Podcasts about La traviata

(00:50) «La Traviata» von Giuseppe Verdi ist eine der beliebtesten Opern überhaupt. Im Grand Théâtre in Genf steht sie jetzt wieder auf dem Spielplan - in einer aktualisierten Fassung. Regisseurin Karin Henkel erzählt die Geschichte aus einer weiblichen Perspektive. Weitere Themen: (05:05) Schwimmendes Museum auf dem Vierwaldstättersee - auf dem Dampfschiff «Schiller» wird eine Ausstellung zu Goethe und seiner Liebe zur Schweiz gezeigt. (11:21) Fabel über den Krieg - der poetische Film «Hôtel Silence» erzählt von einem Mann, der auszieht, um Dinge zu reparieren - und sich selbst. (15:30) Vermächtnis eines engagierten Schriftstellers - in seinem posthum erschienenen Essayband «Zeiten der Scham» ergründet der österreichische Autor Martin Pollack politische und persönliche Themen. (19:44) Gitarrist zu Gast im Studio - der österreichische Musiker Wolfgang Muthspiel war für die Veranstaltungsreihe «Public Recordings @ SRF» zu Besuch in Basel.

Sinopsis:«Una de las mejores historias de amor de todos los tiempos», según Henry James, y la inspiración para la ópera La Traviata, de Verdi, y el musical ganador del Oscar Moulin Rouge, entre otras. Conocida por todos como La dama de las camelias porque nunca se la ve sin sus flores favoritas, Marguerite Gautier es la cortesana más bella, descarada y cara de todo París. Pero a pesar de tener muchos amantes, nunca ha amado realmente, hasta que conoce a Armand Duval, un joven guapo y perdidamente enamorado de ella. Ambientada en la Francia de mediados del siglo XIX, la novela narra la historia de amor entre Marguerite y Armand, un joven burgués que se enamora de ella y la convence de dejar su vida de cortesana para vivir con él en el campo. Esta existencia idílica es interrumpida por el padre de Armand, quien, preocupado por el escándalo creado por la relación ilícita y temeroso de que destruya las posibilidades de matrimonio de la hermana de Armand, convence a Marguerite para que se vaya y lo abandone. La dama de las camelias es una novela semiautobiográfica basada en la breve historia de amor del autor Alejandro Dumas, hijo, con la cortesana Marie Duplessis.Autor: Alejandro Dumas HijoEditorial Del FondoReseña por @celinacocimano

durée : 02:29:04 - France Musique est à vous du samedi 10 mai 2025 - par : Gabrielle Oliveira-Guyon - Au programme de l'émission d'aujourd'hui : un enregistrement de 1942 de la 9ème symphonie de Beethoven par Furtwängler, Les Contes d'Hoffmann d'Offenbach (par Bourvil !), la voix de Pretty Yende dans La Traviata et Let's do it de Cole Porter chanté par Ella Fitzgerald - réalisé par : Delphine Keravec

Today on Artful Living, Jane welcomes Joshua Collier, Director of Opera Vermont.  They discuss Opera Vermont's upcoming production of the classic opera, "La Traviata".  If you enjoy opera, THIS is the show for you!   

A cura di Paolo PellegriniGiuseppe Verdi, La TraviataVioletta Valery, Maria CallasFlora Bervoix, Silvana ZanolliAnnina, Luisa MandelliAlfredo Germont, Giuseppe di StefanoGiorgio Germont, Ettore BastianiniGastone, Giuseppe ZampieriDottore Grenvil, Silvio MaionicaBarone Douphol, Arturo La PortaMarchese d'Obigny, Antonio ZerbiniCoro e Orchestra del Teatro alla Scala, MilanoCarlo Maria Giulini, direttore1955(LI)Presentazione di Nicola Guerini

La Traviata, Rigoletto... tout le monde connait les opéras italiens de Verdi. Ce qu'on sait moins, c'est que certaines de ses œuvres furent créées à Paris en... français ! Mais quelle histoire lie la langue française à l'opéra italien ?  Don Carlos est un opéra de Verdi basé sur un drame du poète Friedrich Von Schiller et qui raconte les amours contrariées entre Elisabeth de Valois et Don Carlos, le prince héritier. C'est aussi une pièce politique qui pointe le pouvoir tyrannique de Philippe II, mais aussi le pouvoir de l'Église avec le personnage de l'Inquisiteur.  Cet opéra a été créé en français à Paris en 1867. Les compositeurs italiens sont tous passés par Paris vers la fin de leur carrière pour profiter de conditions de travail offertes par l'Académie Royale.Triompher à Paris au dix-neuvième siècle était le point d'orgue de la carrière, la consécration suprême à condition de produire des œuvres en français !Damien Colas-GalletÀ l'époque, l'opéra fonctionnait un peu comme la Comédie française : avec une troupe et un cahier des charges très exigeant. On ne pouvait composer en italien qu'au théâtre italien…  L'opéra a ensuite été raccourci et renommé Don Carlo dans sa version italienne. Le ballet a été « coupé », le Iᵉʳ acte a également été coupé. En abrégeant l'opéra, il a dû modifier certaines parties comme le duo entre Philippe II et le Marquis de Posa... Le duo était à l'origine composé « à la mode italienne » mais cela ne fonctionnait pas en français.             Pour les compositeurs, modifier une œuvre pour la réadapter était donc un défi ! Tant sur le fond que sur la langue… Il faut parfois travailler la prononciation et la stylistique. Passer d'une langue à l'autre en opéra est un travail énorme et passionnant ! La langue influence sur la couleur de la voix et sur l'expression. Tout le défi était qu'ils ne sentent pas entravés dans la manière de chanter les phrases ! Sandra Westphal Au XXe siècle, on a favorisé de nouveau la langue d'origine : langue italienne ou langue allemande. ► Invités : Damien Colas-Gallet, directeur de recherche au CNRS, musicologue et spécialisé sur l'opéra italien.   Sandra Westphale, pianiste, cheffe de chant à l'Opéra de Paris. Le chef de chant est un pianiste qui participe à tout le travail artistique qui se prépare avant l'arrivée de l'orchestre, qui joue la participation au piano pour faire travailler les chanteurs. Elle a travaillé sur le Don Carlos de Verdi, mis en scène par Krzysztof Warlikowski et actuellement joué à l'Opera Bastille.   Avec également le témoignage de Charles Castronovo, ténor lyrique américain qui joue le rôle de Don Carlos. Propos recueillis par Cécile Lavolot. ► Programmation musicale : L'artiste Anna Madjinson avec le titre Rose épine.

