dragon of Wantley by John Frederick Lampe.  As a founding member and the Artistic Director of New Moon Opera, Mallory has appeared as Zita in Gianni Schicchi, Armelinde in Pauline Viardot's Cendrillon, Croûte-au-Pot in Mesdames de la Halle by Offenbach, Dinah in Trouble in Tahiti, and Hansel in Hansel and Gretel.Ms. Harding performed with Evanston Chamber Opera in the world premiere of Joseph's Gift by Francis Lynch as Alto Narrator and was hailed as "simply fanastic" (Aaron Hunt, Chicago Theatre Review).  She frequently performs with Vox 3 Collective and has sung the roles of Line and Agathe in their Chicago premiere of Carl Nielsen's Maskerade, in addition to appearing in numerous Vox 3 cabarets and recitals all over the city of Chicago.  She also is the alto section leader and cantor at St. Francis Xavier Catholic Church in Wilmette.Mallory Harding received her Master of Music degree from the University of Missouri-Columbia in 2012, where she performed the roles of Tisbe in La Cenerentola and Valencienne in The Merry Widow.Visit Creative Peacemeal Podcast on social media, browse podcast swag, and continue the creative conversations via the blog!Website https://tstakaishi.wixsite.com/musicInstagram @creative_peacemeal_podcastFacebook https://www.facebook.com/creativepeacemealpod/RedBubble Merch Shop: CPPodcast.redbubble.com

