Podcasts about la clemenza

Gepresenteerd door: Saskia Voorbach Antwerp Symphony Orchestra Ivor Bolton, dirigent Chen Reiss, sopraan * Wolfgang Amadeus Mozart - Ouverture uit La Clemenza di Tito * Ludwig van Beethoven - Concertaria ‘Ah Perfido', op. 65 * Wolfgang Amadeus Mozart - Symfonie nr.41, KV 551 ‘Jupiter'

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National chocolate cake day. Holocaust Remembrance day. Entertainment from 1993. Antarctica discovered, Auschwitz & Birkenau concentration camps liberated, Vietnam war officially ended. Todays birthdays - Wolfgang Amedeaus Mozart, Lewis Carroll, Howard McNear, Donna Reed, Bridget Fonda, Tracy Lawrence, Mike Patton, Bailey Zimmerman. Quote by Gus Grissom.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/Chocolate cake song - Musical PlaygroundI will always love you - Whitney HoustonLook heart  no hands - Randy TravisBirthdays - In da club - 50 Cent  https://www.50cent.com/ La Clemenza di Tito Overture - MozartAndy Griffith TV themeIf the good die young - Tracy LawrenceEpic - Faith No MoreRock & a hard place - Bailey ZimmermanExit - Its not love - Dokken    https://www.dokken.net/

Donald Macleod showcases the life and music of Christoph Willibald Gluck Christoph Willibald Gluck (1714-1787) arguably did more to transform opera than any composer of his generation: thinking deeply about how text and music should work together, and trying to strip away fripperies to ensure it was urgent, powerful and arresting. His radical approaches made him one of the most influential composers in history - and yet today, he's known in the concert hall almost exclusively for one work: his masterpiece “Orpheus and Eurydice”. This week, Donald Macleod puts that right: showcasing Gluck's dazzling and enchanting music from across his life - whilst also showing off his most famous work.Music Featured: Dance of the Blessed Spirits (Orfeo ed Eurydice) Non hai cor per un'impresa (Ipermestra, Wq 7) Sperai vicino il lido (Demofoonte, Wq 3) Se in campo armato (La Sofonisba, Wq 5) Nobil onda (La Sofonisba, Wq 5) Orfeo ed Euridice (excerpts) M'opprime, m'affanna (La Sofonisba, Wq 5) Qual ira intempestiva … Oggi per me non sudi; Oggi per me sudi (La Contesa de'numi, Wq 14) Trio Sonata no I in C Major (1st mvt) Ciascun siegua il suo stile...Maggior follia non v'e (La Semiramide riconosciuta, Wq 13) Misera, dove son…; Ah! non son io (Ezio, Wq 15) Dance of the Furies (Orphee et Eurydice: Act 2, Scene 1) Tremo fra dubbi miei (La Clemenza di Tito, Wq 16) (Act 3) Son lungi e non mi brami (Le Cinesi, Wq 18) Berenice che fai (Antigono, Wq 21) Don Juan (selection) Divinités du Styx (Alceste, Wq 37) O Del Mio Dolce Ardor; Le Belle Immagini (Paride ed Elena, Wq 39) Vous essayez en vain - Par la crainte; Adieu, conservez dans votre âme (Iphigénie en Aulide, Wq 40) Gluck (arr Schubert) Rien de la nature (Echo et Narcisse) Armide (Act 5 opening) Iphigenie en Tauride, Wq 46 (excerpts) De Profundis Orphee et Eurydice (1774 Paris edition): Act 3 (finale)Presented by Donald Macleod Produced by Steven Rajam for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Christoph Willibald Gluck (1714-1787) https://www.bbc.co.uk/programmes/m0022znr And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

In our new CONVOCO! Podcast Corinne M. Flick speaks with Robert Carsen, theatre and opera director. He just did two new productions at the Salzburg Festival, La Clemenza di Tito and Jedermann.What Opera Can Tell us About Leadership

Avui hem sentit: Quintet de corda en mi bemoll major, K614; "La Clemenza di Tito" (selecci

2003 begeisterte Elīna Garanča bei den Salzburger Festspielen das Publikum und die Kritiker in Mozarts "La Clemenza di Tito". Ihre Karriere ging daraufhin steil nach oben. Am 20. August präsentierte sie in Salzburg zusammen mit Malcolm Martineau am Klavier ein spätromantisches Programm mit Liedern lettischer Komponisten neben Werken von Richard Strauss, Henri Duparc und Sergej Rachmaninow.