La Traviata, Rigoletto... tout le monde connait les opéras italiens de Verdi. Ce qu'on sait moins, c'est que certaines de ses œuvres furent créées à Paris en... français ! Mais quelle histoire lie la langue française à l'opéra italien ?  Don Carlos est un opéra de Verdi basé sur un drame du poète Friedrich Von Schiller et qui raconte les amours contrariées entre Elisabeth de Valois et Don Carlos, le prince héritier. C'est aussi une pièce politique qui pointe le pouvoir tyrannique de Philippe II, mais aussi le pouvoir de l'Église avec le personnage de l'Inquisiteur.  Cet opéra a été créé en français à Paris en 1867. Les compositeurs italiens sont tous passés par Paris vers la fin de leur carrière pour profiter de conditions de travail offertes par l'Académie Royale.Triompher à Paris au dix-neuvième siècle était le point d'orgue de la carrière, la consécration suprême à condition de produire des œuvres en français !Damien Colas-GalletÀ l'époque, l'opéra fonctionnait un peu comme la Comédie française : avec une troupe et un cahier des charges très exigeant. On ne pouvait composer en italien qu'au théâtre italien…  L'opéra a ensuite été raccourci et renommé Don Carlo dans sa version italienne. Le ballet a été « coupé », le Iᵉʳ acte a également été coupé. En abrégeant l'opéra, il a dû modifier certaines parties comme le duo entre Philippe II et le Marquis de Posa... Le duo était à l'origine composé « à la mode italienne » mais cela ne fonctionnait pas en français.             Pour les compositeurs, modifier une œuvre pour la réadapter était donc un défi ! Tant sur le fond que sur la langue… Il faut parfois travailler la prononciation et la stylistique. Passer d'une langue à l'autre en opéra est un travail énorme et passionnant ! La langue influence sur la couleur de la voix et sur l'expression. Tout le défi était qu'ils ne sentent pas entravés dans la manière de chanter les phrases ! Sandra Westphal Au XXe siècle, on a favorisé de nouveau la langue d'origine : langue italienne ou langue allemande. ► Invités : Damien Colas-Gallet, directeur de recherche au CNRS, musicologue et spécialisé sur l'opéra italien.   Sandra Westphale, pianiste, cheffe de chant à l'Opéra de Paris. Le chef de chant est un pianiste qui participe à tout le travail artistique qui se prépare avant l'arrivée de l'orchestre, qui joue la participation au piano pour faire travailler les chanteurs. Elle a travaillé sur le Don Carlos de Verdi, mis en scène par Krzysztof Warlikowski et actuellement joué à l'Opera Bastille.   Avec également le témoignage de Charles Castronovo, ténor lyrique américain qui joue le rôle de Don Carlos. Propos recueillis par Cécile Lavolot. ► Programmation musicale : L'artiste Anna Madjinson avec le titre Rose épine.

Carlos Mazón celebró en la clandestinidad la última cena con sus apóstoles en Alacant. Barcala no acudió. María José Catalá tampoco. Y es que Zaplana y el Pare Camps, Camps y Zaplana, se han dejado fotografiar -aquí te pillo, aquí te mato- para enviarle un poderoso y entrañable mensaje a Mazón: "Nosotros dos juntos llegaremos mucho más lejos que tú. Y además, ¡ya hemos resucitado más de una vez!" Sí. Hay varios Judas. Y más de treinta monedas: 70.000. Amén. Trump. La Ilustración Oscura. Cómo eliminar cucarachas usando su mayor debilidad. Una ducha helada a toda presión.  La verdad, no me veo a El Guapo besándole el culo a Trump -Abascal está fuera de concurso-. Aunque tampoco acabo de ver del todo a Pedro Sánchez ni a Xi Jinping lavándole a Trump su precioso y sedoso pelo a lo Meryl Streep, o lo que sea. ¡Aunque sea la campanilla! La Dama y el Vagabundo. La niña de la cabra y el Hermano Lobo. Miguel y Bosé.  Salomé Pradas y Carlos Mazón. Ayer, en les Corts, el president -de El Ventorro a Picassent- Mazón calentó la declaración de la dulce y tierna Salomé. Sí, Salomé Pradas, Salomé salomónica tarareando, ensayando La Traviata. Carlos y Camila visitan al papa. Prada compra Versace. La infanta Sofía se libra del servicio militar. ¡Jope! ¿A qué huele Sant Vicent Ferrer? ¿A la caza de cotorras? ¡NoooOOOOO! A temps de Pasqua: titaina, el sambori, mandonguilles d'abadejo, mones, ous durs, llonganissa… i a empinar el catxerulo. Arcaya, el seu aspersor i la princesa Leonor… ¡al mateix contenidor!

Interview réalisée au studio de la radio par Eliane Pérus.Le ténor Frank GRIMAUD évoque son parcours : études de cuisine, reconversion en informatique et base de données ,  son travail actuel à 'Observatoire Midi Pyrénées en sismologie. A découvrir !Parallèlement il découvre sa voix, intègre des chœurs puis  chante dans "Carmen" ou "La Traviata" .Avec Alina BAROUILLET, pianiste, ils fondent "PIANISTENOR" pour  rendre accessible la musique classique et l'opéra à des publics éloignés des grandes scènes. Dans ce cadre, il dirige des ateliers de technique vocale.Le 6 avril 2025 à 16h, avec l'octuor "In terra pax" il interprètera le "Requiem" de MOZART en l'église St Jean à Tarbes. Huit voix, un piano, un violon, un violoncelle.....Autre spectacle prévu avec "Les Chanteliers" le 27 avril à la Halle aux Grains de Bagnères de Bigorre en hommage à Edmond DUPLAN . Il en  assure l' écriture et la mise en scène.Extraits musicaux du concert en la cathédrale St Etienne de Toulouse  que vous entendrez durant le podcast.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Chef-d'œuvre du romantisme, La Traviata a fait son retour à l'OnR après plus de 10 ans d'absence. Amélie Niermeyer voit en Violetta une héroïne de notre temps, festive et excessive. L'action se déroule de nos jours, dans un décor contemporain : une vieille usine devenue le théâtre d'extravagantes soirées organisées par la haute société. Le chef d'orchestre Christoph Koncz dirige pour la première fois dans un opéra l'Orchestre national de Mulhouse, dont il est directeur musical. Le rôle de Violetta est confié à la jeune soprano italienne Martina Russomanno (en alternance avec Julia Muzychenko vue l'an dernier dans Le Conte du Tsar Saltane)

Us heu preguntat mai quines s

A year and a half ago, I posted an episode on Robert Massard, the finest French baritone of his era, and one of the finest French baritones of all time. Today, in honor of his upcoming hundredth birthday later this year, I present him in a different repertoire (and therefore a different light). As was very much the custom of the day in French opera houses, Massard sang many of his non-French roles in translation. This was also very much the standard in German-language opera houses in the 50s and 60s. Massard's recorded legacy includes Italian operas sung in the original language as well as in French translation. No matter what language he was singing in, Massard was a master of bel canto as well as buffo patter. This episode includes arias and duets from Il barbiere di Siviglia, I Puritani, Lucie de Lammermoor, Le Comte Ory, La Traviata, Don Carlos, Un bal masque, La bohème, Cavalleria rusticana, and Andrea Chénier, as well as extended scenes from both Rigoletto (in and out of French!) and Falstaff. I also include a clip of Massard's contemporary and compatriot Gabriel Bacquier singing an excerpt of one of his greatest Verdi parts, Iago in Otello. Massard's vocal colleagues in these excerpts include Alain Vanzo, Peter Glossop, and Renée Doria. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Entrevista a Salvador Vázquez, director de la Orquesta de Córdoba. Ópera La Traviata en el Gran Teatro de Córdoba

durée : 01:29:10 - Victoria de los Ángeles, soprano éblouissante - par : Aurélie Moreau - Soprano très demandée à l'opéra comme au concert, Victoria de los Ángeles avait à cœur de chanter le répertoire espagnol et admirait la culture française : Carmen en est une alliance, au programme aujourd'hui, avec La Vie brève, Faust, La Traviata…

Next month, the music of La Traviata will be coming to Opera Idaho with two special performances. 

