Podcasts about La Fenice

Episode 175 Chapter 34, Live Electronic Music— Foundations. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 34, Live Electronic Music— Foundations from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC FOUNDATIONS   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     John Cage, “Radio Music” (1956) from John Cage. Performed on radios by Gianni-Emilio Simonetti, Juan Hidalgo, Walter Marchetti. Each of these performers used a Panasonic multi-band portable Radio Model RF-1600 B receiver. 04:33 01:40 2.     John Cage, “Cartridge Music” (1960) from Music For Merce Cunningham. Phonograph Cartridges, Amplified Small Objects, David Tudor, Michael Pugliese, Takehisa Kosugi. Recorded at Paris, France in September 1988. 18:53 06:12 3.     Alvin Lucier, “Music for Solo Performer” (excerpt) (1965). Live recording from 1975. Brainwave amplification performed by Alvin Lucier; electronics, Nicolas Collins. 11:46 25:04 4.     Gordon Mumma, “Horn” (1965) from Live-Electronic Music. Electronic modification of horn sounds. Horn, Gordon Mumma; Cybersonic console, designed by Mumma, operated by William Ribbens; Recorded by George Cacioppo; Voice, George Cacioppo, Robert Ashley. For a hornist, two voices, and a cybersonic console operator. 09:36 36:48 5.     John Cage, “Variations V” (1965). Performance on November 11, 1966, Théâtre de Champs Élysées, Paris. Performers, John Cage, David Tudor, Gordon Mumma. 39:57 46:10 6.     David Tudor, “Bandoneon ! (A Combine)” (1966) from The Art Of David Tudor 1963–1992. Composed and performed by David Tudor. 14:15 01:26:43 7.     David Behrman, “Runthrough” (1967–68) from Wave Train. For homemade synthesizers and photocell mixers. Homemade Synthesizer, Photocell Mixer, Alvin Lucier, David Behrman, Gordon Mumma, Robert Ashley. 12:11 01:40:26 8.     Gordon Mumma, “Telepos” (1972) from Music For Merce 1952-2009.  Recorded live on February 2, 1972, La Fenice, Venice. Controlled Sounds Activated By Dancers With Telemetry-accelerometer Belts, Gordon Mumma. 18:38 01:52:34 9.     Pauline Oliveros, Rehearsals for “In Memoriam, Nikola Tesla” (excerpt) (1972). Recorded live September 1972, Köln, Germany.  No performers listed. 11:56 02:11:06 10.   Robert Ashley, “Automatic Writing” (1974–79) from Automatic Writing.  Electronics, Polymoog, Voice, Words, Produce, Recorded, Mixed by Robert Ashley; Mixing Assistance, Rich LePage; Switching Circuit Designed and Built by Paul DeMarinis; Translated by Monsa Norberg; Voice, Mimi Johnson. 46:00 02:23:04   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

In Buongiorno PNR, Francesca Freda membro del Direttivo de "La Fenice", ci ha parlato dell'odierna festa degli "Scambi" che si terrà , all'interno dei locali del Centro Giovani a partire dalle 19.00 di oggi.

All'interno del programma radiofonico "Buongiorno PNR", Francy Freda ci racconta l'organizzazione del gioco di ruolo Escape Room, organizzato e programmato ad iniziare dalle ore 15.00 di domenica 15 dicembre presso il locali della "Fenice" in via Pernigotti a Tortona.

Sabato 30 novembre alle 16.30 appuntamento al Centro Giovani in via Pernigotti a Tortona per l'incontro organizzato da La Fenice con Donne Insieme, associazione da anni attiva sul territorio e nelle scuole cittadine per promuovere una cultura libera dagli stereotipi di genere. Ne abbiamo parlato con Marika Rescia.

I campielli sono le piccole piazze veneziane, dove i bambini giocano e le persone si incontrano. Spesso le pietre dei campielli sono vecchie di secoli, calpestate da generazioni di artisti, mercanti, turisti, scrittori.Sabato 21 settembre sarà assegnato presso il teatro La Fenice il premio Campiello, che da quelle piazze prende il nome e che da ormai sessantadue edizioni costituisce uno dei più ambiti premi letterari italiani. Cinque gli scrittori in lizza, tre li incontreremo nel corso di questa puntata di Alice.Prima Antonio Franchini, che con il suo Il fuoco che ti porti dentro (Marsilio) ha scritto uno dei libri più apprezzati quest'anno dalla critica della penisola: un racconto personale e familiare, che lo porta a trasformare sua madre Angela in un personaggio da commedia napoletana, con tono profondamente ironico e sostanza tragica.Federica Manzon è invece partita dalla città di frontiera di Trieste per dare forma al suo Alma (Feltrinelli), un romanzo che mette insieme la storia piccola di una bambina di Trieste – che diventa donna e scopre la verità su suo padre – con la storia con la S maiuscola di quella che una volta era la Jugoslavia.Per ultimo ascolteremo Vanni Santoni, capace di sfornare l'ennesimo romanzo-saggio della sua carriera letteraria: Dilaga ovunque (Laterza) parla di ragazzi che fanno graffiti, per tracciare una storia di questo gesto artistico dal forte significato politico, illegale e anche piuttosto avventuroso. Dentro “Alice” ci sarà naturalmente anche “Mirador”, lo specchio che riflette proposte librarie insolite e sorprendenti, recensite da grandi voci della letteratura in italiano. Questa settimana Giuliana Altamura racconterà “Il costo della vita” di Deborah Levy (NNE).undefinedundefinedundefinedundefined

Un'iniziativa dell'associazione La Fenice, per cinque proiezioni di vari generi e stili, gratuite. Basta solo portarsi da casa la sedia per assistervi. Nello spazio condotto da Brocks, il curatore della rassegna, Riccardo D'Amico, illustra il cartellone.