Vitellia: Aleksandra Kurzak Sesto: Stéphanie d”Oustrac Annio: Angela Brower Servilia: Valentina Nafornita Tito: Michael Spyres Publio: Marko Mimia Conductor: Dan Ettinger Palais Garnier, Paris 3 December 2017 In-house recording

Unser Kritiker Fridemann Leipold ist überzeugt von Sängerin und Intendantin Cecilia Bartoli, die in diesem Jahr die Wiederaufnahme von Mozarts Oper "La Clemenza di Tito" nach Salzburg bringt. Star des Abends ist der Tenor Daniel Behle als Titelheld.

Stürz, Franziska www.deutschlandfunk.de, Kultur heute

DescriptionLa clemenza di Tito in 60 seconds. Take a minute to get the scoop!Fun FactMozart's "La clemenza di Tito" premiered on September 6, 1791, at the Estates Theatre in Prague. Commissioned for the coronation festivities of Emperor Leopold II, it received a mixed reception but gained popularity in later years for its emotional depth and stirring arias, becoming a staple of the opera repertoire.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Mozarts "Tito" ist weltbekannt. Christoph Willibald Gluck hat schon 40 Jahre vorher eine Oper über den römischen Kaiser komponiert. Sie erklang nun zur Eröffnung der Gluck-Festspiele im Marktgräflichen Opernhaus Bayreuth. Eine Entdeckung!

Stürz, Franziska www.deutschlandfunkkultur.de, Fazit

„Wenn für die Herrschaft ein strenges Herz vonnöten ist, nehmt mir entweder die Herrschaft oder aber gebt mir ein anderes Herz.“ Mit diesen Worten wendet sich Kaiser Titus an die Götter. Er, der die Welt mit Güte flutet, muss sie in Flammen sehen. Das Volk liebt seinen philanthropischen Herrscher, doch die Zeiten sind unruhig und Titus' „clemenza“, seine Milde, womöglich der letzte Weg traditionelle Souveränität durchzusetzen. Selbst das missglückte Attentat auf ihn, geplant von Vitellia, die seine Kaiserin werden soll, (nicht) ausgeführt von seinem engsten Freund Sesto, verzeiht er und hält am humanistischen Glauben fest, befindet sich seine Welt auch unwiederbringlich im Untergehen. – Welch ein theatrales Fest der sich wandelnden Zeit, Mozarts Krönungsoper, gewidmet Kaiser Leopold II., der 1786 als Großherzog die Todesstrafe abschaffte und die Toskana damit zum ersten Staat ohne Hinrichtungen machte.

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

V sobotu 27. ledna si bude celý svět připomínat 268. výročí narození Wofganga Amadea Mozarta. Na scéně Velkého divadla Josefa Kajetána Tyla v Plzni bude mít premiéru nová inscenace Mozartovy opery La clemenza di Tito. Toto dílo, které bylo původně napsáno pro Prahu – premiéra byla v roce 1791 při příležitosti korunovace Leopolda II. českým králem – bude v rukou slovinského režiséra jménem Rocc. Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Wolfgang Amadeus Mozart - La clemenza di Tito: OvertureCapella IstropolitanaBarry Wordsworth, conductorMore info about today's track: Naxos 8.550185Courtesy 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

Parlem d'Òpera 535: "Anem a descobrir (XXIX): La clemenza di Tito (Gluck)"

A cura di Paolo PellegriniWolfgang Amadeus Mozart La clemenza di TitoTito, Eric TappyVitellia, Carol NeblettSesto, Tatiana TroyanosAnnio, Anne HowellsServilia, Catherine MalfitanoPublio, Kurt RydlWiener StaatsopernchorWiener PhilharmonikerJames Levine, direttore

Vitellia: Janet Coster | Sesto: Beverly Wolff | Annio: Maria Casula | Servilia: Mietta Sighele | Tito: Franco Bonisolli | Publio: Luigi Roni | Conductor: Istvan Kertesz | RAI of Rome | 19 NOvember 1970 | Broadcast