Award-winning director Michael Mayer has worked in a broad spectrum of media from theatre and opera to television and film. Current theatre: Swept Away, a new musical featuring songs of The Avett Brothers which opened November 19, 2024 on Broadway, the hit revival of Little Shop of Horrors now playing at the Westside Theatre, the national tour of his hit Broadway revival of Funny Girl (which starred Lea Michele) and the national tour of A Beautiful Noise: The Neil Diamond Musical, which recently ended its Broadway run.  Recent opera:  Jeanine Tesori and George Brant's new opera Grounded which opened the Metropolitan Opera season on September 23, 2024 with performances running until October 19. Upcoming opera: a new production of Aida at the Metropolitan Opera this season opening on December 31, 2024. Other Broadway credits include Adam Driver and Keri Russell in Burn This, Head Over Heels (featuring the songs of The Go-Go's), Neil Patrick Harris in Hedwig and the Angry Inch (Tony Award, best musical revival, also National Tour), Spring Awakening (Tony Award/Best Musical and Tony, Drama Desk and Outer Critics Circle Awards for Best Director; also London, National Tour, Vienna, Tokyo, and Seoul productions); Green Day's American Idiot (also co-author, Drama Desk Award for Best Director; also US, UK and Asia tours); Thoroughly Modern Millie (Tony Award/Best Musical also London and National Tour), Side Man (Tony Award/Best Play also London and Kennedy Center Productions),  A View from the Bridge (Tony Award/Best Revival),  Michael Moore's The Terms of My Surrender, Everyday Rapture, You're a Good Man, Charlie Brown, and Triumph of Love; off-Broadway credits include Lin-Manuel Miranda's 21 Chump Street (BAM), Chess (Kennedy Center), Love, Love, Love (Roundabout), Brooklynite (Also co-author, Vineyard), Whorl Inside A Loop (with Dick Scanlan, Second Stage), 10 Million Miles (Atlantic): Angels in America. London: a record-breaking West End run of Funny Girl and a UK tour. Tokyo: As You Like It (Toho Theatre). Film: A Home at the End of the World (Excellence in filmmaking, National Board of Review, GLAAD nomination), Single All the Way for Netflix, Flicka, The Seagull. He was featured in both the documentaries Those You've Known on HBO and Broadway Idiot. Television credits Include: SMASH (Pilot, producing director: Season One), two seasons of Alpha House (Amazon), and producer for the HBO film WIG. He made his Metropolitan Opera debut with a celebrated new production of Rigoletto, followed by a co-production (with the English National Opera) of Nico Muhly's Marnie, and a new production of La Traviata, which broke box office records. He directed the world premiere of Jeanine Tesori's Grounded at the Washington National Opera. Grounded  opened the Met's 24/25 season on September 23, 2024, and his new production of Aida will premiere at the Met on New Year's Eve 2024.  Additional Awards and fellowships: the inaugural Daryl Roth Creative Spirit award, Drama League Founders Award, Jefferson, Ovation, Alan Schneider, and Carbonell awards;  Fox Foundation, Drama League and TCG/NEA Directing Fellowships.   He serves on the Boards of SDC (Stage Directors and Choreographers Society) and the Arthur Miller. Photos by Sergio Villarini for Broadway.Com- assisted by BrookeBellPhoto Learn more about your ad choices. Visit podcastchoices.com/adchoices

Shortly before he died, Japanese composer Ryuichi Sakamoto performed a piano concert called Kagami – which was filmed and recorded with mixed reality technology. Thanks to that, the audience can see and hear Sakamoto play on a level of reality which pushes the boundaries of what a concert can be. Todd Eckert was a friend of Sakamoto and through his company Tin Drum, is pioneering this tech for the stage. The tragic heroine Violetta, from La Traviata, is one of the most iconic roles in opera.  Samantha Clarke is reprising her much acclaimed performance as the ill-fated courtesan for Opera Australia's La Traviata and explains why Violetta is so dear to her. She also sings the breathtaking aria Addio del passato for us, accompanied by Brian Castles-Onion.For generations, Yolngu met and traded with other seafaring people in the top end of the continent. From this, language and songs, stories and more was exchanged. Now the Yolngu songman and dancer Banula  Marika and choreographer Rachael Wallis are collaborating with First Nations artists from Taiwan, including Suming Rupi … for a show called Gapu Ngupan (Chasing the Rainbow) at Asia TOPA in Melbourne.

Certains des plus grands chefs-d'œuvre de la musique ont d'abord été accueillis par des huées, des scandales et des rires moqueurs . Cet épisode explore les réceptions tumultueuses de plusieurs opéras légendaires. Pelléas et Mélisande de Claude Debussy choque par son audace musicale et même provoque une querelle entre Debussy et Maurice Maeterlinck , prêts à en venir au duel. En 1954, Déserts d' Edgar Varèse scandalise le public avec ses fils avant-gardistes, retransmis en direct à la radio. Le Barbier de Séville de Rossini , pourtant aujourd'hui adoré, connaît une première catastrophe, entre rires et incidents de scène. La Traviata de Verdi , mal servie par une distribution inadaptée, est tournée en ridicule avant de triompher un an plus tard. À travers ces histoires, Hélios Azoulay revient sur la résistance du public face à l'innovation musicale. Réalisation Axelle Thiry. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Friedrich, Uwe www.deutschlandfunk.de, Kultur heute

Friedrich, Uwe www.deutschlandfunkkultur.de, Fazit

A sample from a lecture on Patreon for patrons only for one year: We trace the strugles of Venice, through conquest, revolution, and depression, to fashion a place for itself in the modern world, to channel or keep at bay the new floods -- of rising seas, of diseased canals, and of tourist hordes -- and most of all, to somehow square the circle of preservation and modernity. Sign up as a patron at any level to hear this lecture: https://www.patreon.com/posts/impossible-city-121039973 Image: The Palazzo dei Camerlenghi & Rialto Bridge on the Grand Canal in the flood of Nov. 4, 1966 Intro music: Giuseppe Verdi, La Traviata, overture Closing music: Giuseppe Verdi, La Traviata, brindisi / drinking song

