Podcasts about la damnation

This Day in Legal History: Louisiana Adopts State Constitution, McCarthy Dies, and Birmingham CampaignOn May 2, 1939, Louisiana adopted its current state constitution, known as the Louisiana Constitution of 1921, which at the time marked a significant overhaul of state governance. Though originally adopted in 1921, it underwent critical amendments and re-ratification processes culminating on this date to reflect broader federal constitutional principles, especially concerning civil rights and governance reforms. This version would go on to become one of the most amended constitutions in the U.S., highlighting Louisiana's complex political and legal environment, particularly around issues of race, voting, and economic regulation.On the federal level, on May 2, 1957, Senator Joseph McCarthy died, signaling the end of one of the most controversial chapters in American legal and political history. McCarthy had become the face of the post-war Red Scare, using Senate hearings and investigations to accuse numerous government officials and private citizens of Communist sympathies without substantial evidence. His tactics led to the coining of the term “McCarthyism,” representing the broader trend of reckless accusations without due process, a violation of basic legal protections. His downfall began with the 1954 Army-McCarthy hearings, where his aggressive questioning was televised, turning public opinion sharply against him.Also on May 2, 1963, during the Birmingham Campaign, hundreds of African American children and teenagers marched in Birmingham, Alabama, as part of a civil rights strategy to provoke mass arrests and draw national attention to segregation. The police response, using dogs and fire hoses on peaceful demonstrators, shocked the nation and galvanized support for federal civil rights legislation. These events laid crucial groundwork for the Civil Rights Act of 1964, which fundamentally altered American legal frameworks surrounding discrimination.Justice Ketanji Brown Jackson, never one to sugarcoat institutional danger, pulled no punches in a recent address where she warned that political attacks on the judiciary—particularly from Donald Trump and his orbit—aren't just angry outbursts. They're strategic. “Not random,” she emphasized, but seemingly calculated to chill the bench and warp the public's view of judicial independence. Speaking in Puerto Rico at a judges' conference, she framed the threats and harassment against judges as not merely inappropriate, but corrosive to democracy itself—an erosion of the rule of law masquerading as political speech.While Jackson didn't name Trump directly (a nod, perhaps, to judicial decorum), she acknowledged “the elephant in the room.” That elephant has been stomping around the judiciary for years, from defying court orders to demanding impeachments of judges who don't rule his way. Chief Justice John Roberts—no firebrand liberal—has already rebuked Trump this year for trying to undermine judicial authority. Jackson's remarks, which reportedly drew a standing ovation, echoed deeper concerns among legal scholars about an impending constitutional crisis fueled by executive overreach and coordinated judicial delegitimization.With a 6–3 conservative majority still holding firm on the Supreme Court, her comments are more than ideological protest. They're a pointed reminder that the judiciary's legitimacy isn't just under rhetorical attack—it's being targeted as a political obstacle. And in Jackson's view, the stakes couldn't be higher.US Supreme Court Justice Jackson criticizes Trump's attacks on judges | ReutersDonald Trump's judicial conveyor belt is up and running again. Today, May 1, 2025, he announced his first federal judicial nominee since retaking the White House: Whitney Hermandorfer, a conservative legal operative from Tennessee who's clerked for three sitting Supreme Court justices and currently works under the state's Republican Attorney General. If confirmed, she'll take a seat on the 6th U.S. Circuit Court of Appeals—a vacancy that lingered after Biden's nominee stalled amid GOP opposition from Tennessee's own senators.Trump's post on Truth Social didn't mince words: Hermandorfer is a “Fighter,” a term that doubles as both a branding strategy and a judicial philosophy. Her resume backs that up—she's defended Tennessee's abortion ban and fought Biden-era protections for transgender students. Translation: she's been in the legal trenches of the culture war and emerged as a reliable soldier for the right.This nomination is the opening salvo in what could be a new wave of over 100 judicial appointments in Trump's second term, offering him another shot at reshaping the federal bench after appointing 234 judges—including three Supreme Court justices—during his first. Hermandorfer is stepping into a seat vacated by Judge Jane Stranch, an Obama appointee, whose intended successor under Biden, Karla Campbell, never got her Senate vote thanks to a post-election deal between Democrats and Republicans to fast-track some trial court nominees at the cost of four appellate picks.The judicial arms race is back. And this time, the Senate arithmetic—and the vacancies left behind—may tilt even harder in Trump's favor.Trump makes first judicial nomination since returning to White House | ReutersGoogle's legal team is headed to federal court Friday to plead with Judge Leonie Brinkema not to yank apart its advertising tech empire. At stake is nothing short of the future architecture of online advertising. The DOJ is pushing to force Google to divest key parts of its Google Ad Manager, including the ad exchange and publisher ad server—core infrastructure for monetizing digital content. Think of it as ripping out the plumbing from the internet's ad economy.Judge Brinkema has already ruled that Google unlawfully tied its ad server and ad exchange, leveraging its dominance in a way that stifled competition and hurt publishers. Not exactly a glowing endorsement of their market behavior. Still, Google insists that a forced breakup isn't just excessive—it's legally unjustified. Their position is these tools do more than just hawk banner ads, and the DOJ's remedy would be a regulatory overreach.In the backdrop is another case in D.C., where the DOJ is toying with the idea of making Google sell Chrome—the browser—over its search dominance. Google clearly doesn't want a repeat of that nightmare here.So, the message from Mountain View is clear: Let's talk tweaks, not torpedoes. But Brinkema's already signaled she sees systemic harm. Whether that translates into structural remedies—or just more behavioral promises—now depends on how persuasive Google's lawyers can be without sounding like they're defending a monopoly.Google will seek to avoid ad tech spinoff in antitrust case | ReutersThis week's closing theme brings us into the fiery imagination of Hector Berlioz, the 19th-century French composer who lived as intensely as he wrote. Berlioz was a Romantic through and through—equal parts visionary, dramatist, and eccentric. His music defied convention, his orchestration exploded boundaries, and his literary obsession with Goethe's Faust gave rise to one of his most enigmatic and powerful works: La Damnation de Faust (The Damnation of Faust), completed in 1846.Not quite an opera, not quite a cantata, Berlioz called it a "dramatic legend"—a hybrid form that suited his unconventional style and theatrical flair. Drawing from Gérard de Nerval's French translation of Faust, the work traces the tortured scholar's tragic arc: from existential despair, to enchanted pastoral scenes, to infernal damnation, all wrapped in Berlioz's vivid orchestral color. Its fourth part, the “Ride to the Abyss” and “Pandemonium,” is especially striking—a blazing descent into hell that's often performed independently, particularly around Walpurgis Night on April 30 and May 1, when tales of witches' sabbaths and demonic revels echo the scene's imagery.At its premiere, The Damnation of Faust baffled audiences and bombed commercially, though it has since been recognized as one of Berlioz's masterpieces, showcasing his flair for narrative, his taste for the macabre, and his unmatched orchestral daring. It remains a high watermark for musical storytelling without staging—and an apt closer for a week shadowed by ambition, unrest, and devilish bargains.Without further ado, The Damnation of Faust, by Hector Berlioz. Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Gepresenteerd door: Willem de Vries Radio Filharmonisch Orkest Groot Omroepkoor Kinderen uit het Nationaal Kinderkoor en het Nationaal Jongenskoor Karina Canellakis (dirigent) Klaas-Jan de Groot (koordirigent) Irene Verburg (koordirigent kinderkoor) Paula Murrihy, mezzosopraan (Marguérite) David Junghoon Kim, tenor (Faust) Christopher Purves, bariton (Méphistophélès) Alexander Grassauer, bas (Brander) Hector Berlioz - La damnation de Faust, op.24 Rechtstreeks vanuit de Grote Zaal van TivoliVredenburg in Utrecht.