Pier Ferdinando Maiello ci ricorda le attività formative e i progetti di Erasmus dell'associazione La Fenice

La prima settimana di luglio una cinquina di spettacoli, a cura dell'associazione La Fenice con la direzione artistica di Riccardo D'Amico, ospite oggi dello spazio condotto da Stefano Brocks su Radio Pnr

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

Private Water Taxis: Navigating Venice's Waterways in StyleVenice is comprised of an intricate network of canals. For a truly luxurious experience, opt for a private water taxi to whisk you away to your destination. Glide through the shimmering waters of the Grand Canal, passing historic palaces and ornate bridges, as your knowledgeable guide tells the tales of Venice's storied past! Private water taxis typically cost 70-80 Euros and are well worth the ride.Hotel ai Cavalieri di Venezia: A Luxurious RetreatUnwind in style at the Hotel ai Cavalieri di Venezia, a luxurious boutique hotel nestled in the heart of Venice's historic center. Indulge in elegant accommodations adorned with sumptuous furnishings and modern amenities, and savor exquisite Venetian cuisine at the Hotel's gourmet restaurant. With its impeccable service and prime location, Hotel ai Cavalieri di Venezia offers the perfect base for exploring all that Venice has to offer.Mask Stores: Unveiling Venice's Carnival TraditionStroll through Venice's enchanting mask stores, which hark back to the city's famous Carnival celebrations. In addition, you can explore the narrow alleys of this "City of Mazes" to discover hidden gems where artisans craft exquisite masks using traditional techniques passed down through generations. Whether you're seeking a whimsical souvenir or a stunning piece of wearable art, Venice's mask stores offer something for every taste. Shopping: A Venetian Retail TherapyIndulge your inner shopaholic as you meander through Venice's charming streets lined with boutiques and artisanal shops. From high-end fashion boutiques showcasing Italian luxury brands to quaint artisan workshops selling handcrafted goods, Venice offers a shopping experience like no other. Treat yourself to Venetian lace, Murano glass jewelry, or delectable Venetian delicacies. Venice is the perfect place to find a souvenir. This way, you can remember Venice long after you've returned home. My favorite souvenirs from Venice were a porcelain blue and gold mini mask I bought the first time I visited and a matching red and gold leather crossbody purse and wallet, which I was gifted by family members who visited Venice.Basilica di San Marco and Doge's Palace Tour: A Glimpse into Venice's Glorious PastStep back in time as you explore the iconic landmarks of Venice, including the magnificent Basilica di San Marco and the imposing Doge's Palace. Marvel at the intricate mosaics adorning the basilica's façade, depicting scenes from biblical tales and Venetian history. Then, venture inside to admire the opulent interior adorned with shimmering gold leaf and precious marbles. Next, embark on a guided tour of the Doge's Palace, once the seat of Venetian political power, and immerse yourself in the grandeur of its ornate chambers and lavish frescoes.Private Gondola Rides: Romance on Venice's CanalsNo trip to Venice would be complete without a romantic gondola ride along its tranquil waterways. Snuggle up with your loved one as your gondolier serenades you with melodic Italian ballads, offering a unique perspective of Venice's iconic landmarks bathed in the golden light of dusk. Opt for a private gondola ride for an intimate experience that promises to create cherished memories that will last a lifetime.Theater La Fenice: A Cultural ExtravaganzaImmerse yourself in Venice's vibrant cultural scene with a visit to the illustrious Teatro La Fenice. Renowned for its spectacular opera performances and classical concerts, La Fenice promises an unforgettable evening of artistic excellence. Marvel at the theater's opulent interiors adorned with gilded stucco work and intricate frescoes as you enjoy a captivating performance by world-class artists. If you don't have time to see a show but still want to visit the gorgeous Teatro, you can take an audio tour.Concerts at Vivaldi's Four Seasons: Musical Magic in VeniceFor music aficionados, a visit to Vivaldi's Four Seasons promises an unforgettable auditory experience. Situated in the heart of Venice, this historic venue hosts a series of concerts showcasing the timeless works of the legendary composer Antonio Vivaldi. Lose yourself in the sublime melodies of Vivaldi's masterpieces as you bask in the intimate ambiance of this historic concert hall.Murano Glass Factory Tours: A Fascinating Artisanal TraditionEmbark on a journey to the nearby island of Murano to discover the centuries-old tradition of Murano glassmaking. Witness skilled artisans at work as they transform molten glass into exquisite works of art using age-old techniques passed down through generations. Marvel at the dazzling array of glass sculptures, chandeliers, and jewelry on display, and perhaps even purchase a one-of-a-kind piece to adorn your home.A Day Trip to The Colorful Fishing Village of Burano: A Photographic ParadiseEscape the crowds of Venice and venture off the beaten path to the picturesque island of Burano. Famous for its vibrant pastel-colored houses and intricate lacework, Burano offers a tranquil retreat from the hustle and bustle of the city. Explore the quaint streets lined with charming cafes and artisanal shops, and don't forget to capture the postcard-perfect scenes that abound at every turn.Venice captivates the imagination with its timeless beauty, rich history, and vibrant culture. Whether you're gliding along its tranquil waterways in a private gondola, exploring its iconic landmarks, or immersing yourself in its rich art and music scene, Venice promises a truly magical experience that will linger in your memory long after you've bid arrivederci to this enchanting city.