This Day in Legal History: Gary Gilmore ExecutedOn January 17, 1977, Gary Gilmore was executed by firing squad in Utah, becoming the first person to be put to death in the United States after a 10-year pause in capital punishment. This execution followed the Supreme Court's landmark 1976 decision in Gregg v. Georgia, which reinstated the death penalty under revised statutes that addressed prior concerns about arbitrariness and fairness. Gilmore had been convicted of two murders committed during robberies in Utah and notably refused to appeal his death sentence, demanding instead that it be carried out promptly.His case drew significant public and media attention, particularly as it coincided with the reopening of the death penalty debate in the U.S. After the Supreme Court's 1972 decision in Furman v. Georgia temporarily invalidated capital punishment, states had revised their laws to provide more structured sentencing guidelines. Gilmore's execution marked the first test of those reforms.The event reignited intense national debates over the morality, fairness, and efficacy of capital punishment. Proponents argued that it served as a deterrent and a just response to heinous crimes, while critics questioned its alignment with human rights principles and pointed to racial and socioeconomic disparities in its application. The firing squad method itself sparked further controversy over humane execution practices.Gilmore's case also influenced popular culture, inspiring Norman Mailer's Pulitzer Prize-winning book The Executioner's Song. His willingness to accept the penalty became a focal point in discussions about agency and justice within the death penalty system. The debates sparked by his execution continue to shape U.S. legal discourse, reflecting unresolved tensions over capital punishment in the American legal system.Pam Bondi, Trump's pick for attorney general, disclosed a net worth of $12.2 million, including nearly $3 million in Trump Media shares received after the public debut of Truth Social's parent company last year. Her financial disclosures, submitted during the Senate confirmation process, revealed significant earnings linked to Trump-related entities since leaving public service in 2019. Bondi earned $1.1 million as a lobbyist with Ballard Partners, a firm led by Trump fundraiser Brian Ballard, and $520,000 from the Trump-affiliated America First Policy Institute.She also reported earning $203,738 in 2024 as a lawyer with Panza, Maurer & Maynard, where her clients included Pfizer. Bondi's stake in Trump Media Technology Group includes $3 million in stock and warrants valued at $3.9 million as of December 2024, acquired as compensation for consulting services. Her financial disclosures showed $1.7 million in liabilities, largely from real estate mortgages and notes payable to relatives. Democrats expressed concerns about her close ties to Trump during her Senate hearing, questioning her independence if confirmed as attorney general.Trump AG Pick Bondi Discloses $3 Million in Truth Social StockDemocratic attorneys general are preparing to defend key Biden administration policies as Donald Trump is set to begin his second term as president. With Trump's plans to reverse rules on immigration, the environment, and transgender rights, AGs from over a dozen states, including California, New Jersey, and Michigan, have moved to intervene in legal cases. One major effort involves defending a Biden rule providing health insurance to immigrants brought to the U.S. as children, which is currently challenged by Republican AGs.These Democratic coalitions are also seeking to uphold Biden-era regulations on environmental protections, gun dealers, and firearm devices that allow rapid firing. New Jersey AG Matt Platkin emphasized their focus on protecting residents' rights and ensuring Trump's administration adheres to the rule of law. This strategy mirrors actions during Trump's first term when Democratic AGs filed 155 lawsuits against his policies, achieving an 83% success rate. However, the current legal landscape presents new challenges, with a more conservative judiciary shaped by Trump's earlier appointments. Democratic AG offices, however, are now more experienced, having honed their strategies in prior legal battles. Political experts anticipate numerous lawsuits targeting executive actions Trump may issue early in his term.Democratic states brace for Trump by launching defense of Biden policies | ReutersIn the latest development of the ongoing saga surrounding 97-year-old Judge Pauline Newman, the Federal Circuit's Judicial Council has dismissed her appeal against suspension as "meritless." In a brief filed with the DC Circuit, the Council, alongside the Department of Justice, argued that Newman's claim—that her suspension amounts to unconstitutional removal without impeachment—should be rejected under the Judicial Conduct and Disability Act.Judge Newman, the oldest active federal judge, was suspended after refusing to cooperate with an investigation into her mental fitness. Her second one-year suspension from hearing new cases remains in effect, though the government maintains it is not permanent and could be lifted if she agrees to participate in the inquiry. Newman has challenged the suspension through administrative proceedings and an appeal in the DC Circuit, where her court, known for its jurisdiction over patent cases, is also located.The brief, representing Chief Judge Kimberly A. Moore and the Judicial Council, asserts that Congress distinguishes temporary suspensions from removal. Newman's legal team, the New Civil Liberties Alliance, continues to argue her case.97-Year-Old Judge's Suspension Appeal 'Meritless,' Council SaysThe Biden administration will leave enforcement of the TikTok ban to the incoming Trump administration, signaling no immediate action to force the app offline when a new law targeting the platform takes effect. While TikTok itself could shut down to highlight the law's impact on its 170 million U.S. users, the Biden administration stated it will not enforce the ban, instead emphasizing that TikTok should operate under American ownership. The law imposes penalties on tech companies like Apple and Google if they continue providing services to TikTok while it remains under ByteDance's ownership, exposing them to significant financial risk. However, any delay in enforcement would require the president to grant an extension under strict conditions, none of which TikTok has met. Efforts in Congress to extend the deadline have stalled, with security concerns raised by lawmakers like Senator Tom Cotton blocking attempts to provide ByteDance with more time to divest.President-elect Trump has signaled openness to negotiating a resolution to keep TikTok operational, citing its value to his campaign and young voters. Discussions within his team include a potential executive order to delay the ban while exploring ways to safeguard user data. The Supreme Court has yet to issue a ruling on the law, though justices have expressed concerns about national security risks tied to TikTok's Chinese ownership. Meanwhile, Democratic leaders, including Senator Chuck Schumer, are urging further action to balance security, privacy, and the platform's continued availability.Biden administration will leave it to Trump to implement TikTok ban - ABC NewsThis week's closing theme is by Giuseppe Verdi (1813-1901). Verdi is one of the most celebrated composers in the history of opera, renowned for his ability to blend dramatic storytelling with deeply emotive music. A central figure in 19th-century Italian opera, Verdi's works, including La Traviata, Rigoletto, and Aida, remain staples of the repertoire worldwide. His music often reflected his passion for Italian nationalism and human emotion, making his operas timeless in their appeal. Among his earliest triumphs was Nabucco (1842), a work that established him as a leading composer and marked the start of his long and illustrious career.Nabucco, Verdi's third opera, tells the story of the plight of the Israelites under the rule of the Babylonian King Nebuchadnezzar (Nabucco). Its overture, a brilliant instrumental prelude, captures the opera's dramatic intensity and stirring themes. The piece begins with ominous, foreboding chords that hint at the struggles to come, followed by a sweeping and heroic melody that reflects the resilience and hope central to the story. The overture's dynamic shifts and richly textured orchestration showcase Verdi's ability to infuse orchestral music with the same dramatic power found in his vocal writing.Notably, Nabucco became a symbol of Italian unification during the Risorgimento, with its famous chorus "Va, pensiero" resonating as an anthem of liberation. While the overture does not include this iconic melody, it captures the essence of the opera's emotional and political undertones. As this week's closing theme, the Nabucco overture offers a perfect blend of drama, passion, and triumph, embodying Verdi's mastery and the timeless power of his music.Without further ado, Giuseppe Verdi's overture from Nabucco. 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