Premiere im Stadttheater Gießen nach dem Sommernachtstraum, habe ich da etwas Angst. Aber gut, Caterina Cornaro und „Tosca“ haben mir ja auch gezeigt, dass das Stadttheater Gießen Opern kann und damit meine ich, dass es mit Frankfurt oder anderen, Opernhäuser in Hessen es aufnehmen kann. Aber so eine gewisse Grundskepsis bleibt und erst recht, wenn Ann-Christine Mecke sagt, dass sie „La clemenza di Tito“ vom Bühnenbild her wie in der Serie Dallas gestalten. Ganz ehrlich, mein Bauchgrummeln wurde nicht weniger. Interessant war aber bei der Einführung auch die Geschichte der Oper, des Textes und wie sich dich Zeiten in den 60 Jahren zwischen Entstehung des Textes und der Vertonung durch Mozart verändert haben. Auch wurde auf die verschiedenen Arten der Oper eingegangen, einmal die Opera seria und die Opera buffa. Ihr wollt über die Geschichte dieser Opernarten etwas erfahren? Da gibt es zwei Wege, entweder man befragt die „Tante“ Google, oder, mein Tipp, man geht in die Oper und zwar in „La clemenza di Tito“ im Stadttheater Gießen. Das kann ich euch ans Herz legen. Es war wie immer kurzweilig und gut rübergebracht, was Frau Mecke zu erzählen hatte. Ich hätte ihr sicher noch eine halbe Stunde zuhören können, aber es sollte ja auch noch eine Oper aufgeführt werden. Besonders herausragend ist die Sache mit der Klarinette, die extra aus Paris nach Gießen geholt wurde und zwar eine Bassettklarinette, die sich durch einen besonders warmen Klang auszeichnet. Sie kommt in der Arie des Sesto im zweiten Akt zur Geltung. Das besondere an der Klarinette ist, dass sie sich seit ihrer Entstehung im 18. Jahrhundert verändert hat. Zur Zeit von Mozart waren A- und C- Klarinetten sehr gängig und für diese hat Mozart komponiert. Der Klang der damals gängigen Bassettklarinette ist gerade in den hohen Lagen weicher als der, der heute gängigen B-Klarinette. Natürlich könnte man auch diese verwenden, aber es verändert den Klang und den Charakter des Stückes. Tristan Roche, als Soloklarinettist, verleiht diesem Instrument eine wunderbare Stimme im Duett mit Jana Markovic als Sesto.

Mozart's Overture. Chopin Piano Concerto No.1, 2nd mvt. Poulenc Organ Concerto - in full!

Vitellia: Renata Scotto | Sesto: Ann Murray | Servilia: Gail Robinson | Annio: Ariel Bybee | Tito: Kenneth Riegel | Publio: John Cheek | Conductor: James Levine | Metropolitan Opera | 18 October 1984 | In-house recording

This month we return to the Palau de les Arts and their Centre de Perfeccionament, where the young Soprano Iria Goti finds her feet in a brand new production of Cendrillon. We discover how she reacts when self-criticism and nerves take hold during a performance. Meanwhile, alumna of the programme soprano Angel Blue gives us an insight into her relationship with comparison and competition, and shares how performances can be affected by something much more serious than the stress of day-to-day life events. View the OperaVision website here Watch now on Opera Vision Cendrillon (Viardot) from the Young Artists at the Palau de Les Arts Centre de Perfeccionament https://operavision.eu/performance/cendrillon-0 Frankfurt Opera Studio Documentary https://operavision.eu/performance/frankfurt-opera-studio-soiree Frankfurt Opera Studio Soirée https://operavision.eu/performance/frankfurt-opera-studio-soiree Music Extracts Introduction & closing: Die Entführung aus dem Serail (Mozart): Overture. Mozart Ah perdona al primo affetto from La Clemenza di Tito with Iria Goti (Soprano) and Laura Orueta (Mezzo-Soprano) Puccini Sì, mi chiamano Mimì from La Bohème Angel Blue (Soprano) and Pianist Ben Malensek in rehearsals at Opera Canada.