Philip Chronopoulos, Chef che vanta ben due stelle Michelin a Parigi, apre il Palais Royal Restaurant Venezia. A pochi canali da San Marco e da La Fenice, il Ristorante Palais Royal Venezia aprirà il 17 aprile 2024 alle ore 19 in un contesto monumentale.Situato nel cuore dell'ex Palazzo della Borsa, divenuto oggi Nolinski Venezia, il ristorante si trova in uno dei monumenti storici della città. Una nuova melodia anima adesso l'anfiteatro dell'ex Sala del Consiglio: quella della gastronomia. In questo luogo d'ispirazione bizantina, i tavoli sono allestiti in stile grand siècle, con un sublimato arredamento progettato dal duo di creativi Yann Lecoadic & Alessandro Scotto, e possono ospitare una trentina di commensali. Banchetti e poltrone di velluto invitano ospiti, attori e spettatori ad ammirare l'opera gastronomica che viene rappresentata ogni sera.

durée : 00:25:06 - Guiseppe Verdi, La Traviata - par : Anne-Charlotte Rémond - Dans ce numéro de Musicopolis, Anne-Charlotte Rémond revient sur "La traviata", un opéra en trois actes de Giuseppe Verdi créé le 6 mars 1853 à La Fenice de Venise ! - réalisé par : Philippe Petit

1. Robin M, Re.You – Mamba 2. Sadek (MAR) - L'ghayta 3. Malive & AKA Lui - Kick It (Club Version) 4. David Novacek, FranK-Lo, 4Step, La Fenice - Caballero (feat. La Fenice) 5. Carlos Pineda & Feelgood – Takutuku 6. GAGH, Figueredo (AR) - Ola De Mar (Dub Mix) 7. Partida - Subete! 8. Truth x Lies - What I'm Sayin (Extended Mix) 9. Minow – Patiki 10. Daniel Vas, Jonathan Jaramillo – Grooveland 11. Sunroi, Jack Orley - Catioras (Extended Mix) 12. Gianni Ruocco, Le Roi Carmona – Eterocromia 13. Carlo Lio, Carabetta - Cuba Libre This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

Explorez l'histoire de la Fenice, à Venise, un théâtre étonnant qui, tel le phénix qui lui a donné son nom, a su plusieurs fois renaître de ses cendres.

Episode 13: Julespesial!Jeg heter Astrid Kirschner, og dette er 13.episode av min podkast BAROKKPODDEN! - og i dag skal det handle om barokk julemusikk!Hva slags julemusikk ble skrevet i barokktiden, og hva handler barokk julemusikk egentlig om?I den bibelske julefortellingen dukker det for eksempel opp mange engler i julefortellingen, både i Lukas- og Matheus-evangeliet. Mange julekomposisjoner beskriver den himmelske musikken sunget av engler, det finnes store englekor og opptreden av enkelte engler. Videre finnes det en rekke gjeter-scener; det var jo gjeterne som først fikk bud om Jesu fødsel. Pastorale, pastorella - disse gjester-scenene har mange navn.En annen mye brukt variant av julemusikk er vuggesanger til Jesusbarnet, gjerne sunget av moren Maria.Og igjen har jeg selvsagt laget en passende spilleliste til dagens episode på Spotify, der kan du lytte deg gjennom store mengder av barokk julemusikk, både musikk-eksemplene jeg snakker om her, og en god del mer. Spillelisten ligger allerede klar på Spotify og venter på dere.Dere finner den her:https://open.spotify.com/playlist/75ba937MdaZ8B4VBsBUHqk?si=44ccb19f8b9045f8 (Denne linken fungerer kun innenfor Spotify. Hvis du hører podkasten fra andre platformer, må du søke opp spillelisten separat!)***Musikkeksempler brukt i episode 13 av BAROKKPODDEN - Julespesial!Baroque Christmas (Noël Baroque): Marc-André Charpentier: Laissez Paitre Vos Betes, Masques, 2005, alphaMarc-André Charpentier: Joseph Est Bien Marié (Masques, 2005, alpha)Alessandro Scarlatti: Cantate Oh Betlemme, 1.sats (Masques, 2005, alpha)Andreas Hammerschmidt: Freude, grosse Freude (O Jesulein, Clematis, 2022)Thomas Selle: Angelus ad Josephum (O Jesulein, Clematis, 2022)Ignazio Donati: Angelus Gabriel descendit (Per il Santissimo Natale, La Fenice, 2007)Georg Friedrich Händel: Messiah (Dunedin Consort, John Butt, 2006): "And the Sngel Said Unto them""And Suddenly""Glory to God""Halleluja"Franz Tunder: Ein kleines Kindlein (Clematis, 2022)Johann Christoph Bach: O Freudenzeit, o Wundernacht!" (Clematis, 2022)Arcangelo Corelli: Fra Julekonserten, Concerto grosso, fatto per il SS Natale: Pastorale (The Avison Ensemble, Outthere, 2014)Johann Sebastian Bach: Christmas Oratorio (Dunedin Consort, John Butt, 2016):Sinfonia"Brich an, du schönes Morgenlicht""Und der Engel sprach zu ihnen"Arie "Frohe Hirten" Jan Pieterszoon Sweelinck: Angelus ad Pastores ait (Netherlands Bach Society, Angels and Shepards, 1998)Andreas Hammerschmidt: Wo ist der neugeborne König (Clematis, 2022, alpha)J. S. Bach: Christmas Oratorio (Dunedin Consort, John Butt, "Wo ist der neugeborne König?""Sucht ihn in meiner Brust" ***Takk for Fond for for Lyd og Bilde som støtter mitt prosjekt - podkasten Barokkpodden! ***Også i denne episoden har jeg kun brukt lydklipper på maksimal 30 sekunder, og jeg bruker kun musikkeksempler av platefirmaer som har gitt meg tillatelse.