Violetta: Pilar Lorengar Alfredo: Luigi Alva Germont: Sherrill Milnes Conductor: Fausto Cleva 1 November 1967 Metropolitan Opera In-house recording

Violetta: Joan Sutherland Alfredo: Giacomo Aragall Germont: Sherrill Milnes Conductor: Richard Bonynge 12 October 1970 Metropolitan Opera In-house recording

Violetta: Jeannette Pilou Alfredo: Luigi Alva Germont: Robert Merrill Conductor: Jan Behr 18 November 1967 Metropolitan Opera In-house recording

Violetta: Montserrat Caballé Alfredo: Richard Tucker Germont: Cornell MacNeil Conductor: Fausto Cleva 18 September 1967 Metropolitan Opera In-house recording

Violetta: Virginia Zeani Alfredo: Bruno Prevedi Germont: Robert Merrill Conductor: Georges Prêtre 12 November 1966 Metropolitan Opera In-house recording

Frank talks about the celebratory reactions to the murder of the CEO of UnitedHealthcare. He moves on to talk with Cristina Fontanelli, an actress, opera singer and television presenter. They talk about Italy, languages and opera. Frank later gives the UFO Report on drones spotted over New Jersey being a subject of investigation for both local law enforcement and the FBI. Learn more about your ad choices. Visit megaphone.fm/adchoices

Manuel Llamas repasa la declaración de Víctor de Aldama implicando a todo el Gobierno y exige la dimisión de Pedro Sánchez

Erste Neuinszenierung am OPAL, der Oper am Luisenpark: Luise Kautz inszeniert Verdis Meisterwerk. Vor allem begeistert das Dirigat von Generalmusikdirektor Roberto Rizzi Brignoli.

[@ 4 min] It's a Tenor Double Header! We go inside the huddle with two singers making their North American debuts in lead roles. First up, Mexican-American tenor Galeano Salas, who is set to co-star in La Traviata in Detroit opposite FOS Emily Pogorelc. Then, we speak to baroque specialist Antonin Rondepierre, who sings a title role in Acis and Galatea at Opera Atelier. [@ 52 min] Plus, in the ‘Two Minute Drill'…Warning: Naked Nuns Roller Skating may induce nausea….And the New York Times critics may induce tantrums. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Last week, absorbed in preparations for my own birthday, I passed over the birthday of the great Giuseppe Verdi, born 10 October 1813. Two years ago I produced a pair of Verdi episodes, and today I feature the one first published as a bonus episode at that time, which features duets from Luisa Miller, Il Trovatore, La Traviata, Rigoletto, Otello, and Falstaff. In the spirit of my two recent episodes “Requiescat” and “In Pace,” I had the brilliant idea of highlighting great Verdi singers (and one conductor) who died in Octobers past, including: Joan Sutherland (October 10, 2010); Eleanor Steber (October 3, 1990); Montserrat Caballé (October 6, 2018); Vladislav Piavko (October 6, 2020); Rosanna Carteri (October 25, 2020); Leonard Bernstein (October 14, 1990); Walter Berry (October 27, 2000); Franco Bonisolli (October 30, 2003); Edita Gruberová (October 18, 2021); Ingvar Wixell (October 8, 2011); and Rolando Panerai (October 22, 2019). Heard alongside these musicians are the blazingly talented John Alexander, Sherrill Milnes, Leonard Warren, Irina Arkhipova, Mario del Monaco, Anselmo Colzani, Regina Resnik, Margherita Rinaldi, Giorgio Zancanaro, Luigi Alva, Judith Raskin, and Mattiwilda Dobbs. Live performances are featured alongside soundtrack recordings from three different operatic films, as well as a few rare studio recordings ensure that the great Giuseppe receives sufficient, if belated, accolades. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Tiffany Graves recently took over as Mrs Wormwood in the West End production of Matilda The Musical.Having premiered in Stratford-upon-Avon in 2010, the Royal Shakespeare Company's musical has been seen by 11 million people across 100 cities worldwide. Written by Dennis Kelly, Matilda has music and lyrics by Tim Minchin and direction by Matthew Warchus. Tiffany's London and West End credits include: Roald Dahl's The Witches, A Funny Thing Happened on the Way to the Forum and NT: 50 Years on Stage (all National Theatre), Chicago (Cambridge & Adelphi Theatres), Sweet Charity (Theatre Royal Haymarket), Cats (Gillian Lynne), 101 Dalmatians (Regents Park Open Air), The Boyfriend (Menier Chocolate Factory), But, I'm a Cheerleader (Turbine Theatre), The Wild Party (The Other Palace), Mack and Mabel (Hackney Empire), The Snow Queen (Theatre Royal Stratford East) and Apocalypse Meow (Shakespeare's Globe).Her Regional & UK Touring credits include: The Artist (Theatre Royal Plymouth), Gypsy (Buxton Opera House), Top Hat (The Mill at Sonning), Kiss Me, Kate (Opera North), The Witches of Eastwick (The Watermill), Piaf (Leicester Curve), Wonderful Town (The Lowry), Love on the Links (Salisbury Playhouse), La Traviata and Anything Goes (Grange Park Opera), Follies (Royal Festival Hall) and UK Tours of We Will Rock You, Godspell, Tonight's the Night and The Producers.On screen, Tiffany has appeared in Blitz (Working Title Films & Apple), Andy & The Band (BBC), NT: 50 Years on Stage (BBC), Olivier Awards 2024 (ITV) and Strictly Come Dancing (BBC). In this episode, Tiffany discusses all-things Matilda, her path to becoming a renowned character actor and what it was like to return to the National Theatre for The Witches... plus lots more along the way. Matilda is booking at the Cambridge Theatre until 24th May 2026. Visit www.uk.matildathemusical.com for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  7 Minute Stories w/ Aaron CalafatoAward-winning storyteller Aaron Calafato uses 7-minute story vignettes to share his...Listen on: Apple Podcasts Spotify