Moffatt Oxenbould's contribution to the development of opera in Australia and Opera Australia (OA) spans a period of more than fifty years. He was Artistic Director of Opera Australia from 1984 – 1999, during which time he also directed a number of milestone productions for the company including Il trittico, Madama Butterfly, La bohème, Britten's The Rape of Lucretia, Rossini's Semiramide, Mozart's La clemenza di Tito based on the production of the late Göran Järvefelt and Idomeneo . In 2000 he directed a new production of Simon Boccanegra for OA in the Sydney Olympic Arts Festival. Having retired from the position of Artistic Director of the Australian Opera at the end of 1999, he continued an active role as an Opera Director and Broadcaster. He has remounted and directed a number of highly regarded productions including Idomeneo at Houston Grand Opera, La Clemenza di Tito and Il trittico for Opera Australia, and Madama Butterfly for Opera Queensland. Moffatt Oxenbould was awarded an AM for his services to Opera in 1985 and was the recipient of the inaugural Dame Joan Hammond Award, in recognition of his contribution to opera. To honour his dedication to developing the talents of young Australian artists, Opera Australia named its Young Artists Development Program – The Moffatt Oxenbould Young Artist Program. He is a blessed artist and administrator, who navigated every stage of his career, with tremendous joy, education and passion. And through this investment, Moffatt has enabled legions of performers to embrace their craft …. and audiences to embrace the most mysterious and magnetic of all art forms - the Opera! The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Vitellia: Edda Moser Sesto: Teresa Berganza Annio: Ilse Gramatzki Servilia: Arleen Augér Tito: Werner Hollweg Publio: Kurt Rydl Akademie-Kammerchor Wiener Symphoniker Conductor: Julius Rudel Theater an der Wien 1 June 1976 In-house recording

Zwei Stimmen, zwei Instrumente oder zwei Herzen. Zu zweit geht vieles leichter. Diese Musikstücke hast Du in der Folge gehört: Till Brönner & Dieter Ilg - "A Thousand Kisses Deep" // Mozart - Duett aus "La Clemenza di Tito" // Peter Maffay & Katie Melua - "Nessaja" // Coldplay - "Viva la Vida (Klavierduo)" Monteverdi - "Duett pur ti miro" Und bei Ideen oder Wünschen, zu welchem Thema Philipp unbedingt eine Playlist zusammenschustern muss, schreib ihm gerne eine Mail: playlist@ndr.de

Donald Macleod explores Mozart's prolific final years. Five years before Mozart's premature death aged 35, the composer felt at the top of his game. He was performing regularly in Vienna and his music was beloved throughout the city. However, the Austro-Turkish War between the Habsburg Monarchy and the Ottoman Empire would soon have a negative impact on Mozart's prospects, along with changing musical taste in the Austrian capital. The nobility had more important things to do than hold concerts and commission new music. Money was in shorter supply. As a composer for hire, Mozart had to change tack and write chamber music for publication and for performance in middle class homes, rather than concertos for the nobility. Music Featured: Horn Concerto No 4 in E flat major, K 495 (I. Allegro maestoso) Piano Concerto No 24 in C minor, K 491 (I. Allegro) Sonata for Piano 4 Hands in F major, K 497 (I. Adagio - Allegro di molto) Symphony No 38 in D major, K 504 “Prague” (I. Adagio – Allegro) Symphony No 39 in E flat major, K 543 (I. Adagio – Allegro) Adagio in B minor, K 540 Divertimento in E flat major, K 563 (II. Adagio) Clarinet Quintet in A major, K 581 (II. Larghetto) Piano Sonata No. 17 in B flat major, K 570 (I. Allegro) Gigue in G major, K 574, "Leipziger Gigue" Le nozze di Figaro (The Marriage of Figaro), K 492, Act 1 (excerpt) Symphony No 41 in C major, K 551, "Jupiter” (II. Andante cantabile) Don Giovanni, K 527, Act II (excerpt) Così fan tutte, K 588 (excerpts) Die Zauberflöte (The Magic Flute), K. 620, Act II: Allegro Ave verum corpus, K 618 6 German Dances, K 600 (No 1 in C Major; No 3 in B-Flat Major; No 6 in D Major) Kyrie in D minor, K 341 Piano Concerto No 27 in B flat major, Op 17, K 595 (I. Allegro) String Quintet No 6 in E flat major, K 614 (I. Allegretto di molto, IV. Allegro) Fantasia in F minor for mechanical organ, K 608 (arr. for wind quintet) La Clemenza di Tito, K 621, Act I: Quintetto con poro) Clarinet Concerto in A major, K 622 (I. Allegro, II. Adagio) Requiem in D minor, K 626 (completed by F.X. Sussmayr)(except) Presented by Donald Macleod Produced by Iain Chambers For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Wolfgang Amadeus Mozart (1756-1791) https://www.bbc.co.uk/programmes/m0012pn0 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Friendship. Murder. Simps. Vocal excerpts provided by Abbi Hobbs (@abigalehobbsmezzo) and Maddy Smith (@maddysm.th) sponsored by Opera Bracelets- https://www.operabracelets.com/