‘Prelude' is de opmaat naar het AVROTROS Vrijdagconcert! Gastspreker: zangeres Saskia Voorbach AVROTROS Vrijdagconcert sluit het seizoen extra feestelijk af in het kader van tien jaar TivoliVredenburg. Reden voor een groots slotconcert met een minstens even groots werk: La Damnation de Faust van Berlioz. Radio Filharmonisch Orkest Groot Omroepkoor Kinderen uit het Nationaal Kinderkoor en het Nationaal Jongenskoor Karina Canellakis, dirigent Klaas-Jan de Groot, koordirigent Irene Verburg, koordirigent Paula Murrihy, mezzosopraan (Marguérite) David Junghoon Kim, tenor (Faust) Christopher Purves, bariton (Méphistophélès) bas (Brander) n.t.b. Berlioz La Damnation de Faust Meer info & kaarten (https://www.npoklassiek.nl/concerten/7dce5c07-978d-483a-a7c3-b7dade36eab2/slotconcert-la-damnation-de-faust-van-berlioz) In deze podcast vertelt presentator Leonard Evers je iedere week meer over de bijzondere stukken die gaan klinken in TivoliVredenburg én op NPO Klassiek. Dat doet hij samen met verschillende gasten die in de studio aanschuiven. Aan de hand van muziekfragmenten word je warm gemaakt voor de mooie composities die je te wachten staan. Abonneer je nu! Alles over het AVROTROS Vrijdagconcert (https://www.nporadio4.nl/programmas/avrotros-vrijdagconcert) Prelude-Spotifylijst 'Leonards luistertips' (https://open.spotify.com/playlist/0HnaH8gzitGVB6zboIzgbu)