More than four years ago, I published my very first bonus episode on Patreon, which I offer here in a fancy new setting and with a wonderful new coda. When I first published an episode on the great Ileana Cotrubaș in honor of her 81st birthday, I promised a bonus episode which would offer further examples of this treasurable artist's plangent and pathos-filled singing. This episode explores delves deeper into Cotrubaș's artistic legacy, examining roles that she took on later in her career, including Elisabetta in Don Carlo, Nedda in Pagliacci, Amelia in Simon Boccanegra, and Desdemona in Otello. In addition, I play excerpts of roles that lay somewhat outside of her normal repertoire, including Tatyana in Yevgeny Onegin, Konstanze in Die Entführung aus dem Serail, and Tytania in A Midsummer Night's Dream. This is followed by two extended live excerpts of her two greatest roles, Mimì in La Bohème and Violetta in La Traviata. The entire episode is capped with an exquisite example of Cotrubaș singing Bach, in anticipation of a new all-Bach episode at the end of the week. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Qu'est-ce qui rend une histoire d'amour extraordinaire ? Si vous écoutez bien les histoires de nos amoureux chez EX…, c'est souvent la rencontre. Elle est parfois improbable, parfois évidente, parfois impossible, et puis parfois… tellement romantique. L'histoire que vous allez écouter est presque une mise en abyme… sauf que notre opéra se termine bien !Clémentine De La Grange a réalisé cet épisode, Stéphane Bidart l'a monté et mis en musique. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Ayako Ohtake, a Sydney-based Japanese soprano singer, hosts monthly music segment called VIVA! Opera for SBS Japanese. - 現在ニューサウスウェールズ州立美術館で展示が開催中のミュシャ。彼が一躍有名になるきっかけとなった仏女優サラ・ベルナールのために製作した作品も多数展示されています。その中の一つが、彼女の主演舞台「椿姫」のポスター（写真中央）。今回はこれにちなみ、ヴェルディのオペラ「椿姫」からの一曲です。

Gail Hamilton is an acclaimed international motivational speaker, trainer on blindness education, and prolific author. Soaring into Greatness, a Blind Woman's Vision to Live her Dreams and Fly relays Gail's story of perseverance and passion. Being totally blind, Gail has observed that many people allow their fears, negativities, and self-blinding beliefs to stop them from experiencing life to the fullest. This is not the case with Gail. Gail motivates, facilitates, educates, and exhilarates her audiences, unlike any other presenter, … to fully open their eyes and change the way they see and change the way they live. Gail has received two Master's degrees (Music and Psychology), sung leading roles in two major opera productions La Boheme, and La Traviata, and was crowned Ms. Colorado Senior America and 4th-runner up in the national MSA pageant. Her soaring spirit has led Gail to build her former Habitat for Humanity home, to climb the historic 75-story Sydney Harbor Bridge, and to partner with seven spectacular Seeing Eye dogs. Her astounding experiences, immense knowledge and unparalleled determination have inspired thousands to live lives of vision, purpose, and action. Gail believes all things are possible and everyone can live an unstoppable, unforgettable, and unbelievable life!

Ein bewegendes Frauenschicksal steht im Zentrum von Verdis beliebter Oper: Eigentlich glaubt die Pariser Edelhure Violetta längst nicht mehr an die Liebe. Doch dann taucht der fesche Alfredo auf - der Beginn einer Love-Story mit tödlichem Ausgang und unsterblicher Musik... Von Christoph Vratz.

Buenos días, soy Yoani Sánchez y en el "cafecito informativo" de este viernes 2 de agosto de 2024 tocaré estos temas: - Un diplomático norcoreano que desertó desde Cuba, canta ‘La Traviata' - "Síndrome febril agudo", la frase que enmascara al dengue - Ni los más oficialistas en Cuba se creen la versión de Maduro - La obra ‘Disonancia' se presenta en Miami Gracias por compartir este "cafecito informativo" y te espero para el programa del lunes. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com Los enlaces de hoy, para abrirlos desde la Isla se debe usar un proxy o un VPN para evadir la censura: Un desertor de Corea del Norte estima que "establecer relaciones con Cuba es lo mejor que hizo Seúl" https://www.14ymedio.com/internacional/desertor-corea-norte-estima-establecer_1_1104878.html Los vegueros estatales de Sancti Spíritus violan la regla de oro del habano https://www.14ymedio.com/cuba/vegueros-estatales-sancti-spiritus-violan_1_1104837.html El vuelco de un camión deja 19 heridos en Granma, tres de ellos menores https://www.14ymedio.com/cuba/vuelco-camion-deja-19-heridos_1_1104883.html Al convocarlos a una reunión, el PCC busca "aumentar su control" sobre los masones cubanos https://www.14ymedio.com/cuba/convocarlos-reunion-pcc-busca-aumentar_1_1104868.html En 2023 hubo 110 juicios por feminicidios en Cuba, seis veces más que el año anteriorhttps://www.14ymedio.com/cuba/2023-hubo-110-juicios-feminicidios_1_1104886.html María Corina Machado entra en la clandestinidad ante las amenazas de Maduro https://www.14ymedio.com/internacional/maria-corina-machado-entra-clandestinidad_1_1104882.html Edición impresa del 2 de agosto de 2024 https://www.14ymedio.com/blogs/edicion-impresa-de-14ymedio/edicion-impresa-2-agosto-2024_132_1104888.html La obra ‘Disonancia' se presenta en Miami https://www.14ymedio.com/eventos-culturales/teatro/obra-disonancia-presenta-miami_1_1104412.html ​​

Disfrutamos del primer café de la mañana con La Traviata, La Bohème, Carmina Burana... Todo, cortesía de nuestra experta en música clásica, Eva Sandoval. Aprovechamos también nuestra primera hora de programa para hablar con dos profesionales que saben mucho de cantar. Pero en este caso goles. Nos referimos a los compañeros del área de Deportes de Radio Nacional de España, Pepe López Terradas y Antonio Muelas. Escuchar audio

Of all the adaptations of Giuseppe Verdi's La Traviata, this one was the most confusing. 

El encanto de Franz Liszt, el romanticismo del primer acto de La Traviata, el violín de Izaak Perlman, el talento de Jacqueline du Pré, la detención de Nicola Ugo Stame…¿Que tienen todos en común? Que sus historias y su música han sonado en la sección de nuestro querido Jose Manuel Zapata. En su última aparición de esta temporada en "No es un día cualquiera", el popular tenor da el do de pecho con un resumen musical del curso 2023/2024.Escuchar audio

Ken Wylie was guiding climbers on British Columbia's remote La Traviata peak, when an avalanche came crashing down, burying him and 12 others. Seven people died that day in January 2003, but Ken survived. The book he wrote about the experience, Buried, is a reflection of the mistakes and the motivations that contributed to the tragedy, how it influenced the rest of his life, and how out of tragedy and guilt came some personal and professional growth. Wylie is now devoted to educating others about hazard management. He appeared recently in Wanaka at the Southern Hemisphere Alpine Conference (SHAC), which the Mountain Safety Council holds every two years.

