Podcasts about Leh

Show Summary:    Mudita Khurana — Tech Lead at Airbnb and the person who always says, “I got this” No Password Required Season 7: Episode 6 - Mudita Khurana   Mudita Khurana is a Tech Lead for Automated Tooling and Vulnerability Management at Airbnb, where she focuses on building modular, scalable security systems in an era of rapidly evolving AI threats. Before Airbnb, she spent nearly a decade in security roles across Accenture, Meta, and PwC, making bold career pivots along the way, including turning down a PwC return offer to join Facebook's product security team. In this episode, Mudita shares her journey from a family of doctors in India to Carnegie Mellon and into the heart of Big Tech security. She discusses what it means to thrive as a non-traditional engineer in a deeply technical field, why she stepped back from management to get closer to the work, and how she thinks about building security tooling that won't be obsolete in three months. Jack Clabby and co-host Kayley Melton, recording live from Tampa B-Sides at the University of South Florida, talk with Mudita about imposter syndrome, AI's curveballs for security teams, leadership without a leadership title, and the importance of community in staying on top of a field that never stops moving. She also reflects on what great mentorship looks like early in a career and why clarity, ownership, and consistency are the leadership qualities she keeps coming back to. In the Lifestyle Polygraph, Mudita firmly plants her flag in the Harry Potter universe as Hermione, explains why Deadpool doesn't qualify as a superhero, debates gym vs. nature as a reset strategy, and reveals her dream remote work base: a high-altitude Buddhist mountain town in the Himalayas.   Follow Mudita on LinkedIn: https://www.linkedin.com/in/muditakhurana/     In this episode: Mudita shares her unconventional path into cybersecurity, highlighting the importance of mentorship and curiosity (0:25 - 1:37) The significance of mentorship, especially Vandana Verma, in her career development (2:26 - 4:00) Transition from management to technical IC roles and why staying close to technical work matters (9:29 - 10:23) The influence of her education at Carnegie Mellon and how it broadened her problem-solving skills (6:23 - 7:41) Navigating imposter syndrome and embracing challenges as growth opportunities (3:26 - 5:29) How AI is changing cybersecurity strategies—building modular, layered systems for agility (15:31 - 16:26) The importance of community, trust, and consensus in cybersecurity decision-making (17:06 - 17:47) Mudita's favorite places for remote work and balancing planning with spontaneity in travel (23:01 - 24:13) Her personal approach to wellness, exercise, and resets during busy days (21:32 - 22:36) Her unique perspective on superhero characters, favorite places, and cultural roots (18:54 - 19:36, 25:19 - 26:21) Timestamp Highlights: (00:25) Mudita's 10-year journey into cybersecurity starting from India (02:26) Mentorship's critical role in her growth and her admiration for Vandana Verma (09:29) Transition from management back to technical roles and why staying close to the work matters (15:31) How AI fosters layered, modular security systems for faster adaptation (17:06) The importance of community and trusted information sources in security (21:32) Reset routines—gym versus nature hikes—and staying grounded during busy days (25:19) Leh, Ladakh: Mudita's ideal remote work location nestled in Himalayan beauty Resources & Links: Vandana Verma - Influential mentor in cybersecurity ThreatLocker - Supporter of this podcast Cyber Florida – The Mother Ship

Die Top-Meldungen am 01. Juni 2026: Export bereitet Süßwarenindustrie Sorgen. LEH trotzt Umsatzrückgang im Einzelhandel. Bünting beruft Geschäftsführer-Duo für den Einkauf.

“Her kim, sabahladığı vakit, on kere, ‘La İlahe İllallahu Vahdehu La Şerike Leh, Lehu'l-Mülkü Ve Lehu'l-Hamdu Ve Huve Ala Kulli Şeyin Kadir' derse, İsmail (a.s.)'ın çocuklarından dört kimseyi hürriyetine kavuşturmuş gibi olur ve onun için on iyilik yazılır “Her kim, sabahladığı vakit, on kere, ‘La İlahe İllallahu Vahdehu La Şerike Leh, Lehu'l-Mülkü Ve Lehu'l-Hamdu Ve Huve Ala Kulli Şeyin Kadir' derse, İsmail (a.s.)'ın çocuklarından dört kimseyi hürriyetine kavuşturmuş gibi olur ve onun için on iyilik yazılır CENNETLE MÜJDELENMİŞ 10 SAHABÎ Cennetle müjdelenmiş 10 sahabi ve Müslüman olduklarındaki yaşları: Ali bin Ebi Talib (r.a) - 8 Talha bin Ubeydullah (r.a) - 11 Zübeyr bin Avvam (r.a) - 16 Sa'd bin Ebi Vakkas (r.a) - 17 Said bin Zeyd (r.a) - 19 Osman bin Affan (r.a) - 20 Ömer bin Hattab (r.a) - 26 Ebu Ubeyde bin Cerrah (r.a) - 27 Abdurrahman bin Avf (r.a) - 30 Ebubekir es-Sıddîk (r.a) - 37 5 ŞEYDE ACELE ETMELİ! Hâtem-i Esamm kuddise sirruhu şöyle buyurdu; Acele etmek şeytandandır. Ancak beş şeyde şeytandan değildir. Muhakkak ki onlar Rasûlullah'ın sünnetleridir; 1. Misafir geldiği zaman yedirmek 2. Öldüğü zaman ölünün teçhizini yapmak 3. Buluğa erdiği zaman kızı evlendirmek 4. Vakti geldiği zaman borcunu ödemek 5. Günah işlediği zaman tövbe etmek. (Münebbihat)