durée : 01:27:55 - En pistes ! du jeudi 25 avril 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce matin : La Damnation de Faust de Berlioz, les sonates pour clavier de Scarlatti, l'œuvre pour violoncelle et orchestre de Bruch "Kol Nidre", le Quatuor avec piano op.28 de la compositrice allemande Luise Adolpha Le Beau, et les Pièces de Clavecin de Couperin. En pistes !

durée : 00:25:17 - Berlioz la Damnation de Faust, "légende dramatique" romantique au plus haut degré ! - par : Anne-Charlotte Rémond - Dans Musicopolis, Anne-Charlotte Rémond nous raconte un évènement majeur de la vie de Berlioz, qui lui causa d'ailleurs "une impression étrange et profonde", et qu'il qualifie lui-même comme "l'un des incidents remarquables de sa vie" ! Nous sommes en 1828, le jeune Hector à 25 ans... - réalisé par : Philippe Petit

fWotD Episode 2411: Hector Berlioz Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Monday, 11 December 2023 is Hector Berlioz.Louis-Hector Berlioz (11 December 1803 – 8 March 1869) was a French Romantic composer and conductor. His output includes orchestral works such as the Symphonie fantastique and Harold in Italy, choral pieces including the Requiem and L'Enfance du Christ, his three operas Benvenuto Cellini, Les Troyens and Béatrice et Bénédict, and works of hybrid genres such as the "dramatic symphony" Roméo et Juliette and the "dramatic legend" La Damnation de Faust.The elder son of a provincial doctor, Berlioz was expected to follow his father into medicine, and he attended a Parisian medical college before defying his family by taking up music as a profession. His independence of mind and refusal to follow traditional rules and formulas put him at odds with the conservative musical establishment of Paris. He briefly moderated his style sufficiently to win France's premier music prize – the Prix de Rome – in 1830, but he learned little from the academics of the Paris Conservatoire. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence.At the age of twenty-four Berlioz fell in love with the Irish Shakespearean actress Harriet Smithson, and he pursued her obsessively until she finally accepted him seven years later. Their marriage was happy at first but eventually foundered. Harriet inspired his first major success, the Symphonie fantastique, in which an idealised depiction of her occurs throughout.Berlioz completed three operas, the first of which, Benvenuto Cellini, was an outright failure. The second, the huge epic Les Troyens (The Trojans), was so large in scale that it was never staged in its entirety during his lifetime. His last opera, Béatrice et Bénédict – based on Shakespeare's comedy Much Ado About Nothing – was a success at its premiere but did not enter the regular operatic repertoire. Meeting only occasional success in France as a composer, Berlioz increasingly turned to conducting, in which he gained an international reputation. He was highly regarded in Germany, Britain and Russia both as a composer and as a conductor. To supplement his earnings he wrote musical journalism throughout much of his career; some of it has been preserved in book form, including his Treatise on Instrumentation (1844), which was influential in the 19th and 20th centuries. Berlioz died in Paris at the age of 65.This recording reflects the Wikipedia text as of 00:25 UTC on Monday, 11 December 2023.For the full current version of the article, see Hector Berlioz on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Matthew Neural.