New 'Sode and GMBonsoir from Paris; I am currently hosting my own ETHCC Paris at Hotel Crillon where the rooms are € 3000 a night, a fitting location for democratizing and decentralizing finance; replete with a guest list derived of the Who's Who in L2s.  Notably, my stepdaughter's application to the Crillon Deb Ball and for an Ethereum Foundation Investor Relations position say the same thing.Alas, as I wandered around the Versailles Castle Eigenlayer Side Event Rehypthiquay Egalitay, Securitay; I was struck with wondrous strokes of critical observance and gasped at the brilliance of my own deeply self-involved analysis that benefits no one but my schizophrenic other fourths. First the plethora of options when looking for a man in Decentralized Finance No Trust Fund 5'5, Dead and Glazed over and Averted Eyes is thrilling; I pondered in my moleskin journal and Montblanc Quill Pen whether any of these seekers in solving for use cases and solutions to various trilemmas can name one song from La Traviata and buy me a J12. Second, it is apparent that the late Sofia Coppola's Dauphine of France, what with her penchant for gambling, narcissism, Lama's and coquettish alliance with the Ministry of Finance would have thrived during the ICO boom and could have undoubtedly salvaged her reputation and her debt-ridden government with a token launch and a DAO.Third; I have no doubt that the impending Restaking Wars between Eigenlayer and Symbiotic will be equally as bloody as the French Revolution and will fundamentally alter the course of Securitay as know it. I digress. Still in Frahnce,  I reconnected with a childhood lover, David Phelps at Glitter Ledger Headquarters Crillon Room 11B equipped with a bedazzled guillotine and an inside trader DeFi Lama portal in French Rust that allows me to algorithmically alter the TVL of LSTs based on scales of my depression and sex drive. Fear not, as my French is nowhere near as good as my Arabic or nonfat Java.David is the Founder of Jokerrace and a critically acclaimed financial poetic philosopher, a mélange between John Paul Sartre and the Celestia felon. David and I have had many run-ins over our vapidly profound existences. For example, during my Ayatollah Internship in Toulouse, I purchased pot and corn for a superior from David's colleagues whilst he was working on a nearby farm contemplating a PHD or continuing his agronomist aspirations.David and I engaged in a pithy affair and both returned to the US. He launched a rocketship Tutoring Company before discovering crypto by way of OGs, though tinder and a socialite hard pressed for junk and a hobby. His 10xed portfolio led him to the gnomic conclusion that he was nothing short of a Financial Rumi. We parted ways as he became consumed with his status and held 1760 era Saloon's at a Chic bistro across from Zucotti Park to preach about how OMG Cash is the key to financial freedom.Like many, he lost a multi-Milly during this craze, but like few, he retreated to his original philosophic gifts of writing and cinema, abandoned farming, and created Jokerace. Jokerace is an acclaimed crypto platform where users can vote on polls like was 9/11 an inside Job or How long before an Eva Braun meme coin? or Who Killed Jon Benet Ramsey or Was the Terra DePeg amusing, all On-Chain. How to get On-Chain, I do not know. But his platform his garnered the attention of world leaders (in crypto) and Tik Tok influencers to the point where Jokerace could very well replace American Democracy as we know it. #GlitterLedger  

[@ 5 min] Alright, this week…we go inside the huddle with Mané Galoyan. The Armenian soprano, an alumna of Houston Grand Opera studio and prizewinner at Operalia, is set to make her Santa Fe Opera debut next month as Violetta in La Traviata. We'll find out how her ‘Murican training prepared her to sing in the big 'Murican houses. [@ 31 min] The stats are in from the Met's most experimental season yet! We crunch those numbers... [@ 49 min] In the ‘Two Minute Drill'…the opera world mourns the untimely death of Belgian soprano Jodie Devos. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Si sos de un país de habla hispana -lo que es probable si escuchás este podcast-, seguro que estos nombres te remiten a tu infancia. Y seguro también que te harán sonreír: El Chavo del Ocho, el Chapulín Colorado, el Chómpiras, el Doctor Chapatín… La lista puede seguir. Estamos hablando, claro, de Roberto Gómez Bolaños, conocido por todos como “Chespirito”. El comediante, guionista y director mexicano fue uno de los íconos del humor en hispanoamérica. Alguien capaz de hacer reír a chicos y grandes por igual. Hacerlo una y otra vez a lo largo de varias generaciones, que fueron viendo las repeticiones de sus programas en televisión. En fin, un hombre de la televisión y el cine. Y un tipo de éxito. En esta carta, Gómez Bolaños se pone serio para hablar de la otra cara de la moneda, de cuando las cosas no salen bien. El actor mexicano Eugenio Derbez había hecho una telenovela llamada “No tengo madre”, a la que le fue mal. El canal decidió sacarla del aire muy pronto y Derbez, que daba sus primeros pasos, cayó en un pozo depresivo. El creador de “El chapulín colorado” se enteró de eso y le escribió esta preciosa carta, llena de motivación y de consejos sobre el futuro, la creatividad y lo que significa hacer arte. Lee el actor Fernando Bersoza. *** Estimado Eugenio: Por diversas razones, principalmente de trabajo, tuve muy pocas oportunidades para ver. Sin embargo, a lo poco que vi, le añado comentarios al respecto de mi hijo Roberto por ejemplo y artículos periodísticos alusivos a tu obra. De modo que la suma refleja un saldo francamente positivo. No obstante he leído que a raíz de que la telenovela salió del aire tú te has sentido deprimido. Y eso no se vale. Pero no vayas a pensar que estas líneas constituyen algo así como mi más sentido pésame. No. Lo que te quiero decir es que, en mi opinión, hiciste algo sumamente valioso: intentar algo nuevo, algo diferente. Quien no tiene valor para hacer esto, que se quede en ese vasto terreno de la mediocridad en el que están cómodamente sentados todos aquellos que ya han renunciado a la trascendencia. Por otra parte, yo no sé si si tu telenovela fue un fracaso. O, para decirlo de mejor manera, no sé si fue considerada como un fracaso. De cualquier modo déjame recordarte algo. En cierta ocasión, se estrenó una ópera que fue repudiada por la crítica y por el público. Se reestreno después y sucedió lo mismo. Pero hubo un tercer intento y esta vez fue un éxito grandioso como lo sigue siendo hasta la fecha. Pues la ópera en cuestión era La Traviata. ¿Qué significa esto? Algo muy simple: el público también suele fracasar. Para concluir te diré algo que he repetido en innumerables ocasiones. No existe la fórmula del éxito, pero existen en cambio muchas fórmulas del fracaso. Y la mejor de éstas es tratar de halagar a todo mundo. Quien intenta satisfacer el gusto de todos termina por obtener el disgusto de todos. Por tanto no hagas concesiones. Haz únicamente aquello que a ti te satisfaga y ten fe en que tu elección será compartida por muchos. A los que no les guste que cambien de canal. O que vayan a otro teatro o a otro cine. Y en esto de no hacer concesiones la primera que se debe evitar es la absurda búsqueda del rating. Que este determina desgraciadamente la permanencia de nuestros programas, bueno digamos que sí. Pero el rating debe ser siempre una consecuencia y jamás un objetivo. Independientemente de que en algunas ocasiones -no siempre por fortuna- el famoso rating va íntimamente ligado a lo sucio a lo vergonzoso y a todas las demás expresiones de la parte negativa del ser humano. En resumen intenta lo que para ti sea valioso y verás que como, ya lo has comprobado, en más de una ocasión transitará por el sendero del éxito. Recibe un abrazo de tu amigo Roberto Gómez Bolaños

We analyze the recent court ruling and talk about the what's next. We review La Traviata coming to Anchorage April 26-28.