Que reste-t-il de tout ce que nous entendons, qu'est-ce que nous n'oublions pas ? Pourquoi apprendre par cœur ? Et si avoir des morceaux d'inoubliables dans la tête était un choix, une possibilité d'accéder à sa guise, à ses souvenirs ? La flûtiste Federica Lotti évoque sa mémoire du corps et du cœur. Performeuse et interprète d'un vaste répertoire classique et contemporain, la flûtiste Federica Lotti a joué en tant que soliste avec des orchestres du monde entier : au Théâtre La Fenice à Venise, au Centre Pompidou à Paris, à l'Académie Chopin de Varsovie, et encore à Oslo, au Texas, à Tokyo… Professeure au Conservatoire Benedetto Marcello de Venise, elle est aussi l'initiatrice de nombreux projets culturels en lien avec les plus importantes institutions de la ville. Elle se consacre aussi à la diffusion de l'œuvre de Lorenzo Da Ponte et met sa créativité musicale au service des projets qui traitent des thèmes éthiques, écologiques et interculturels.Extrait par cœur de cet épisode : Concert en Do majeur K299 pour flûte,harpe et orchestre de Mozart.La série  « PAR CŒUR » souhaite susciter des réflexions et réaliser des créations autour des mémoires sonores et des cultures orales du monde. Quels mots, poèmes, berceuses, slogans, chansons... retient-on par cœur ? Quels sons nous ont marqués, sommes-nous capables d'imiter de vive voix ? En apparence sans importance, ces fragments que nous gardons au fond de nous et savons réciter avec notre propre voix, constituent des archives vivantes de ce que l'on retient, volontairement ou pas, de notre monde comme et surtout de celui des autres. Tous les épisodes de la série Par cœur – La langue perdue - Écouter le monde (rfi.fr)Par cœur – La chambre noire - Écouter le monde (rfi.fr)Par cœur – La phrase inoubliable - Écouter le monde (rfi.fr)Par cœur – L'absurde - Écouter le monde (rfi.fr)Par cœur – Mémoire Palace - Écouter le monde (rfi.fr)Par cœur – Le poème en grec - Écouter le monde (rfi.fr)Par cœur – Le mystère - Écouter le monde (rfi.fr)Par cœur – Le jardin intérieur - Écouter le monde (rfi.fr)Écouter le mondeTout à la fois émission de radio diffusée chaque dimanche dans plusieurs journaux d'information de RFI et plateforme participative, Écouter le monde donne à entendre les cultures, les langues et les imaginaires du monde à travers des sons d'Afrique, d'Amérique, d'Asie, d'Europe ou d'Océanie. Des centaines d'émissions sont à écouter en podcast sur cette page, tandis que la plateforme participative et évolutive www.ecouterlemonde.net propose des cartes postales sonores et des enregistrements. À ce jour, 245 captations sonores sont disponibles en libre accès.Auteure et coordinatrice d'Écouter le monde, Monica Fantini écoute, enregistre et compose des pièces sonores à partir de sons du quotidien : claquement des portillons du métro parisien, harangues des vendeurs au marché de Bobo-Dioulasso au Burkina Faso, craquement des glaciers en Patagonie, roulement des calèches dakaroises ou encore cloches de la place Saint-Marc à minuit à Venise… Autant d'éclats de vie avec lesquels elle tisse des récits pour raconter le monde, créer des liens et partager des savoirs.Équipe de productionInterview, montage, mixage : Monica FantiniPrise de son : Raphaël Cousseau – RFI LaboAide au mixage : Laurence Allanic eT Pascal Boungo  – Unité de créationÉcouter le monde surApple PodcastGoogle PodcastSpotify

Prejšnji teden je v Cankarjevem domu potekal recital Urbana Staniča, ki se mu bomo posvetili v tokratnem Glasbenem utripu, poleg tega pa prisluhnite še komentarjem koncertov ciklov SMS Slovenske filharmonije, SiBrass in abonmaja Zavoda Celeia Celje. V Benetkah so v gledališču La Fenice uprizorili opero Dva Foscarija Giuseppa Verdija, v Cankarjevem domu pa smo prisluhnili predavanjema ameriških muzikologov Marthe Feldman in Setha Broda.

Un'iniziativa di ricerca svolta con il coinvolgimento diretto dei cittadini di Tortona, nello specifico i ragazzi dell'associazione La Fenice, in collaborazione con il Comune di Tortona. Il dirigente comunale Corrado D'Andrea, nello spazio condotto da Stefano Brocks (lun-ven 16-18), illustra metodologia e risultati.

This episode is all about the unique places and local spots from my European summer trip traveling through Italy and Croatia. I talk about our experiences in Venice, Italy and he incredible food I had and how Italy passed a bill to ban synthetic foods. Some of the highlights in Venice, we stayed in this area called Dorsoduro and it's not as touristy as the other areas, we walked everywhere, had gelato, lots of food, saw gorgeous cathedrals and went to the oldest cafe, cafe florian which is decorated in baroque style - so gorgeous in the main square, and also went to see La Fenice - opera house dating back to 1792. Then we travelled by ferry to the northern part of Croatia and I chatted about some cool experiences we had in my home country:My parents new villa in the town of Posedarje in Zadar. Going to an equestrian competition that dates back to 1715 called Sinjska Alka.Discovering the Krzni Put - way of the cross- a religious pilgrimage nearby designed by artists from all over Europe.Going to Velika Gospa, that biggest religious celebration of the year in Croatia.Swimming in fresh mountain spring water at the site of a local legend and love story from the turn of the 19th century. Going to an island and discovering a perfect swimming spot in a small village by accident. Discussing the rugged raw beauty of Croatia, the natural wonders and how it informs the person I am and the purpose I have. I hope you love this unique take on a travel podcast episode where I share the very meaningful moments from my trip!Coming up I will be sharing how you can join the membership and I will have a new moon and harvest full moon meditation out for September. @topanga_moonwww.topangamoon.com@anaalic@villajanak

V oddaji vabimo na Festival Ljubljana, kjer se obeta prava operna poslastica. V Cankarjevem domu bo na ogled Puccinijeva opera Madame Butterfly v izvedbi beneške operne hiše, Gledališča La Fenice. Poročamo še o začetku Filma pod zvezdami na ljubljanskem gradu, prelistali pa smo tudi nekaj knjižnih novosti Založbe Goga.

Ritorno in grande stile nel centralissimo corso Trieste di Caserta per la maestra gelatiera Pina Molitierno che il 4 luglio scorso ha aperto “La Fenice Gelateria & Yogurteria Artigianale”. Non casuale la scelta del nome del locale perché il ritorno sulle scene della Molitierno avviene esattamente allo stesso indirizzo in cui si era già fatta apprezzare con la gelateria “Vanilla Ice”, chiusa per una serie di circostanze avverse. Ad affiancarla in questa rinascita imprenditoriale il dottore Giuseppe Molfino, stimato oculista casertano.