Every once in a while, JF and Phil like to do a “song swap.” Each picks a song, and the ensuing conversation locates linkages and correspondences where none was previously thought to exist. In this episode, they are joined by the music scholar Meredith Michael – Weird Studies assistant, and co-host of Cosmophonia, a podcast about music and outer space – to discuss songs by Lili Boulanger, Vienna Teng, and Iron & Wine. Before long, this disparate assortment personal favourites occasions a weirdly focused dialogue on time, impermanence, control, (mis)recognition, and the affinity of art and synchronicity. Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies sountrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Iron and Wine, “Passing Afternoon” (https://www.youtube.com/watch?v=q0dP7iZv9K0&ab_channel=PsyPars) Vienna Teng, “The Hymn of Acxiom” (https://www.youtube.com/watch?v=QF-7WiLykGM&ab_channel=ViennaTeng-Topic), (and here is the live version (https://www.youtube.com/watch?v=tJyheSPtjoU&ab_channel=ViennaTeng)) Lili Boulanger, [Vieille Priére Bouddhique](https://www.youtube.com/watch?v=evn3bkK2W3o&abchannel=CHORWERKRUHR)_ Star Trek: Deep Space Nine (https://www.imdb.com/title/tt0106145/) Karol Berger, Bach's Cycle Mozart's Arrow (https://bookshop.org/a/18799/9780520257979) William Shakespeare, Hamlet (https://bookshop.org/a/18799/9780743477123) Charles Darwin, The Origin of Species (https://bookshop.org/a/18799/9780451529060) Immanuel Kant, Critique of Pure Reason (https://bookshop.org/a/18799/9780140447477) Vladimir Jankelevitch, Music and the Ineffable (https://bookshop.org/a/18799/9780691090474) Hector Berlioz, Fugue on “amen” from La Damnation du Faust (https://www.youtube.com/watch?v=ChgJsOdNYSo&ab_channel=JulesBastin-Topic) Slavoj Zizek, A Pervert's Guide to Idiology (https://www.imdb.com/title/tt2152198/) Federico Campagna, Technic and Magic (https://bookshop.org/a/18799/9781350044029) Shepard Tone (https://www.youtube.com/watch?v=BzNzgsAE4F0&ab_channel=J_II) Rudolf Steiner, The Influces of Lucifer and Ahriman (https://bookshop.org/a/18799/9780880103756) Special Guest: Meredith Michael.

Donald Macleod surveys the spell Shakespeare cast on Berlioz's life and music Berlioz burst onto the musical stage of 19th century Paris determined to break the mould of France's elegant and refined classical style. He wanted to create music that could be bombastic, barbaric and grotesque, as well as sentimental, scintillating and sorrowful. In this, he was inspired by writers as much as fellow musicians. He was captivated by stories and crowded his imagination with the tales of Virgil, Scott, Goethe and, most of all, William Shakespeare. This week, Donald Macleod traces the tangled literary connections in Berlioz's life and music, including the profound spell cast by Shakespeare over the composer's art and personality. Music featured: Symphonie fantastique: IV. Marche au supplice Harold en Italie: III. Sérénade Les Nuits d'été: IV. Absence, VI. L'île inconnue Waverley, Grande Ouverture Roméo et Juliette: Part 1 (extracts) Roméo et Juliette, Op 17: Part 2 (extract) La Damnation de Faust: Scène 15. Symphonie fantastique: II. Un bal (Valse) Lélio, ou Le Retour a la vie: VI. Fantaisie sur ‘La tempête' de Shakespeare Symphonie fantastique: V. Songe d'une nuit du Sabbat Lélio, ou Le Retour a la vie: II. Choeur d'Ombres La Mort d'Ophélie Roméo et Juliette: Part 2, II. Scene d'amour Tristia: III. Marche funèbre pour la dernière scène d'Hamlet Le Roi Lear Marche hongroise La Damnation de Faust: Part 2 (excerpts) L'Enfance du Christ: Part 2, ‘La fuite en Egypte' (excerpts) Les Troyens, Act 4: ‘Nuit d'ivresse et d'extase infinie !' Roméo et Juliette, Parts 4 & 5 Béatrice et Bénédict: (excerpts) Roméo et Juliette: Part 6 & 7 (excerpts) Presented by Donald Macleod Produced by Chris Taylor for BBC Audio Wales and West 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 Berlioz and Shakespeare https://www.bbc.co.uk/programmes/m001ryz1 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

durée : 00:25:17 - Berlioz la Damnation de Faust, "légende dramatique" romantique au plus haut degré ! - par : Anne-Charlotte Rémond - Dans Musicopolis, Anne-Charlotte Rémond nous raconte un évènement majeur de la vie de Berlioz, qui lui causa d'ailleurs "une impression étrange et profonde", et qu'il qualifie lui-même comme "l'un des incidents remarquables de sa vie" ! Nous sommes en 1828, le jeune Hector à 25 ans... - réalisé par : Philippe Petit

Thüringen entdecken heißt auch die DomStufen Festpiele in der Hauptstadt Thüringens, in Erfurt, zu erleben. Der Chefdramaturg des Theater Erfurt, Arne Langer, über die Geschichte des Publikumsmagneten DomStufen Festspiele - am Platz vor dem Erfurter Dom und der Severikirche, wo sich vor 70 Stufen Stadt und Kirche treffen. Heuer ist von 7. bis 30. Juli 2023 "La Damnation de Faust" von Hector Berlioz zu erleben.