“Sparkling” mezzo-soprano Madison Marie McIntosh has been praised for her “wondrouslyflexible voice,” “prodigious vocal skills,” and “richly textured and strong lower register” (Vocedi Meche). OperaWire has praised her “vocal power,” “enchanting voice,” “velvety mezzosoprano,”and “abundant vocal and dramatic technique, with no shortage of soaring high notesand flexible roulades.” She won The American Prize in Vocal Performance in 2020 and thenperformed a benefit concert for The American Prize that featured world premieres of works by eight composers. Madison has performed Ernesta (Un avvertimento ai gelosi) at Caramoor, Delia (Il viaggio a Reims) with the Rossini Opera Festival in Pesaro, and Alto Soloist (Messiah) with New Amsterdam Opera. In 2022, she performed in concerts with Gulfshore Opera and will sing the title role in La Cenerentola with Fargo Moorhead Opera, the title role in Giulio Cesare with Connecticut Lyric Opera, and Francesca Da Ponte in the premiere of Da Ponte, by composer Roger Neill and librettist Neil Cohen. In 2021, she sang Beppe in Teatro Grattacielo's production of L'amico Fritz at the Phoenicia International Festival of the Voice, the Domme in Three Way with Fargo Moorhead Opera, Melissa in La liberazione di Ruggiero with Connecticut Lyric Opera, Ruggiero in Alter Ego Chamber Opera's production of Alcina REVAMPED at the Philadelphia Fringe Festival, and Lola Lowell in the virtual premiere of Theodore Christman's opera The Impresario and the Dueling Divas with Mo. Eve Queler. Madison has also performed Rosina (Il barbiere di Siviglia), the title role in Carmen, Isabella (L'Italiana in Algeri), Angelina (La Cenerentola), Cesare (Giulio Cesare in Egitto), Hansel (Hansel and Gretel), Dido (Dido and Aeneas), Sara (Roberto Devereux), Giovanna Seymour (Anna Bolena), Zerlina (Don Giovanni), and lead roles in the world premieres of six operas. She has premiered song cycles and other works by composers such as Peter Breiner, Paula Kimper, Roger Neill, Amy Scurria, Jeff Shankley, Myron Silberstein, Webster Young, and Paul Ayres. In 2019, she joined Eve Queler as a soloist in her 25th annual Bel Canto Opera Concert. She has been featured as a soloist in venues such as Weill Recital Hall at Carnegie Hall, Avery Fisher Hall, the Kravis Center for the Performing Arts, Bruno Walter Auditorium at Lincoln Center, Symphony Space, the DiMenna Center, and the Teatro Rossini. She covered the title role in Tancredi and sang the Eco in the inaugural season of Will Crutchfield's Teatro Nuovo. In 2019, she performed the role of Prinz Orlofsky (Die Fledermaus) at the Wiener Kammeroper as a result of winning First Prize in the Vienna Summer Music Festival Competition. She worked with the late Mo. Alberto Zedda as a young artist of the Accademia Rossiniana in 2014 and was an Apprentice Artist of Sarasota Opera in 2018. Last season, she was presented in a solo virtual concert in the Kravis Center's series Kravis @ Home. “Sparkling” mezzo-soprano Madison Marie McIntosh has been praised for her “wondrously flexible voice,” “prodigious vocal skills,” and “richly textured and strong lower register” (Voce di Meche). OperaWire has praised her “vocal power,” “enchanting voice,” “velvety mezzosoprano,”and “abundant vocal and dramatic technique, with no shortage of soaring high notesand flexible roulades.” She won The American Prize in Vocal Performance in 2020 and thenperformed a benefit concert for The American Prize that featured world premieres of works by eight composers. Madison has performed Ernesta (Un avvertimento ai gelosi) at Caramoor, Delia (Il viaggio a Reims) with the Rossini Opera Festival in Pesaro, and Alto Soloist (Messiah) with New Amsterdam Opera. In 2022, she performed in concerts with Gulfshore Opera and will sing the title role in La Cenerentola with Fargo Moorhead Opera, the title role in Giulio Cesare with Connecticut Lyric Opera, and Francesca Da Ponte in the premiere of Da Ponte, by composer Roger Neill and librettist Neil Cohen. In 2021, she sang Beppe in Teatro Grattacielo's production of L'amico Fritz at the Phoenicia International Festival of the Voice, the Domme in Three Way with Fargo Moorhead Opera, Melissa in La liberazione di Ruggiero with Connecticut Lyric Opera, Ruggiero in Alter Ego Chamber Opera's production of Alcina REVAMPED at the Philadelphia Fringe Festival, anLola Lowell in the virtual premiere of Theodore Christman's opera The Impresario and theDueling Divas with Mo. Eve Queler. Madison has also performed Rosina (Il barbiere di Siviglia), the title role in Carmen, Isabella (L'Italiana in Algeri), Angelina (La Cenerentola), Cesare (Giulio Cesare in Egitto), Hansel (Hansel and Gretel), Dido (Dido and Aeneas), Sara (Roberto Devereux), Giovanna Seymour (Anna Bolena), Zerlina (Don Giovanni), and lead roles in the world premieres of six operas. S has premiered song cycles and other works by composers such as Peter Breiner, Paula Kimper, Roger Neill, Amy Scurria, Jeff Shankley, Myron Silberstein, Webster Young, and Paul Ayres. In 2019, she joined Eve Queler as a soloist in her 25th annual Bel Canto Opera Concert. She has been featured as a soloist in venues such as Weill Recital Hall at Carnegie Hall, Avery Fisher Hall, the Kravis Center for the Performing Arts, Bruno Walter Auditorium at Lincoln Center, Symphony Space, the DiMenna Center, and the Teatro Rossini. She covered the title role in Tancredi and sang the Eco in the inaugural season of Will Crutchfield's Teatro Nuovo. In 2019, she performed the role of Prinz Orlofsky (Die Fledermaus) at the Wiener Kammeroper as a result of winning First Prize in the Vienna Summer Music Festival Competition. She worked with the late Mo. Alberto Zedda as a young artist of the Accademia Rossiniana in 2014 and was an Apprentice Artist of Sarasota Opera in 2018. Last season, she was presented in a solo virtual concert in the Kravis Center's series Kravis @ Home. She also sang in virtual events presented by Fort Worth Opera, Maryland Opera, and the Art Song Preservation Society of New York. She performed one of the 22 ariette by Vaccai in Will Crutchfield's video “Bel Canto in Thirty Minutes,” which also includes singers such as Lawrence Brownlee, Jennifer Rowley, Lisette Oropesa, Angela Meade, and Tamara Mumford. She later collaborated with Mo. Crutchfield on a recording for Teatro Nuovo's Bel Canto Collection. She performed one of the 22 ariette by Vaccai in Will Crutchfield's video “Bel Canto in Thirty Minutes,” which also includes singers such as Lawrence Brownlee, Jennifer Rowley, Lisette Oropesa, Angela Meade, and Tamara Mumford. She later collaborated with Mo. Crutchfield on a recording for Teatro Nuovo's Bel Canto Collection.