Stāsta Latvijas Kultūras akadēmijas profesors, LKA Eduarda Smiļģa Teātra muzeja vadītājs Jānis Siliņš; pārraides producente – Gunda Vaivode Lai gan Jelgavas profesionālajam teātrim priekšvēsture ir daudz agrāka (tā saistīta jau ar Ādolfa Alunāna laikiem), 1924. gadā Jelgavas teātris kļuva juridiski patstāvīgs un varēja veidoties. Tur notika, protams, ļoti daudzas dažādas interesantas lietas, bet šajā teātrī sāka strādāt arī Jēkabs Zaķis, kurš no 1921. gada līdz 1936. gadam veica milzīgu darbu, lai Jelgavas teātri pārvērstu par muzikālo teātri. Jēkabs Zaķis pēc 1936. gada atnāca uz Latvijas Radio un strādāja šeit par režisoru, tāpēc, pārskatot Latvijas Radio programmas, tajās esmu redzējis, ka bieži vien, turklāt daudzas reizes dienā skanēja operešu mūzika. Jēkabs Zaķis pats bija lieliski trenēts aktieris un interesantākais ir tas, ka viņam ir vislielākie nopelni muzikālo teātra tradīciju ieviešanā Latvijā, jo viņš sistemātiski 15 gadu laikā iestudēja 12 operetes, tai skaitā viņš ir arī tas, kurš pirmo reizi 1928. gadā iestudēja Imres Kālmāna "Silvu", kas līdz tam nekur nebija rādīta, bet pēc tam arī "Bajadēru". Savdabīgi, ka galveno partiju izpildīja Emma Ezeriņa, jo viņu mēs pazīstam pilnīgi no citas puses: pēcāk kā Drāmas (tagad – Nacionālā) teātra aktrise Ezeriņa spēlēja arī psiholoģiski smagas lomas, tādas kā Bernarda Alba "Bernardas Albas mājā". Bet viņa bija arī brīnišķīgā Tomuļu māte Blaumaņa lugas "Skroderdienas Silmačos" leģendārajā 1955. gada uzvedumā un arī radio balss, piemēram, Švarca pasakā "Divas kļavas". Ezeriņas meita savukārt bija vēlākā Operetes teātra prīma Lilija Sniedze, bet viņas mazmeita – aktrise Maruta Feldmane, bet viņas mazmeita ir Ieva Kepe. Tātad šī muzikālā tradīcija nāk no Emmas Ezeriņas un Jelgavas muzikālā teātra! Operešu iestudēšanā Zaķim palīdzēja arī tas, ka viņš pārzināja arī delartiskās komēdijas elementus. Un kas ir nepieciešams operetē? Strauji jāmaina ritmi, strauji jāmaina attiecības, jo libreti, kā mēs zinām, ir visai dīvaini: vīrs var nepazīt sievu, kura ir uzlikusi tikai parasto balles masku, un, turot roku, var redzēt, ka viņai esot tāda pati dzimumzīmīte kā viņa sievai... Tātad tur jāatrod citādāki veikli paņēmieni, lai to visu parādītu. Jēkabs Zaķis to ārkārtīgi labi prata, un tad, kad viņš iestudēja arī atsevišķas Pola Abrahāma operetes, Nacionālajai Operai šķita, ka tas ir draudīgi, jo Operai, kurai arī bija jāiestudē operetes, negribēja, lai Jelgavas teātris tiek tuvāk Rīgai, bet lai paliek turpat Jelgavā, kur bija. Protams, līdzās Emmai Ezeriņai teātrī attīstījās daudzi citi aktieri. Jelgavas teātra iestudējumos komiskā rakstura lomas bija aktiera Mārtiņa Vērdiņa tēvam – arī Mārtiņam Vērdiņam, kurš nāca no Liepājas, bet pēcāk Jelgavas teātrī izveidojās operetei svarīgo, raksturīgo, komisko vecākās paaudzes tēlu atveidotājs. Fakts, ka Jelgavā iestudēja gan Lehāru, gan Kālmānu, gan Abrahāmu, gan Benešu, gan arī, protams, tās pašas "Trejmeitiņas", līdz 1936. gadam deva pārliecību, ka operete var dzīvot. Jā, arī Liepājas teātris trīsdesmitajos gados sāka to iestudēt, pat Dailes teātris, tiesa – vairāk dziesmu spēles. Bet šeit bija klasiskā operete, un tie ir daudz sarežģītāki uzdevumi. Jelgavas teātrim bieži vien arī pietrūka orķestrantu, viņi dabūja tos pieaicināt, jo krīze bija visur, bet tomēr - ar operetēm naudiņas ienāca daudz vairāk, un tas bija tik ļoti svarīgi! Savā atvadu beneficē 1936. gadā Jēkabs Zaķis vēlreiz iestudēja "Silvu", un tad atnāca uz strādāt uz Latvijas Radio. Būtībā Jelgavas teātra muzikālo izrāžu process bija priekšvēstnesis pēc Otrā pasaules kara nodibinātajam Operetes teātrim.