Thüringen entdecken heißt auch die in der Hauptstadt Thüringens, in Erfurt, zu erleben. Der Chefdramaturg des Theater Erfurt, Arne Langer, im Gespräch mit Musikchefin Ursula Magnes über die diesjährige Produktion der DomStufen Festspiele. Das Opern-Oratorium "La Damnation de Faust" von Hector Berlioz. Heuer ist von 7. bis 30. Juli 2023 "La Damnation de Faust" von Hector Berlioz bei den DomStufen Festpielen in Erfurt zu erleben.

Rubrique:nouvelles Auteur: maurice-renard Lecture: Daniel LuttringerDurée: 32min Fichier: 22 Mo Résumé du livre audio: Une nouvelle maritime fantastique où l'on rencontre Le Vaisseau Fantôme, Der Fliegende Holländer... Cet enregistrement est mis à disposition sous un contrat Creative Commons.

Zangers uit het Groot Omroepkoor reageren zingend en sprekend op hun rol in Berlioz' muziekdrama.

Synopsis In a creative life that spanned over 60 years, the American composer Howard Hanson never wavered in his belief that music should be tonal in nature and fundamentally Romantic in style, with strong and clear melodic lines. By the mid-1950s, many other European and American composers were espousing a far different approach to music, favoring an abstract and often densely complex style, more in harmony with the non-representational canvases of the painter Jackson Pollack than the meticulous realism of, say, Norman Rockwell. On today's date in 1955, this music, Hanson's Symphony No. 5, had its premiere performance by the Philadelphia Orchestra under Eugene Ormandy. It's the most compact of Hanson's seven symphonies, a single-movement work in three sections lasting just 15 minutes. Hanson titled the work “Sinfonia Sacra” or “A Sacred Symphony,” and suggested it was inspired by the account of Christ's resurrection in the Gospel of St. John. “The Sinfonia Sacra does not attempt programmatically to tell the story of the first Easter,” wrote Hanson, “but does attempt to invoke some of the atmosphere of tragedy and triumph, mysticism and affirmation of this story, which is the essential symbol of the Christian faith.” Music Played in Today's Program Howard Hanson (1896 - 1981) — Symphony No. 5 (Sinfonia Sacra) (Seattle Symphony; Gerard Schwarz, cond.) Delos 3130 On This Day Births 1632 - Italian composer Giovanni Battista Vitali, in Bologna; 1864 - American music publisher Gustave Schirmer, Jr., in New York City, son of the German-born music publisher Gustave Schirmer, Sr. 1915 - French composer Marcel Landowski in Prêt L'Abbé (Finistère); 1939 - Brazilian composer, conductor and pianist Marlos Nobre, in Recife; Deaths 1956 - French composer French composer Gustave Charpentier, age 95, in Paris; Premieres 1743 - Handel: oratorio “Samson,” at Covent Garden Theatre in London, and possibly the premiere of Handel's recently-completed Organ Concerto Op. 7, no. 2 at the same concert (Gregorian date: Mar. 1); 1874 - Rimsky-Korsakov: Symphony No. 3, in St. Petersburg (Gregorian date: Mar. 2); 1893 - Berlioz: "La Damnation de Faust" (as a staged opera), in Monte Carlo with a cast headed by tenor Jean de Reske; Berlioz conducted the first concert performance of this work (as an oratorio) at the Opéra-Comique in Paris on Dec. 6, 1946; 1893 - Brahms: Intermezzo No. 1, for piano, from Op. 117, in Vienna; 1895 - Loeffler: Quintet for three violins, viola and cello, at Boston's Union Hall by the Kneisel Quartet joined by violinist William Kraft; 1916 - Daniel Mason: First Symphony (first version), by the Philadelphia Orchestra, Leopold Stokowski conducting; 1919 - Deems Taylor: chamber suite "Through The Looking Glass," by the New York Chamber Music Society; 1947 - Menotti: one-act opera "The Telephone," in New York City at the Heckscher Theater; 1952 - Prokofiev: Sinfonia Concertante, Op. 125 (as "Cello Concerto" No. 2), in Moscow, with Sviatoslav Richter conducting and Mstislav Rostropovich the soloist; 1955 - Hanson: Symphony No. 5 ("Sinfonia Sacra"), the Philadelphia Orchestra, Eugene Ormandy conducting; 1965 - Ginastera: Harp Concerto, by harpist Nicanor Zabaleta , with the Philadelphia Orchestra, Eugene Ormandy conducting; 1998 - Thea Musgrave: "Phoenix Rising," at the Royal Festival Hall in London, by the BBC Symphony, Andrew Davis conducting. Links and Resources On Howard Hanson