It's been a while since we've checked in on Mozart- let's see what he's been up to! We're investigating a lesser known work completed late in his life- the overture to the opera La Clemenza di Tito. Be sure to like, and share with a friend! Music: https://imslp.org/wiki/La_Clemenza_di_Tito%2C_K.621_(Mozart%2C_Wolfgang_Amadeus) https://creativecommons.org/licenses/by-nc/4.0/legalcode

Neste programa, o maestro João Mauricio Galindo responde perguntas sobre Souza Lima, o livro Pequena Crônica de Anna Magdalena Bach, o termo muzak, a ópera La Clemenza di Tito e o significado de Bachianas.

Autor: Fuchs, Jörn Florian Sendung: Fazit Hören bis: 19.01.2038 04:14

Dame Sarah Connolly is one of the world’s leading mezzo-sopranos. She is well known for roles ranging from Caesar in Handel’s Giulio Cesare to Sesto in Mozart’s La Clemenza di Tito and Dido in Purcell’s Dido and Aeneas. She has sung in many of the world’s great opera houses, won masses of awards for her work, and was awarded a DBE in 2017. She talks about the “balls of steel” she developed in her childhood, what she has learnt from playing men and what it’s like when a pandemic collides with cancer. 

Jennifer Larmore was one of my first opera idols, and I am so privileged to sit down with her for this episode of Technique Talks. She is so intelligent, talented, funny, and full of incredible technical advice! I hope you enjoy this conversation where we discuss breathing optimization, clear vowels, coloratura, and more! Jennifer Larmore is an American mezzo-soprano, with a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart's La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and Covent Garden. Hear Jennifer sing live here: https://youtu.be/ByPRpeI64Ic She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as numerous DVDs With her frequent collaborator Antoine Palloc, she has made many International recital tours at major cities throughout the world, as well as all the major American venues. Symphonic repertoire plays a large role in this mezzo's career and she has enjoyed great collaborations with world orchestras under the direction of Muti, Bernstein, Runnicles, Masur, Barenboim, Bonynge, Maazel, and Osawa, to name a few. Miss Larmore is widely known for teaching and giving master classes at the most prestigious conservatories and major cities throughout the world. Miss Larmore lives in Paris with her husband and little Opera dog Buffy. Her book "Una Voce" is available at Barnes & Noble, Amazon, and Lulu.com and explores the world and psychology of the performer. Show Notes: 00:00 Jennifer Larmore's Bio 8:00 How to find individual technique success 14:20 How to have a margin of error in practice and performance 18:13 How to breathe when singing 24:14 How shoulder blades assist in a singing breath 28:05 How to develop coloratura 33:27 How to manage coloratura in the passaggio 35:21 How to balance a singers registration 37:54 How to develop your voice overtime 42:12 How to manipulate your individual physiology 46:56 How to sing low notes 49:04 How to sing high notes 51:21 How to modify vowels 54:04 How to sing when you have a natural accent 57:26 What is your desert island vocalise ❤️  JOIN my FB Group: https://www.facebook.com/groups/techniquetalksforsingers/ ❤️  Subscribe to never miss a video: https://www.youtube.com/channel/UCGibxkvaN8KVff0ztzYznMg ❤️  More at https://www.voicewithjulia.com ❤️  To stay in the know, and gain behind-the-scenes access to upcoming guests: https://www.voicewithjulia.com/techniquetalks/ ❤️  Instagram: @voicewithjulia  ❤️  Facebook: Voice With Julia

Mozarts letzte Oper „La clemenza di Tito“ ist für die Besucher der Uraufführung 1791 ein altbekannter Stoff. Die Geschichte von dem heroischen Kaiser, der nicht anders kann als gutmütig seinen eigenen Willen hinter anderen zu stellen, ist ein Wunschbild der Zukunft und gern gesehen. Trotzdem gelingt es Mozart ein eigenes Werk zu kreieren – eine Studie der menschlichen Gefühle, die die Verflechtungen der Beziehungen zueinander musikalisch offenbart. Rezitative in der Oper: Langweilig, oh… GÄHN …. sie bringen die Handlung voran und haben bis zu der durchkomponierten Oper der Romantik einen hohen Stellenwert. Wie oft habe hört man, dass sie heutzutage als langwierig und uninteressant empfunden werden? Aber gerade bei Mozart – der große Meister – ist das Rezitativ eine geheimnisvolle Welt der Psychoanalyse. #sogehtsächsisch: Das Programm Deines Leipzig-Podcasts Oper und Leben besteht aus hintergründigen Themen aus der Opernwelt. Neben Werkbesprechungen und Reflexion von aktuellen Diskussionsthemen, sollen auch Künstler, Veranstalter, Komponisten und Kritiker zu Wort kommen. Moderiert und produziert wird der Podcast von mir, Juliane Harberg. Neugierig? Fehlt was? Ein loser Gedanke? Schreibt mir gern: www.endialogue.julianeharberg.com www.julianeharberg.com www.sogehtsächsisch.de Foto credit: @Michael Bader Fotografie