Csáky-Bogár Rita, a Budapesti Strauss Zenekar művészeti vezetője és koncertmestere, valamint Deák András karmester tiszteltek meg a stúdióban, akikkel a zenekar negyvenéves jubileumáról és a május 17-i Tavaszi Keringővarázs koncert apropóján beszélgetek. A Budapesti Strauss Zenekar története egyszerre családtörténet, művészi örökség és következetesen továbbvitt küldetés. Az együttest Bogár István alapította 1986-ban, a halála után pedig Rita és András vették át azt a feladatot, hogy ne egyszerűen őrizzék, hanem élő, szerethető, örömteli formában vigyék tovább mindazt, amit ő felépített. Ez a negyven év ezért jóval több egy szép jubileumnál. Benne van több száz koncert, hosszú turnék sora, franciaországi városok tucatjai, a közösen végigjárt út emlékezete, és az a biztos tudás is, hogy ezt a zenekart a mai napig különleges belső tartás mozgatja. Az esti beszélgetésben szó esik arról is, milyen ma magánalapon működtetni egy ilyen rangos együttest, hogyan lehet évről évre megőrizni a minőséget, és miként áll össze egy koncert műsora úgy, hogy a közönség valódi ünnepként élje meg az estét. Rita és András mesélnek a RAM-hoz fűződő szoros kapcsolatukról, a zenekari közösség erejéről, a próbák különleges hangulatáról, és arról az örömzenélésről, amelyet szerintük semmivel nem lehet pótolni. A május 17-i koncert különlegessége, hogy a negyvenéves zenekar ezúttal a Strauss család muzsikájára építi az estet, miközben Lehár és Offenbach világa is megjelenik a műsorban. Keringők, polkák, indulók és közönségkedvenc darabok követik egymást, mégis minden ilyen alkalom új és egyszeri, mert a jól ismert művek mögött mindig ott van az előadók személyes jelenléte, derűje és sok évtizednyi tapasztalata. Rita a dallamosságot emeli ki elsőként, András a derűt. Talán ez a két szó mond el a legtöbbet erről a műfajról. Ez a zene ugyanis felemel, közelebb visz egymáshoz, és olyan energiát ad, amelyet jó hazavinni egy koncert után. Pontosan ettől maradhat élő negyven év után is, és ettől tud ma is új közönséget találni magának. Szóba kerül Deák András friss törökbálinti díszpolgári címe is, amely mögött szakmai elismerésen túl ott van egy tágabb közösség szeretete és megbecsülése. Ez a fajta visszajelzés különösen sokat jelent annak a művésznek, aki hosszú idő óta nemcsak vezényel, hanem közösséget is épít, és akinek a munkája szorosan összeforrt a zenekar jelenével. A Sláger FM-en minden este 22 órakor a kultúráé a főszerep S. Miller András az egyik oldalon, a másikon pedig a térség kiemelkedő színházi kulturális, zenei szcena résztvevői Egy óra Budapest és Pest megye aktuális kult történeteivel. Sláger KULT – A természetes emberi hangok műsora