Verleiding ligt overal op de loer: van macht tot geld, van aanzien tot seks. Ook Jezus wordt verleid en wel door de duivel in hoogst eigen persoon. Aan welke verleidingen wordt hij blootgesteld? Hij gaat niet op de verleidingen in, maar is dat eigenlijk wel het goede antwoord? En waar liggen voor ons de verleidingen op de loer? Allard Amelink bespreekt het in deze aflevering van Scheppingsdrift met het vaste panel van dit seizoen: Lieke Wijnia, conservator van het Museum Catharijneconvent in Utrecht; Ab Nieuwdorp, presentator van De Klassieken op NPO Radio 4; en theoloog en schrijver Alain Verheij. Overzicht van de besproken kunst: - Christ unser Herr zum Jordan kam van Johann Sebastian Bach - Christ in the Wilderness van Stanley Spencer - De verzoeking op de berg van Duccio di Buoninsegna, - Danse Macabre van Camille Saint Saëns  - Documentaire They sold their souls for rock 'n roll - Podcast Rock my soul van EO en NPO Radio 2 - II. Adagio espressivo uit “Violin Concerto No. 1 in D Major” van Niccòlo Paganini - Ô pure émotion uit “La Damnation de Faust” van Hector Berlioz - Laatste verzoeking van Christus van Nikos Kazantzakis, verfilmd door Martin Scorsese - De Grootinquisiteur van Sevilla uit ‘De Gebroeder Karamazov” van Fyodor Dostojevski - Marina Abramovic, The Artist is Present (2010)

Oper oder nicht Oper - diese Frage stellt sich bei Berlioz' "Faust". Am 22. August gab es diese "Dramatische Legende" in konzertanter Fassung bei den Salzburger Festspielen. Der größte Lichtblick des Abends war Elina Garanca, die im richtigen Moment für Verzauberung sorgte.

Join Anna and Krista as they celebrate Jonas Kaufmann's birthday on this week's episode! They'll talk about two operas he's starred in, both based on the same story by Goethe (he who brought us the tale of Farter). As an extra treat, they'll drop some exciting news about Tristan and an opera recording next spring!

Bryan Hymel is a professional opera singer, father, and a member of the Board of Directors for the Academy of Vocal Arts in Philadelphia. Praised by The New York Times for his “unflagging stamina and impetuous abandon” during his 2012 Metropolitan Opera debut as Énée in Les Troyens, Bryan Hymel went on to be awarded the Metropolitan Opera's Beverly Sills Artist Award for his achievements in the production. He is also the winner of the 2013 Olivier Award for Outstanding Achievement in Opera for his trio of performances in Les Troyens, Robert le diable, and Rusalka at London's Royal Opera House. An exclusive recording artist for Warner Classics, his first solo album Héroïque earned Hymel the coveted Georges Thill Prize by the Académie Nationale du Disque Lyrique and the Newcomer of the Year Award from ECHO Klassik. Additional recordings include La Damnation de Faust with Simon Rattle and the London Symphony Orchestra, Robert le Diable with Daniel Oren and the Opera di Salerno, as well as DVD recordings of Carmen, Les Troyens, Robert le Diable and Les Vepres Sicillienes all from the Royal Opera House in London.   Bryan and I talked about the realities of a career as an opera singer, starting a family as an opera singer, the psychological challenges of the business, vocal technique, and much more. Please welcome Bryan Hymel.