En ce milieu du mois de décembre 1816, Rome s'apprête à fêter Noël… lorsqu'arrive l'un des compositeurs les plus en vue de l'époque : Giachomo Rossini… Il vient de Naples où vient d'être créé son Otello… Le problème est que Rossini est en retard, très en retard…  

Grammar point about a verb form in Italian ending in -ando or -endo. - Credits : “Your Intro” by Audionautix (http://audionautix.com/) courtesy of Creative Commons (https://creativecommons.org/licenses/by/4.0/) + “L'Italiana in Algeri” and “Il signor Bruschino” (1813) - “La gazza ladra” and “La Cenerentola” (1817) - “Maometto II” (1820) by Gioacchino Rossini

Jacques Sagot. Gioacchino Antonio Rossini, nació en Pésaro, actual Italia, 1792 - y fallece en París, 1868. Compositor italiano. Situado cronológicamente entre los últimos grandes representantes de la ópera napolitana (Cimarosa y Paisiello) y los primeros de la romántica (Bellini y Donizetti). En esta entrega Jacques Sagot nos refresca la memoria acerca de la vida y obra de Rossini, quien ocupa un lugar preponderante en el repertorio lírico italiano gracias a óperas bufas como Il barbiere di Siviglia, La Cenerentola o L'italiana in Algeri, que le han dado fama universal, eclipsando otros títulos no menos valiosos (Biografías y vidas). #larwevistacr www.larevista.cr

Gioachino Antonio Rossini was Born 29 February 1792, Died 13 November 1868, was an Italian composer who gained fame for his 39 operas. He also wrote many songs, some chamber music , piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians. His father was a trumpeter and his mother a singer. Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere. His productivity necessitated an almost formulaic approach for some components , such as overtures and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola. His works of this period brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Otello, Tancredi and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims , later cannibalised for his first opera in French, Le comte Ory. Revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained. Contributary factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. . In the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays. Regularly attended by musicians and the artistic and fashionable circles of Paris. for which he wrote the entertaining pieces Péchés de vieillesse. Guests included Franz Liszt, Anton Rubinstein, Giuseppe Verdi, Meyerbeer and Joseph Joachim. Rossini's last major composition was his Petite messe solennelle (1863). He died in Paris in 1868.

The Two Gay Geeks

durée : 00:25:06 - Cendrillon de Rossini - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur le célèbre opéra du compositeur italien Gioachino Rossini (1792-1868), Cendrillon ! - réalisé par : Philippe Petit

En este episodio de Detrás del telón, Gerardo Kleinburg nos ayuda a conocer a Gioachino Rossini y su ópera La Cenerentola. On this episode of Behind the Curtain, Gerardo Kleinburg helps us get to know Gioachino Rossini and his opera La Cenerentola.

In this podcast, Andréa Fuentes, Director of LA Opera Connects, takes us through a scene-by-scene description of Rossini's La Cenerentola. This production of La Cenerentola, new to Los Angeles Opera, opens November 20, 2021.

In this podcast, Dr. Kristi Brown-Montesano, Chair of Music History and Literature at the Colburn Conservatory of Music, explores the careers and influences of Rossini and Wagner up to 1850 in the context of European opera cultures of that time. This recording was created as part of LA Opera Connects' Scholar Series on Rossini's La Cenerentola and Wagner's Tannhäuser.

51 - Classical Music Variety Liszt, Sposalizio Malcom Arnold, Scottish Dance #3 Bach, Contrapunctus 10 Lilburn, Symphony 1, 1st movt Debussy, En blanc et noir, 2nd movt Brahms, Symphony #3, 3rd movt Rossini, La Cenerentola, final scene Prokofiev, Prelude in C major This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

Rossini composed La Cenerentola when he was 25 years old, following the success of The Barber of Seville the year before. La Cenerentola, which he completed in a period of three weeks, is considered to have some of his finest writing for solo voice and ensembles. Rossini saved some time by reusing an overture from La gazzetta and part of an aria from The Barber of Seville and by enlisting a collaborator, Luca Agolini, who wrote the secco recitatives and three numbers (Alidoro's "Vasto teatro è il mondo", Clorinda's "Sventurata! Mi credea" and the chorus "Ah, della bella incognita"). The facsimile edition of the autograph has a different aria for Alidoro, "Fa' silenzio, odo un rumore"; this seems to have been added by an anonymous hand for an 1818 production. For an 1820 revival in Rome, Rossini wrote a bravura replacement, "La, del ciel nell'arcano profondo".Purchase the music (without talk) at:http://www.classicalsavings.com/store/p1395/Rossini%3A_La_Cenerentola.htmlYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

POPeracast host Jennifer Miller catches up with Chelsea Lehnea and Meagan Martin, Cinderella's evil stepsisters.  She also meets with conductor Kristin Roach to get the origin story of this fairy tale production!  Catch the hijinks ONE NIGHT ONLY Friday August 27, 2021 at the Ford in La cenerentola, Rossini's Bel Canto version of the Cinderella story. pacificoperaproject.com for more details