No início deste pequeno episódio começo a delirar sobre festas de novo semestre (lamento, mas às vezes o cansaço dá-me para estas coisas). Delírios à parte, acabei a descrever os seis livros da semana, tentando explicar como o livro de Lane Greene, na verdade, também tem o seu quê de policial (enfim, mais um delírio). Os livros são então:- Writing With Style, Lane Greene- Ollos de Auga, de Domingos Villar- The Sentence Is Death, de Anthony Horowitz- Melancholia, de Francisco José Viegas- Balada da Praia dos Cães, de José Cardoso Pires- Death at La Fenice, de Donna Leon This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.pilhadelivros.pt

morte a zagabria --- Support this podcast: https://podcasters.spotify.com/pod/show/troieradicali/support

Summary: Ciao, bella! Welcome to the first stop on our Summer Jetset Series - Italy! Today Devin and Holly visit Venice and Positano together to understand the close relationship between love and death in Italy. Since the time of Shakespeare, the country has been a place of passion in literature (second only, perhaps, to France). They agree that regardless of your prior experience visiting the country, novels set in the country are always vivid, intriguing, and colorful.  Topics Discussed: The Dagger (4:19): Holly discussed Death at La Fenice by Donna Leon, a crime fiction novel set in Venice featuring the fictional hero Commissario Guido Brunetti. The book opens at the end of intermission at Teatro La Fenice; the conductor, Maestro Wallauer, has been poisoned and is dead on the floor of his dressing room. Holly's key takeaways were: The mystery of who killed the Maestro is a slow burn through the book. Brunetti's tactics are conversation focused, and the novel is the opposite of a templated popcorn thriller. That being said, it came together very effectively by the end.  Leon has lived in Venice for years and brought her experiences to the page; we get great behind-the-scenes looks at the Venetian opera house, excursions by canal around the city, and a colorful cast of Italian characters (most of whom are constantly smoking and drinking coffee)  This series is the Italian cousin to the Bruno Chief of Police series set in southern France; if you're a fan of Louise Penny you'll also likely enjoy these books!  The Heart (17:35): Devin discussed One Italian Summer by Rebecca Searle, a novel set in Positano that follows Katy Silver on a vacation that was intended as a mother-daughter trip. When Katy's mother dies before they can make it to the Amalfi Coast, Katy's entire sense of reality and herself is turned upside down. She is unsure if she wants to stay in her marriage, and uses the vacation to get some space. Devin's key takeaways were: This is essentially a time travel story; once Katy arrives, she meets her own mother (Carol) at 30 years old in the summer she had spent in Positano before meeting her husband and settling down. The time travel element isn't fully explained and the reader is left unsure of how Katy travels back and forth across decades (best not to think too hard on this and just enjoy the story).  Searle explores this mother-daughter relationship in-depth through the novel. Katy has a romantic fling as well, but ultimately the book posits that Carol is her soulmate. Katy must learn how to reframe herself as an individual, instead of as a bonded pair with her mother.  Regardless of the plot holes, this novel had such vivid descriptions of Positano, the hotels, the hills, the restaurants, even Katy's outfits, that the reader is fully drawn into the Italian adventure. The sense of place could not be stronger.  Hot On the Shelf (38:34): Holly: Decent People by De'Shawn Charles Winslow Devin: In the Lives of Puppets by TJ Klune What's Making Our Hearts Race (41:15): Holly: Libro.fm  Devin: Ted Lasso Season 3    Instagram: @heartsanddaggerspod Website: www.heartsanddaggerspod.com   If you like what you hear, please tell your friends and rate and review us on Apple Podcasts and Spotify so that we can find our perfect audience.

Le leggende proibite, una serie horror inventata da Amico Diverte. La fenice. Learn more about your ad choices. Visit megaphone.fm/adchoices

V današnji oddaji vas bomo najprej povabili na Festival Ljubljana, kjer se nocoj obeta prava operna poslastica. V Cankarjevem domu bo na ogled Puccinijeva opera Madame Butterfly v izvedbi operne hiše Gledališče La Fenice. Za vse filmoljubce pa se nocoj na ljubljanskem gradu začenja tradicionalni letni kino Film pod zvezdami, ki bo vse do 5. avgusta obiskovalcem ponudil izbor nekaterih najbolj odmevnih filmov pretekle kinematografske sezone, pa tudi pet povsem svežih predpremier in premier. Odprtje bosta zaznamovala dva slovenska filma – celovečerec Jezdeca režiserja Dominika Menceja in kratki film Babičino seksualno življenje Urške Djukič. Prelistali bomo tudi knjižne novsoti založbe Goga.

so se predstavili s koncertnim programom, imenovanim Preobrazbe.Bili smo še ne tretjem koncertu iz cikla Harmonia concertans, na katerem so zvenela dela Carla Friedricha Abla, sklepnem koncertu iz cikla Mozartine, v sklopu katerega je nastopila Beti Bratina in Orfeju in Evridiki – peti premieri v beneškem gledališču La Fenice.

Hablamos de temáticas relacionadas con la búsqueda de lo que se desea ser. Discriminación, violencia, ignorancia. La clave es el respeto. ECDQEMSD podcast episodio 5507 Sexualidad, Género e Identidad Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Noticias Del Mundo: La salud de AMLO - La mañanera de Adán - Turismo en Iztapalapa por Cablebús - Gasto bélico europeo - La osa italiana y el debate - Aniversario del Teatro Colón - Un debut catastrófico en La Fenice de Venecia - La Traviata de Verdi - Viendo el despegue desde Playa Bagdad Matamoros. Historias Desintegradas: Minorías y luchas - Comunidad LGTB más - Sentimiento y percepción - Con respeto no hay falla - Actitud defensiva - La Memoria de los Cuerpos - Huellas culturales - Ignorancia y malicia - De nombres e identidades - Programa potente - Autosatisfacción - Los pingüinos - Esas aves de elegante andar. https://www.canaltrans.com/ecdqemsd_podcast_2023/5507_sexualidad_genero_e_identidad.html En Caso De Que El Mundo Se Desintegre Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados: https://www.canaltrans.com/radio/suscripciones.html

Dopo 12 mesi non siamo migliorati ma continueremo cosi, si è una minaccia.