Hailed by the New York Times as a "striking mezzo soprano" and by the San Francisco Chronicle for her "electrifying sense of fearlessness," Raehann Bryce-Davis opens the 2019/20 season singing Verdi’s Requiem with conductor Kent Nagano and the Orchestre symphonique de Montréal at the Olympic Stadium. She then returns to Opera Vlaanderen for her role debut as Eboli in Verdi’s Don Carlos and makes her LA Opera debut in the World Premiere of Aucoin and Ruhl’s Eurydice, a coproduction with The Metropolitan Opera, and sings Sara in Roberto Devereux opposite Angela Meade and Ramon Vargas. Further performances of the season include: Unknown, I Live With You at the Kurt Weill Festival Dessau, A Nation of Others at Carnegie Hall with the Oratorio Society New York, Nathaniel Dett’s The Ordering of Moses with the Harlem Chamber Players, Mendelssohn's Elijah with St. George’s Choral Society, and a recital series for the Art Song Preservation Society in New York with pianist Mark Markham. Last season she made her role debuts as Leonor in Donizetti’s La Favorite at the Teatro Massimo di Palermo, Marguerite in Berlioz’s La Damnation de Faust conducted by Maestro John Nelson with the Orquesta Sinfónica Nacional de Costa Rica, Ms. Alexander in Satyagraha at Opera Vlaanderen, Kristina in The Makropulos Affair at the Janáček Brno Festival, Verdi's Requiem with the Oratorio Society of New York at Carnegie Hall, Martinů’s Julietta with the American Symphony Orchestra at Carnegie Hall, and Mahler’s Symphony No. 8 with the South Dakota Symphony Orchestra. Find out more about Raehann Bryce-Davis at http://www.raehann.com/ Do you like these masterclass episodes? You'll probably like the 29 Days to Diva series on The Sybaritic Singer too. Check it out here: https://sybariticsinger.com/category/29-days-to-diva/ A big thank you to Juanitos for the music featured in this episode. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Raehann Bryce-Davis.

Join Opera for Everyone this holiday season as we explore Hector Berlioz’s unusual take on the Christmas story, L’Enfance du Christ. Instead of telling the familiar story culminating in the adoration of the newborn babe, Berlioz composed both music and text to begin with the immediate challenges that followed the birth of the son who had just arrived into the family of Mary and Joseph. We hope you are as enchanted as we are by this fascinating and powerful piece by the man who also composed Symphonie Fantastique, and La Damnation de Faust. Hosted by Pat and Grant.

The Devil takes center stage in this opera based on the Faust story: a timeless tale of the seductive nature of evil and the redemptive promise of grace. Known primarily for his many successful libretti, Arrigo Boito gave his full poetic, philosophical, and musical talents to this, his only complete opera. This is the third in a series of Opera For Everyone podcasts featuring operas based on Goethe’s “Faust.” Also in the series: Episode 76 "La Damnation de Faust" by Hector Berlioz, and Episode 78 "Faust" by Charles Gounod. All three are hosted by Pat and guest co-host Kathleen Van De Wille.

Stephan is a Welsh Italian Tenor who trained at The Royal Academy of Music London, graduating with a Masters Degree in Opera, under the tutelage of Ryland Davies. Prior to this, he gained his initial degree in Music from Trinity Laban Conservatoire of Music & DanceHis operatic works to date include The Barber of Seville (Glyndebourne), The Magic Flute (Glyndebourne), La Damnation de Faust (Glyndebourne), Cendrillon (Glyndebourne), La Traviata (Glyndebourne), Der Rosenkavalier (Glyndebourne), Madama Butterfly (Glyndebourne), Saul (Glyndebourne), Vanessa (Glyndebourne), Die Meistersinger von Nürnberg (Glyndebourne), The Cunning Little Vixen (Glyndebourne), The Rake's Progress (Royal Academy Opera), La Traviata (GO Opera), La Cenerentola and Eugene Onegin (Bury Court Opera).Stephan has performed with the Royal Opera House, Covent Garden, English National Opera, Welsh National Opera, Glyndebourne and has undertaken master classes with Susan Bullock, Matthew Rose, Sarah Connolly, Dennis O'Neill and Gerald Finley. He has also performed in various venues across the UK and Europe, including the Wigmore Hall, Southbank Centre, Royal Festival Hall, St Martin-in-the-Fields, the Monasterio de SanLorenzo del Escorial, Madrid and The Royal Palace of La Almudaina, Mallorca.Stephan made his BBC Proms debut in 2016 performing Rossini's Semiramide at the Royal Albert Hall with Opera Rara, conducted by Sir Mark Elder. He also performed in Glyndebourne's The Magic Flute at the BBC Proms 2019. Stephan is also a member of the extra chorus at English National Opera.Stephan's most recent engagements have included Handel's Saul at the Théâtre du Châtelet, Paris, and also traveling the world as a lead production vocalist on board the luxury cruise line Silversea.