En ocasi

En ocasi

Op reis door Italië bezocht Mozart ook verschillende opera’s. In Mantua zag hij ‘Demetrio’ van Johann Adolf Hasse, met een libretto van Pietro Metastasio en in Cremona zag hij van hetzelfde duo de opera ‘La Clemenza di Tito’ – lang voordat Mozart datzelfde libretto voor zijn opera zou gebruiken dus. In een brief aan zijn zus geeft hij als het ware een recensie van die uitvoering.

No segundo episódio do podcast feito direto da redação da Bravo!, com Helena Bagnoli, Guilherme Werneck, Almir de Freitas, Paula Carvalho e Andrei Reina, conversamos sobre: A Participação brasileira no Festival de Cannes (1:07) O impasse da Ancine (3:44) O filme À Sombra do Pai, de Gabriela Amaral (9:34) A ópera La Clemenza di Tito, de Mozart, no Theatro São Pedro (15:34) A exposição Lado B: O Disco de Vinil na Arte Contemporânea Brasileira, com curadoria de Chico Dub, no Sesc Belenzinho (20:58) Exposição O Alienista, da Rivane Neuenshwander, na galeria Fortes D’Aloia & Gabriel (26:16) Os 15 anos do Museu Afro Brasil (31:08) As mudanças na Lei Rouanet (34:34) O livro Lasca, de Vladimir Zazubrin (45:43) O livro Depois do Futuro, de Franco Berardi (51:10) Momento Barteby (57:22)

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

Microscopio del Terzetto che chiude il I Atto de La Clemenza di Tito di Wolfgang Amadeus Mozart

Cronache musicali da Firenze: La Clemenza di Tito di Mozart

Mozart's late opera seria in a Paris "pirate" featuring the high-voltage diva-duo of Anna Caterina Antonacci and Elina Garanca.