POPeracast host Jennifer Miller catches up with Andrew Allen Hiers, E. Scott Levin, and Joel Balzun while visiting an *exclusive* salon for POP donors and volunteers.  Sign up to support POP and you could be there with us next time! Catch these barihunks® ONE NIGHT ONLY Friday August 27, 2021 at the Ford in La cenerentola, Rossini's Bel Canto version of the Cinderella story. pacificoperaproject.com for more details

That Act I finale Tina mentioned: https://www.youtube.com/watch?v=rS4Jdho83uU

A cura di Paolo Pellegrini- Eccomi alfine in Babilonia... (Arsace, da "Semiramide", atto I)- Dove son io?...Ah! che scordar non so (Tancredi, da "Tancredi", atto II - vers. Ferrara 1813)- Cruda sorte! (Isabella, da "L'italiana in Algeri", atto I)- Elena! oh tu, ch'io chiamo!...Oh quante lacrime (Malcolm, da "La donna del lago", atto I)- Les tringles des sistres tintaient (Carmen, da "Carmen", atto II)- Va! Laisse couler mes larmes... (Charlotte, da "Werther", atto III)BIS:- Non più mesta (Angelina, da "La Cenerentola", atto II)- Les tringles des sistres tintaient (Carmen, da "Carmen", atto II)- Di tanti palpiti, di tante pene (Tancredi, da "Tancredi", atto I)Direttore: Alberto Zedda

Host Jennifer Miller discusses the just announced 2021/22 season with Artistic Director Josh Shaw.   Tickets for La Cenerentola are on sale now!  One night only!   August 27, 2021 https://www.theford.com/events/performances/1310/2021-08-27/cinderella

Explicit Warning: Due to the subject matter, this episode may not be appropriate for all listeners.This week, we talk about the Castrati, a class of men whose bodies were altered to allow them to sing at high pitches even past their childhood.Also, we have a Twitter handle! Follow @Clefnotespod for podcast news and to contact us!Music in this episode:"Largo al factotum" from The Barber of Seville by Gioachino Rossini"La donna e mobile" from Rigoletto by Giuseppe Verdi"Non piu mesta" from La Cenerentola by Gioachino RossiniQueen of the Night Aria from The Magic Flute by Mozart"Ave Maria" by Alessandro Moreschi

A cura di Massimiliano SamsaG. Rossini – Ouverture da opere1. Il barbiere di Siviglia (1816)2. La scala di seta (1812) 3. Il turco in Italia (1814) 4. Il Signor Bruschino (1813) 5. L'italiana in Algeri (1813) 6. La Cenerentola (1817) 7. La cambiale di matrimonio (1810) 8. La pietra del paragone (1812)The Royal Philharmonic Orchestra Direttore: Evelino Pidò

Kindness over Pride. Rags to Riches. Really Rude Sisters. vocal excerpt provided by Edgar Sierra (edgar_si)Sponsor: Humble Grounds Cafe https://humblegrounds.cafe/

A cura di Paolo PellegriniGioachino Rossini (1792 – 1868)LA CENERENTOLA Personaggi e interpretiDon Ramiro, principe di Salerno, PAOLO BARBACINI Dandini, suo cameriere, ALESSANDRO CORBELLI Don Magnifico, barone di Montefiascone, ENZO DARA Angelina (sotto il nome di Cenerentola), figliastra di Don Magnifico, LUCIA VALENTINI TERRANI, Alidoro, filosofo, Maestro di Don Ramiro, UGO TRAMA Clorinda, figlia di Don Magnifico, GABRIELLA RAVAZZI Tisbe, figlia di Don Magnifico LAURA ZANINI Dame che non parlano – Coro di cortigiani del Principe Orchestra e Coro del Teatro Comunale di Bologna BRUNO CAMPANELLA, direttore

G. Rossini La Cenerentola

Why We Should Expose Our Kids To Classical Music https://ourtownlive.net #herbw79The William Tell Overture was written to open an opera by Gioachino Rossini. The opera is based on a legend about the Swiss hero William Tell. According to the legend, William Tell was an expert with a bow and arrow who shot an apple off his son's head.Gioachino Antonio Rossin (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity.Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Otello, Tancredi and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell.

La ventafocs rossiniana torna a l'escenari de La Far

La ventafocs rossiniana torna a l'escenari de La Far