Faust, an aging scholar, despairs that the world holds no further interest for him. But the crafty devil Mephistopheles appears and invites Faust to pleasures not found in his books. Of course, it is never wise to make a deal with the Devil. The epic tale of the downfall of Faust and the innocent woman he drags with him is sublimely illustrated by Hector Berlioz’s La Damnation de Faust. Hosted by Pat and Kathleen Van De Wille

durée : 01:28:54 - Musique matin, samedi du samedi 22 février 2020 - par : Saskia de Ville - Musique = Clapping de Steve Reich Voix = Coco Bonnier - réalisé par : Laurent Lefrançois

A 1959 broadcast featuring Regine Crespin, Nicolai Gedda and Ernest Blanc under the fine Berlioz conductor Igor Markevitch.

Sir Simon Rattle ist als Berlioz-Interpret am Pult seines neuen Orchesters zu erleben: dem London Symphony Orchestra. Mit "La damnation de Faust" gibt es ein zentrales Werk des französischen Romantikers beim Label LSO live. Die Interpretation wird dem gigantomanischen Zug der Komposition ebenso gerecht wie den vielen lyrischen und transparenten Passagen.

Donald Macleod explores the life and music of Hector Berlioz Berlioz is perhaps unique among composers in having had a literary gift almost the equal of his musical one. He earned his bread-and-butter living as a writer, turning out witty and often acerbic music criticism for the influential Journal des débats and Gazette musicale among others. Donald starts this week with a look at Berlioz through his engaging, passionate and entertaining Memoirs. Next, he delves into the world of Berlioz’s literary muses – first and foremost, Virgil, Goethe and Shakespeare. We hear about Benvenuto Cellini, the opera whose “verve, impetus and brilliance” Berlioz feared he would never again equal, and his attempt to secure the coveted Prix de Rome amidst the thundering July Revolution. We also encounter some of the celebrated musicians he rubbed shoulders with – among them Liszt, Cherubini, Schumann, Mendelssohn, Wagner and Paganini. Music featured: Les Nuits d’été, Op 7 (Villanelle) Overture Les Francs-Juges, Op 3 Grande Messe des Morts, Op 5 (Dies irae) La Damnation de Faust, Op 24 (extract) Béatrice et Bénédict (Act 1) Zaïde, Op 19 No 1 La Damnation de Faust, Op 24 (Part 2) Waverley, grande ouverture, Op 1 Les Troyens, Op 29 (Act 1, finale) Marche funèbre pour la dernière scène d'Hamlet (Tristia, Op 18) La Captive, Op 12 Harold en Italie, Op 16 (IV. Orgie des brigands) Le carnaval romain, Op 9 Benvenuto Cellini, Op 23 (extracts) Messe solennelle (Quoniam tu solus Sanctus) Épisode de la vie d’un artiste – Grande Symphonie fantastique, arr. Franz Liszt Le roi Lear, grande ouverture, Op 4 Les nuits d’été, Op 7 (Absence) Romeo et Juliette, Op 17 (Part 3) Presented by Donald Macleod Produced by Chris Barstow for BBC Wales For full tracklistings, 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 Hector Berlioz https://www.bbc.co.uk/programmes/m000345c 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

Goethes "Faust" in der Übersetzung von Gérard de Nerval bezauberte Hector Berlioz von Anfang an. Nach missglückten Vertonungsversuchen nimmt sich der 43-jährige Komponist während einer Europareise den deutschen Doktorn noch einmal vor. Es entsteht eine abenteuerliche Mischung aus Oper, Konzert und Oratorium.

Inaugurazione della stagione 2017/2018 del Teatro dell'Opera di Roma con La Damnation de Faust di Hector Berlioz. Ospiti di Momus sono il maestro Daniele Gatti che dirige il lavoro e il regista Damiano Michieletto.

Mit Jonas Kaufmann, Bryn Terfel und Sophie Koch stand unter Philippe Jordans Dirigat ein Spitzentrio an der Pariser Bastille Oper auf der Bühne. Alvis Hermanis setzte dort "La Damantion de Faust " von Hector Berlioz in Szene. Franziska Stürz berichtet.

Hector Berlioz: "Symphonie Fantastique" op. 14; "Marche hongroise" aus "La Damnation de Faust" op. 24 | Hansjörg Albrecht (Orgel)

   Choruses from French operas, including Mireille, Romeo et Juliette (Gounod), The Pearl Fishers, La Jolie Fille de Perth (Bizet) w.Alfredo Kraus, La Damnation de Faust (Berlioz), Herodiade (Massenet), Hamlet (Thomas) w.Thomas Hampson and Gregory Kunde, and the Salve Regina from Poulenc's Dialgues des Carmelites.   (69 min.)