Mezzo-soprano Wallis Giunta is a multi-faceted artist with a variety of interests, a great take on mindful practice, and a truly wonderful personality.  In our conversation, we discuss, among other things, the importance of making choices that will allow you to thrive, how she prepares for a role, and how she uses mental practice to learn and memorize music at a deeper level. We elaborate on: Her journey from Ottawa, Ontario (Canada) to Toronto, New York, and, more recently Leipzig as a member of Oper Leipzig Her experience as a young girl in the Ottawa Youth Choir, and the importance it had in her becoming a professional singer Her experience at the Glenn Gould School and the Canadian Opera Company and the various opportunities she found there How making choices that fit her well were very important in her development and allowed her to thrive Her life as a member of Oper Leipzig Her fun, mindful way of curating a recital program that is meaningful to her How she prepares for a role How she went from a more repetitive form of working on songs to a more mindful and mental approach to practicing as she evolved as an artist o   Translate the text and understand the meaning o   Listen to various recordings and interpretations o   Break it down o   Memorize it How practicing mentally first thing in the morning and last thing before bed is tremendously effective for her and helps her cement the repertoire to memory How she has developed the skill to learn repertoire mentally, now that that is in a place where she feels confident about her technique How singers practice difficult passages How she brings operatic characters to life     ALL ABOUT WALLIS: Wallis Giunta's website Wallis' YouTube channel Wallis' Facebook page Wallis on Instagram The Complete Sherlock Holmes (Knickerbocker Classics) The Complete Sherlock Holmes (2 Volumes)   Irish-Canadian mezzo, Wallis Giunta, has been named “Young Singer of the Year” in the 2018 International Opera Awards, and was named both “Young Artist of the Year” by The Arts Desk and “Breakthrough Artist in UK Opera” in the What's On Stage Opera Awards for her work in 2017. She has been praised by OPERA NEWS for her “delectably rich, silver-toned mezzo-soprano, with a beautiful sense of line and effortless, rapid runs”, with her performance as Mozart's Sesto for the Canadian Opera Company celebrated as “a triumph…remarkable in its combination of intelligence and beauty”. Her 2018/19 season includes debuts with the BBC Proms Festival in a program celebrating Leonard Bernstein, with the Grange Festival as Cherubino at The Barbican, London, with the MDR Sinfonieorchester as Haydn's Berenice, and with the Royal Opera House Muscat in La Traviata. She also debuts the title roles in Carmen and Der Rosenkavalier, along with Rossini's Rosina for Oper Leipzig, and Idamante for Toronto's Opera Atelier. She began the 2017/18 season with two role debuts for Opera North, the title role in Ravel's L'enfant et les sortiléges, and Dinah in Bernstein's Trouble in Tahiti, both to great critical acclaim. She returned to Oper Leipzig, where she has been an ensemble member since 2015/16, for her house roles of Angelina, Cherubino, Rossweise & Wellgunde, and debuted Prince Orlofsky in Die Fledermaus and Der Gymnasiast in a new production of Berg's Lulu. She also returned to the Munich Radio Orchestra, Toronto's Koerner Hall and the Music & Beyond Festival in concert, and debuted at the Oregon Music Festival as Anna I in Weill's The Seven Deadly Sins. The 2016/17 season saw her debuts with Opera North, performing the title role in Rossini's La Cenerentola, with Teatro Communale di Bolzano as Cherubino, and with the Munich Radio Orchestra, Tokyo Metropolitan Symphony Orchestra, and Symphony Nova Scotia in concert. Wallis returned to Opera Atelier to debut the title role in Purcell's Dido & Aeneas, and to both the Toronto Symphony and the Real Orquesta Sinfónica de Sevilla for new productions of Weill's The Seven Deadly Sins. The 2015/16 season saw her make several major European debuts, including for Teatro dell'Opera di Roma (Adams' I Was Looking at the Ceiling and Then I Saw the Sky), Oper Frankfurt (Carmen), Oper Leipzig (La Cenerentola, Le Nozze di Figaro, Faust, Der Ring des Nibelungen), the Hamburg Symphony (Candide), and the Deutsche Oper am Rhein in concert. She also returned to the Edmonton Symphony for Messiah and had her first experience teaching, with a series of masterclasses for Toronto's Tapestry New Opera. Early in 2015, she returned to The Metropolitan Opera as Olga in their new production of The Merry Widow, directed by Susan Stroman. Other recent highlights include returns to the Canadian Opera Company as Dorabella in Atom Egoyan's new production of Cosí fan tutte (2014), to Opera Lyra Ottawa as Cherubino in Le Nozze di Figaro (2015), and to Opera Atelier as Bradamante in a new period-production of Alcina (2014), along with debuts at Madison Opera (2014) and the Taipei Symphony Orchestra as Annio in La Clemenza di Tito (2013). In June 2014, she recorded her first album with the RTÉ National Symphony Orchestra in Dublin (NAXOS), of a new work by American composer, William Perry. Wallis also debuted in 2014 with Toronto's 21C Music Festival in Louis Andriessen's one-woman-opera, Anaïs Nin, and brought her acclaimed recital program of Kurt Weill's The Seven Deadly Sins to Miami, New York, Toronto and Ottawa. She had a whirlwind 2012/13 season, making her Metropolitan Opera debut in Rigoletto, debuting the roles of Sesto & Annio in La Clemenza di Tito with the Canadian Opera Company, making her Paris debut with Le Théâtre du Châtelet as Tiffany in John Adams's I Was Looking at the Ceiling…, and singing Dorabella in the Met + Juilliard production of Cosí fan tutte at Lincoln Center. She also made debuts with Fort Worth Opera, L'Opéra de Montréal, the Edmonton, Seville and Nuremberg Symphonies, the Stuttgart Festivalorchester, and the National Arts Centre Orchestra. Wallis is a passionate recitalist, and has recently performed for the Aspen, Caramoor, Banff, Luminato, Music & Beyond, and Ottawa Chamber Music festivals. She is the grateful recipient of the 2016 Bernard Diamant Prize from the Canada Council for the Arts, the 2013 Novick Career Advancement Grant, the 2013 Sylva Gelber Music Foundation Career Development Award, and multiple prizes from the George London Foundation. Wallis is a 2013 graduate of both the Metropolitan Opera Lindemann Young Artist Development Program & the Juilliard School's Artist Diploma in Opera Studies, and a 2011 graduate of the Canadian Opera Company Ensemble Studio. She has also studied at The Glenn Gould School, the Ravinia Festival's Steans Music Institute, and the International Meistersinger Akademie in Germany, and continues her private studies with Edith Wiens. Wallis is also devoted to animal rights, particularly the rescue and rehabilitation of abandoned domestic rabbits. She is an active rabbit foster parent and finds opportunities to foster and volunteer at shelters as she is performing around the world. She is a volunteer and supporter at Rabbit's Rest Sanctuary & WildRescue in Denton, Texas, and works to draw attention to our societal responsibility towards domesticated animals. Please get in touch if you are interested and would also like to help!   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. For added fun, join the Mind Over Finger Tribe on Facebook where you will find a community of mindful musicians!   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/     (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