We are Traci and Ellie, two bookish friends who read in any spare minute that we have.  This week we are chatting about what we literally read in February!  To shop the books listed in this episode, visit our shop at bookshop.org.   Traci:  Shadow and Bone by Leigh Bardugo  A Lady's Guide to Fortune-Hunting by Sophie Irwin  The Measure by Nikki Erlick The Mystery of the Blue Train by Agatha Christie  Death at La Fenice by Donna Leon  Venco by Cherie Dimaline The Assassin's Blade by Sarah J. Maas All That is Mine I Carry with Me by William Landay  Address Unknown by Kathrine Kressman Taylor  The Spanish Love Deception by Elena Armas  Shrines of Gaiety by Kate Atkinson   The Secret History by Donna Tartt Ellie: The Measure by Nikki Erlick  The German Wife by Kelly Rimmer Finlay Donovan Jumps the Gun by Elle Cosimano  A World of Curiosities by Louise Penny  The Farewell Tour by Stephanie Clifford

Deben probar estas delicias: - Mao Mau, delicia de comida thai - Piedra de fuego, comida de playa - La Fenice, pizzas de talla mundialSee omnystudio.com/listener for privacy information.

Toh, guarda chi si risente! Con piacere e rinnovato entusiasmo ritorniamo a parlare di ciò che più ci piace, il pallone e la filosofia. E ritorna a farci compagnia anche il caro amico Matteo Mosciatti, con cui facciamo il punto della Serie A e rispondiamo - per la prima volta, inaugurando un nuovo appuntamento fisso - alle domande dei nostri amici ascoltatori. W il bel giuoco.

Miguel Ángel Santolaria nos cuenta la historia del emblemático teatro La Fenice de Venecia. Además escuchamos fragmentos de dos de las óperas que se estrenaron en ese coliseo: Rigoletto y La Traviata, en las voces de María Callas y Miguel Fleta.

Valentina Lisitsa, 'codardia cedere alla folla anonima'

durée : 00:25:06 - Guiseppe Verdi, La Traviata - par : Anne-Charlotte Rémond - Dans ce numéro de Musicopolis, Anne-Charlotte Rémond revient sur "La traviata", un opéra en trois actes de Giuseppe Verdi créé le 6 mars 1853 à La Fenice de Venise ! - réalisé par : Philippe Petit

Izpostavljamo prvi koncert za abonma Filharmonični klasični koncerti Slovenske filharmonije, koncerta ciklov Stara glasba na Novem trgu in Zvoki mladih ter postavitev Donizettijeve opere Hči polka v beneški operni hiši La Fenice. Napovedujemo še dogodek na Primorskem, Koper bo ta konec tedna v znamenju festivala Kitarika.

izpostavljamo četrtkov uvod v letošnjo sezono cikla Kromatika Simfonikov RTV Slovenija, na katerem je prvič zazvenelo novo delo Mateja Bonina z naslovom Eppur si muove IV. Sledi kratek skok v Maribor, kjer so prejšnjo sredo v sklopu Festivala Maribor s komornim programom nastopili sopranistka Nika Gorič, pianist Simon Trpčeski, violinist Benjamin Ziervogel in violončelist Gal Faganel. Nato predstavljamo novo sezono SNG Opere in baleta Ljubljana, strnili bomo vtise po orgelskem recitalu Šveda Gunnarja Igenstama v Srebrnem abonmaju, povzeli utrip ljubljanskega festivala zvočnih sprehodov, zvočnih dogodkov in refleksij To)pot ter poročali o klavirskem recitalu Danijela Breclja minuli petek v sklopu festivala Kogojevi dnevi v Kanalu ob Soči. Prav ob koncu oddaje bo na vrsti še nekaj panoramskih razgledov onkraj slovenskih meja; pokukali bomo v beneško operno hišo La Fenice in na World Choral Expo na Portugalskem.

DescriptionNeed a quick refresher on the plot of Verdi's Rigoletto? Take a minute to get the scoop!Fun FactRigoletto premiered on 11 March 1851 in a sold-out La Fenice as the first part of a double bill with Giacomo Panizza's ballet Faust. The opening night was a complete triumph, especially the scena drammatica and the Duke's cynical aria, "La donna è mobile", which was sung in the streets the next morning. It initially had a run of 13 performances and was revived in Venice the following year, and again in 1854. About StevenSteven is a Canadian composer living in Toronto. 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 website for more. Member of the Canadian League Of Composers.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show

Verdi AttilaSheet MusicGiuseppe VerdiVoice(s) and Piano AttilaAttila is an opera in a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the 1809 play Attila, König der Hunnen (Attila, King of the Huns) by Zacharias Werner. The opera received its first performance at La Fenice in Venice on 17 March 1846.About this Piece

Ceramica di Grottaglie e Haller Suites & Restaurant di Kranebitt.mp3Files per trasmissione di venerdì 19 novembre. In questa puntata ho parlato di: Ceramica di Grottaglie e Haller Suites & Restaurant di Kranebitt; Cantina Terlano e Pizzzeria contemporanea La Fenice; Cantina Settesoli e Adeo 2019 di Campo alla Sughe