“Snow is blissful, it's pure, it's white, it's serene, it's a siren call. But it's also very dark, it's death. The darkest white is the perfect analogy for an avalanche,” said New York Times bestselling author Eric Blehm on Episode 35 about his latest book, The Darkest White, chronicling the life and untimely passing of legendary snowboarder Craig Kelly. Widely regarded as the Michael Jordan of snowboarding, Kelly was a pioneer in this uniquely American sport, and in his book, Blehm dives deep in to Kelly's life and his pivotal role in the history of snowboarding and splitboarding. Blehm also goes into remarkable detail about the 2003 La Traviata avalanche in the Selkirk Mountains of British Columbia, Canada, where Kelly and six other skiers lost their lives, including Truckee local Kathy Kessler. Our chat with Blehm covers a bit of the history here in Lake Tahoe, a bit about Kelly and an insightful discussion around the human factors involved in the tragic avalanche. Learn more about Blehm and purchase his award-winning non-fiction books at ericblehm.com. 2:30 – Recording from Jim and Bonnie Zellers garage in Tahoe Donner.3:50 – Introducing Eric Blehm, author of Fearless, The Only Thing Worth Dying For, The Last Season and his new book, The Darkest White, about the history of snowboarding, Craig Kelly and the La Traviata avalanche.7:20 – Kathy Kessler – a core lord in Truckee who lost her life in the La Traviata avalanche with Craig Kelly.9:10 – The roots of snowboarding were on Donner Summit – Donner Ski Ranch, Soda Springs and Boreal. 10:10 – Mind the Track Superfan #1 – Scott Kessler. Thanks for the shout out buddy!13:15 – Eric was a snowboard magazine editor at TransWorld when he met Jim and Bonnie Zellers, the original backcountry snowboarders for The North Face. 15:30 – Transitioning from being a short-form magazine editor to a long-form book author and investigative journalist.22:06 – Learning about the formation of the Mount Baker Hard Core, the lawsuit between Burton and Sims over Craig Kelly.23:00 – Tom Sims claimed to have invented the snowboard before Sherman Poppen, but it was never confirmed.25:00 – Mount Baker, Donner Ski Ranch, Boreal and Soda Springs were one of the first places to allow snowboards on chairlifts. 30:00 – Parts of Craig's story that were cut from the book – Greg Stump's film Siberia with Kelly and Scott Schmidt. 34:30 -Craig Kelly's unique riding style, his fall line style influenced a generation of riders and convinced Trail Whisperer that he should have been a snowboarder.45:00 – Craig as a pioneer in being one of the first snowboard guides in Canada, pursuing the Association of Canadian Mountain Guides certification.48:00 – Early splitboarding, Eric got a splitboard and infiltrated ski resorts that didn't allow snowboarding, riding the lift in split, then assembling it and snowboarding down as ‘The Chameleon”.1:01:10 – The Durrand Glacier avalanche on La Traviata, the human factor and group dynamics.1:10:30 – Ruedi Beglinger as a lead guide at Selkirk Mountain Experience, a strong character and the changes in the guiding industry and backcountry culture after the avalanche. 1:16:30 – Hubris and its role in the avalanche incident.1:23:00 – Craig Kelly wanted to educate the younger generation on snow safety and the dangers of the backcountry.1:28:30 – If Eric could ask Craig one question, what would it be?1:35:15 – The Darkest White – where did the name come from?1:39:30 – What does Mind the Track mean to you? 1:40:30 – Go to ericblehm.com or @ericblehmofficial on Instagram

Shawna Lucey and Rachel Willis-Sorensen bring the story of La Traviata to life through extensive research and world-building, sharing glimpses of their unique rehearsal process and personal stories that shape their artistry with Dr. Kristi Brown-Montesano. Don't miss this new to LA production, playing now through April 26. Tickets are available at LAOpera.org.

The Honourable Lady Rita Rae is a lawyer and judge, and the current Rector of the University of Glasgow. Early in her career she was a rare woman in the heavily male-dominated legal world. She went on to work on many high profile criminal cases over five decades as a solicitor, an advocate and subsequently a judge in Scotland's Supreme Court.Rita grew up in Plains, Airdrie, to the east of Glasgow. She was a shy child but earned the nickname ‘The Last Word' from her parents because of her need to argue her case when she felt something wasn't right. She was inspired to become a lawyer by her maternal grandfather, a noted advocate and anti-fascist from Naples.Her parents met in a munitions factory in Italy where her mother was working. Her father was a Scottish bomb disposal expert helping to dismantle munitions after the war. They married and moved to Scotland, but Rita and her brother were not accepted by her Scottish family because of their Catholicism. Rita became a solicitor in 1974, entering a world dominated by men. When told by a senior colleague that women were ‘emotionally unsuitable for court work', she set about proving him wrong. She became a partner in her firm at the age of 27, and was called to the bar in 1982, one of just 13 female advocates in Scotland at the time. She was made a Sheriff in 1997 and a Judge of the Supreme Courts in 2014.In 2021 she was elected Rector of the University of Glasgow, the first female working rector in the university's 570-year history.DISC ONE: Piano Concerto No. 2 in C Minor, Op. 18 - III. Allegro scherzando. Composed by Sergei Rachmaninoff, performed by Vladimir Ashkenazy (piano) and London Symphony Orchestra, conducted by André Previn DISC TWO: “Ah! Dite alla giovine” from Act 2 of La Traviata. Composed by Giuseppe Verdi, performed by Angela Gheorghiu (soprano), Leo Nucci (baritone) and Orchestra of the Royal Opera House, Covent Garden, conducted by Sir Georg Solti DISC THREE: Mamma - Beniamino Gigli DISC FOUR: Aranjuez mon amour - Massimo Ranieri DISC FIVE: Cheap Flights - Fascinating Aïda DISC SIX: “The Flower Song” (“La fleur que tu m'avais jetee”), Carmen, Act II. Composed by Georges Bizet, performed by José Carreras (tenor) and Orchestra of the Royal Opera House, Covent Garden, conducted by Jacques Delacôte DISC SEVEN: Ave Maria. Composed by Giulio Caccini (Arr. Brinums) and performed by Inessa Galante (Soprano), Latvian National Symphony Orchestra, conducted by Aleksandrs Vilumanis DISC EIGHT: Climb Ev'ry Mountain - Peggy WoodBOOK CHOICE: The Pursuit of Italy: A History of a Land, its Regions and their Peoples by David Gilmour LUXURY ITEM: A solar powered car CASTAWAY'S FAVOURITE: Mamma - Beniamino Gigli Presenter Lauren Laverne Producers Paula McGinley and Tim Bano