Die Fortsetzung des Zyklus der Mozart-Opern mit Yannick Nézet-Séguin und dem Chamber Orchestra of Europe mit "La Clemenza di Tito". Alexandra Maria Dielitz lobt die "präsente, differenzierte, hochdramatische, aber niemals überspannte Interpretation".

Die Opernbühne Bad Aibling zeigt in diesem Sommer Wolfgang Amadeus Mozarts Dramma serio "La clemenza di Tito". Premiere der Produktion ist am 14. Juli. Dagmar Bohrer-Glas hat eine Hauptprobe besucht.

Teodor Currentzis und sein Ensemble "musicAeterna" sind momentan viel gefragte Gäste auf den internationalen Bühnen. Zuletzt wurden sie bei den Salzburger Festspielen für "La Clemenza di Tito" gefeiert. Am Freitag waren sie bei der Premiere von Puccinis "La Bohème" am Festspielhaus Baden-Baden mit von der Partie - und überzeugten.

La última ópera que compuso Mozart: nada menos que una historia sobre un emperador (Tito) escrita para un emperador (Leopoldo II de Austria). Poco suspense (al fin y al cabo, ya nos anuncia el título que Tito será clemente) pero ¡con mucha música!

Am 27. Juli kam Wolfgang Amadeus Mozarts "La clemenza di Tito" unter der Regie von Peter Sellars bei den Salzburger Festspielen zur Aufführung - mit Teodor Currentzis am Pult, Russell Thomas als Tito und Golda Schultz als Vitellia. Für BR-KLASSIK-Redakteurin Meret Forster war es ebenso inspirierender wie aufwühlender Opernabend.

In der mit Spannung erwarteten Neuproduktion von Mozarts Oper "La clemenza di Tito" bei den Salzburger Festspielen treffen zwei "Wilde" der Klassik-Szene aufeinander: der Dirigent Teodor Currentzis und der amerikanische Regisseur Peter Sellars. Premiere ist am 27. Juli in der Felsenreitschule.

In this episode of the Glyndebourne podcast we explore Mozart’s discourse on the power of forgiveness - La clemenza di Tito - with contributions from Glyndebourne’s Music Director Robin Ticciati, Glyndebourne Dramaturg Cori Ellison, Mozart scholar Julian Rushton and Classicist William Fitzgerald. Presenter: Katie Derham ​​Produced by Katherine Godfrey for Whistledown Productions for Glyndebourne Festival 2017 ​​The music you’ve been listening to in this podcast is from the Warner Classics recording of La clemenza di Tito​. Nikolaus Harnoncourt conducts the​ Orchestra of Zurich Opera House. Philip Langridge sings the role of Tito with Ann Murray as Sesto and Lucia Popp as Vitellia. Image: Glyndebourne Music Director, Robin Ticciati. Photographer: Giorgia Bertazzi

Motette KV 165 "Exsultate, jubilate" | Konzertarien KV 217, 418 und 580 | Arien aus "La finta giardiniera", "Der Schauspieldirektor", "La Clemenza di Tito", "Die Entführung aus dem Serail", "Lucio Silla" | Regula Mühlemann (Sopran) | Kammerorchester Basel | Leitung: Umberto Benedetti Michelangeli

Rainer Trost, Laura Aikin, Raffaella Milanesi, Aranzta Eszenarro, Valer Sabadus, Flavio Ferri-Benedetti | L'arte del mondo | Leitung: Werner Ehrhard

Opera North's Editor, Stuart Leeks interviews Director, John Fulljames