Ready to escape to the City of Love - Venice, Italy?! Well, of course you are, who isn't! Today's episode provides books to take you on a Literary Escape to Venice. Books From Today's Episode 1. A Thousand Days in Venice by Marlena de Blasi   2, The Glassblower of Murano by Mariana Fiorato   3. The Aspern Papers by Henry James   4. Don't Look Now by Daphne du Maurier   5. A Year at Hotel Gondola by Nicky Pelligrino    6. Death at La Fenice by Donna Leon   7. The Merchant of Venice by William Shakespeare   8.  A Stopover in Venice by Kathryn Walker   9. The Villa by Nora Roberts   Links From Today's Episode Literary Escape Book Club 24 Books Set in Venice blog post

Hailed by the New York Times as a soprano of “gleaming sound, free and easy high notes, agile coloratura runs and lyrical grace,” Jessica Pratt is considered one of today's foremost interpreters of some of bel canto's most challenging repertoire.Since her European debut in 2007 as Lucia di Lammermoor, Ms Pratt's schedule has included performances at opera theatres and festivals such as the Teatro alla Scala of Milan, Zurich Opera, Deutsche Oper Berlin, the Vienna State Opera and the Royal Opera House Covent Garden, working with conductors such as Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Christian Thielemann, Donato Renzetti, Pier Giorgio Morandi, Carlo Rizzi, Antonino Fogliani, Wayne Marshall and David Parry.The 2012/13 season brought several acclaimed debuts at Festival Verdi in Parma, including Gilda to Leo Nucci's Rigoletto, at Deutsche Oper Berlin as Lucia, at Vlaamse Opera in New Year's Eve Concert, at Teatro de la Maestranza in Sevilla (Gilda, once more next to Leo Nucci), in the role of Matilde in Guillaume Tell next to Juan Diego Florez interpreting Arnold in Lima, Giulietta in I Capuleti e i Montecchi in Reims, in the role of Lisinga in Demetrio e Polibio of Rossini in Neaples, and in the role of the protagonist in Giovanna d'Arco at Festival della Valle d'Itria in Martina Franca.In the 2013/14 season Ms Pratt could be heard in new productions of Lucia di Lammermoor at La Scala and in Amsterdam, as Amina in La sonnambula in Bari, Gilda in Padova, in the season opening of La Fenice as Inès in Meyerbeer's L'Africaine, as Musetta in La Bohème in Salerno, in her role debut as Violetta in La Traviata in Melbourne, as Zenobia in Aureliano in Palmira at the Pesaro Rossini Opera Festival as well as in recitals in Tokyo and Florence with Vincenzo Scalera.In 2014/15 the soprano made her role debuts as Cleopatra in Handel's Giulio Cesare at the Teatro Regio in Turin and as Amenaide in Rossini's Tancredi at the Opéra de Lausanne. Other performances included Donna Anna in Don Giovanni and Giulietta in I Capuleti e i Montecchi at the Teatro La Fenice in Venice; Elvira in I Puritani in Florence and in Melbourne; Lucia di Lammermoor at the Rome Opera House and at the Festival Granda in Lima; her role and festival debut as Rosina in Il barbiere di Siviglia at the Arena di Verona, where she could also be heard as soprano soloist in Carmina Burana; the soprano solo in Rossini's Messa di Gloria alongside Juan Diego Florez and La morte di Didone at the Rossini Opera Festival; as well asconcerts in Milan, Bonn, and London.Performances of the 2015/16 season included Jessica Pratt's returns to Florence, Turin and Melbourne as Lucia di Lammermoor, her debuts at the Gran Teatre del Liceu Barcelona as Desdemona in Rossini's Otello, at the Palau de les Arts Reina Sofia Valencia in Mozart's Davidde penitente and at the ABAO Bilbao as Amina in La sonnambula, her role debuts as Semiramide at the Opéra de Marseille and later at the Washington Concert Opera and as Linda di Chamounix at the Rome Opera House; and concerts in Oviedo and Moscow.More recently, Semiramide and Rosmonda d'Inghilterra at the Florence Opera House, a concert with the Queensland Symphony Orchestra, Rosmonda d'Inghilterra at the Donizetti Festival Bergamo, her debut at the Metropolitan Opera House New York as Queen of the Night in The Magic Flute, and Rigoletto in Oviedo.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

DescriptionEver wondered where the term Bel canto came from? Take a minute to get the scoop!Fun FactDid you know that Dame Joan Alston Sutherland, was an Australian dramatic coloratura soprano noted for her contribution to the renaissance of the Bel canto repertoire from the late 1950s through to the 1980s? One of the most remarkable female opera singers of the 20th century, she was dubbed La Stupenda by a La Fenice audience in 1960 after a performance of the title role in Handel's Alcina. Her good friend Luciano Pavarotti once called Sutherland the "Voice of the Century".About StevenSteven is a Canadian composer living in Toronto. 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 website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

durée : 02:24:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Jacqueline Harpet et Giovanna Minelli - Avec Arnaldo Momo (metteur en scène), Giulia Mafai (maquilleuse), Giorgio Clanetti et Daniele Carrer (créateurs de masques), Donato Sartori (créateur de masques, laboratoire d'ambiance), Paolo Cossato (musicologue), Michela Brugnera (chanteuse), Madame Zandverdiani (costumière), Oscar Gabanotto (fabricant de marionnettes) et Alberto Semi (psychanalyste) - Nombreux extraits de spectacles enregistrés à Venise pendant le Carnaval aux Théâtres de l'Avogaria, del Mondo, Il Ridotto, La Fenice et Malibran - Réalisation Monique Burguière - réalisation : Virginie Mourthé

Komisaras Gvidas Brunetis yra visiškai normalus žmogus. Jo nekankina priklausomybės alkoholiui, narkotikams ar svaigalams. Nekamuoja praeities traumų šešėliai. Jis nelinkęs smurtauti, paleistuvauti ar kitaip nusidėti. G. Brunetis turi gražią šeimą: mylimą žmoną ir porą vaikų. Darbe neužsisėdi ir noriai leidžia laiką namuose, mėgaudamasis geru maistu, vynu bei literatūra. Tad jokios, kitiems literatūriniams tyrėjams būdingos ekstravagancijos. Vienintelis, bet pats svarbiausias neįprastumas – komisaras Brunetis dirba ir gyvena nuostabiojoje Venecijoje.Donna Leon savo knygų serijoje skaitytojus įtraukia į fantastišką, itališku koloritu pagyvintą detektyvo pasaulį. Nusikaltimą visada lydės vyno taurė, kelių patiekalų receptūros bei globalios socialinės-ekonominės temos. Na ir puikus, lengvai ir smagiai skaitomas tekstas. Puikus skaitinys vasaros atostogoms, ieškant ramybės, tikrumo, stabilumo (po)karantininiame pasaulyje. Drauge tai tiesiog kelionė.„Mažosios studijos knygų klube” Jogilė Ulinskaitė, Ieva Daniūnaitė ir Vladas Liepuonius aptaria amerikiečių autorės (jau daug metų gyvenančios Venecijoje) pirmąją serijos knygą „Mirtis la Fenice teatre” (iš anglų kalbos vertė Joana Vanagienė, Charibdė, 2000). Spektaklio pertraukos metu, pasaulinio garso dirigentui Helmutui Velaueriui, kažkas į kavą šliūkštelėjo cianido. Gvidas Brunetis aiškinasi koks žmogus buvo maestro, tuo pačiu skaitytoją pažindindamas su operos pasaulio užkulisiai.

Kim's  career has taken her from Broadway to the West End to the international concert stage, resulting in a most unusual career path unmatched by any other singer. She continues to specialize in musical theatre, bringing the classic American songbook to leading music venues across the world, both in symphony settings and recital.  She has sung at La Scala in Milan, La Fenice in Venice, the Teatro di San Carlo in Naples, the Accademia Nazionale Santa Cecilia in Rome, the Théâtre du Châtelet and the Opéra Comique in Paris, Concertgebauw in Amsterdam, Carnegie (Weill) Recital Hall in New York, the Musikverein, Konzerthaus and Volksoper in Vienna, the Berliner Philharmonie, the Teatro Nacional de São Carlos in Lisbon, the Snape Maltings Concert Hall in Aldeburgh, and the Mariinsky Theatre in St. Petersburg, not to mention multiple appearances in London at the Wigmore Hall, the Royal Albert Hall, the Barbican, the Royal Festival Hall, the Queen Elizabeth Hall, the Purcell Rooms, Cadogan Hall, and the Linbury Studios at the Royal Opera House, and elsewhere, from Reykjavik, Helsinki, Leipzig and Kaiserslautern, to Athens, Essen, Gothenburg and Bremen, to Tel Aviv, Jerusalem, Hong Kong, Malta, Montpellier, and Moscow, giving her a unique platform among interpreters of the musical theatre repertoire.She has had the pleasure of singing with many of the world's greatest symphony orchestras, ranging from the Berlin Philharmonic and City of Birmingham Symphony Orchestras conducted by Sir Simon Rattle, with whom she has recorded Leonard Bernstein's Wonderful Town in a version that then was repeated as a BBC Proms concert, and as the New Year's Eve Gala in Berlin, to the London Symphony Orchestra, the London Philharmonic Orchestra, the Philharmonia and London Sinfonietta, the Liverpool Philharmonic, the Northern Sinfonia, the Leipzig Gewandhaus, the Orchestre National de Lyon, the Orchestre de Picardie, the Orchestra della Toscana, the Hong Kong Philharmonic, the Toronto and Winnipeg Symphonies, and many, many more. Kim has formed several lasting musical partnerships over the years, leading to both concert and recording opportunities. Conductor/music historian John McGlinn brought her to EMI Classics, which led to several recordings and a personal recording contract, as well as many symphony concerts across America and Europe. With conductor John Wilson, she has explored the world of film music across the UK in concert, including the very popular MGM and Rodgers and Hammerstein Proms concerts, and several solo evenings. Her ongoing recital partnership with conductor/pianist Wayne Marshall has taken the pair to many of the great concert venues in Europe, both as recitalists and in full symphony settings.  Other conductors she has appeared with include Kristjan Jarvi, , Leonard Slatkin, Marin Alsop, Yutaka Sado, Keith Lockhart, Ulf Schirmer, John Axelrod, Kevin Farrell, Carl Davis and Richard Hickox, to name a few.Critically acclaimed for playing “Annie Oakley” in Annie Get Your Gun at London's Prince of Wales Theatre, for which she earned a Olivier Award nomination for Best Actress in a Musical, and for her role as “The Old Lady” in Robert Carsen's productions of Candide at La Scala and the Théâtre du Châtelet, she has also won a Helen Hayes Award for her work in Side by Side by Sondheim. She also starred as “Sally Adams” in Call Me Madam at the Goodspeed Opera House, singing the role of “The Old Lady” in Candide at Chicago's Ravinia Festival, and co-starring with Joseph Fiennes and Charles Edwards in Happy Days in the Art World at NYU's Skirball Center in New York.Kim's Broadway credits include starring as “Lucy”, opposite Sting, in the 3 Penny Opera directed by John Dexter, and appearing in the original Broadway cast of 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Star

durée : 00:25:08 - Jean Tubéry, directeur musical de l'ensemble La Fenice (4/5) - par : Christophe Dilys - réalisé par : Christine Amado

durée : 00:25:11 - Jean Tubéry, directeur musical de l'ensemble La Fenice (1/5) - par : Christophe Dilys - Premier volet de nos entretiens avec le cornettiste et chef d'orchestre Jean Tubéry. Il est né à Toulouse en 1964 et a fondé l'ensemble La Fenice en 1990. Depuis, il explore au cornet à bouquin et à la direction tout le répertoire italien du début du XVIIe siècle, mais pas seulement... loin de là ! - réalisé par : Christine Amado

Geronimo Mon, 19 Apr 2021 09:35:00 GMT RSI - Radiotelevisione svizzera false no La guerra d'indipendenza gr