It's Thursday, and that means it's time to catch up on politics with The Times-Picayune/New Orleans Advocate's editorial director and columnist Stephanie Grace. Today, we discuss the homestretch of the Republican Senate primary race, and the rumor that former New Orleans Mayor Mitch Landrieu is considering a run for president. The Louisiana Legislature has been working on bills that would resize New Orleans courts. While Republicans say the goal is to have the courts more accurately reflect judicial districts across the state and combine the criminal and civil courts, Democrats argue that this process is too rushed.Earlier this week, we spoke with Jack Brook at the Associated Press to hear about the potential impacts should these bills pass. Today, we'll break down the fine print in the legislation. The Bureau of Governmental Research President and CEO, Rebecca Mowbray, and lead researcher, Paul Rioux, walk us through their examinations. One year ago this month, the Trump administration canceled more than 85% of the National Endowment for the Humanities' existing grants. That meant the Louisiana Endowment for the Humanities lost over $600,000 overnight.We check in with the executive director of the Louisiana Endowment for the Humanities, Miranda Restovic, to find out how LEH has weathered the losses and how the cuts have affected the upcoming America 250 celebration in the state.  —Today's episode of Louisiana Considered was hosted by Alana Schreiber. Our managing producer is Alana Schreiber. We get production and technical support from Garrett Pittman, Adam Vos and our assistant producer, Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Magische Töne statt großer Oper. Jonas Kaufmann feiert in München die oft unterschätzte Operette - mit Lehár, Kálmán und Arien auf Ungarisch, die stimmliche Höchstkunst und feine Ironie verlangen.

[ÉVÉNEMENT NOUVELLE AGORA] : la 1ère conférence spectacle par des enfants & adolescents ! Envie de voir des enfants s'exprimer sur scène pour dire ce qu'ils pensent du monde ? Rendez-vous le 6 juin au Théâtre de la Bastille

Jonas Kaufmann entdeckt auf seiner neuen CD "Magische Töne" ungarische Operette zwischen Huszka, Lehár und Kálmán und brilliert mit Glanz und hohen Tönen.

Operette mit Frischekur: Peter Lund macht Lehárs "Graf von Luxemburg" am Gärtnerplatztheater zum musikalisch funkelnden, witzig aktualisierten Paris-Märchen voller lachendem Glück.

Welcome Aboard FLIGHT OSO! Buckle up! and get ready for take off as we take you on a musical journey! Soca Music has always given me a Feeling that I could never explain, From the Carnivals, Jouvert's and fetes! This music is pure magic and is responsible for some of the best times in my life. Today Beautiful People present to you The OSOCITY 2026 Soca Mix! Jam packed with nothing but Vibes! Leh we start D Bacchanal! I have a lot of original music coming out on my Spotify @OSOCITY Im so excited for all of you to hear it! Send Me Videos of you listening to my mix on Instagram @OSOCITY So I can Post Them

Bernadette Spitzer berichtet vom Lehár-Festival in Bad Ischl: Bad Ischl verkleidet sich als Venedig im 18. Jahrhundert. Und das in Kombination mitJohann Strauss. Das verspricht, wieder etwas fürs Ohr und fürs Auge zu werden. Wer Straussmag, wird hier glücklich. Nicht zu lang, denn die Geschichte wurde auf zweieinhalb Stunden gekürzt. Dirigent Marius Burkert entlockt dem Franz Lehar-Orchester angenehme Nuancen, und an keiner Stelle besteht Gefahr, ins gefürchete M-Ta-Ta zu fallen. Dazu fügt sich harmonisch der von Matthias Schoberwalter gefühlvoll einstudierte Chor, der durch besonders vollen und weichen Klang auffällt.  Traumhaft wie immer auch das Bühnenbild. Venezianische Masken beobachten vom Bühnenrand das Geschehen. Dieses ist bekanntlich der Schwachpunkt des Stücks. Das Libretto ist nach der Uraufführung 1883 von Kritikern als “das Verderben des Werkes” bezeichnet worden. Friedrich Zell und Richard Genée waren davor mit der “Fledermaus” höchst erfolgreich gewesen und schrieben eine ähnliche Geschichte, die wieder nur mit Maskerade und oberflächlichem Klamauk zu tun hat. Das Wiener Publikum wusste aber zu unterscheiden, denn die Musik wurde begeistert beklatscht. Ich erspare Ihnen daher den Inhalt, nur so viel zur Beruhigung – am Schluss hat jeder den richtigen Partner, und es gibt ein Happy End.  Zum Augenschmaus tragen die herrlich fantasievoll bunten, aber nicht überladenen Kostüme von Sven Bindseil bei, sowie das fantastische Ballett unter der Choreografie von Evamaria Mayer. Aus dem Ensemble sticht Tina Jäger hervor. Die Sopranistin bezaubert durch ihre schwungvolle Darstellung, mit heller Stimme und viel Witz und Autorität. Ebenso überzeugt Matjaz Stopinsek als Herzog. Der Tenor verkörpert den schon etwas reiferen Frauenhelden überzeugend und mit einer Stimme, die unter die Haut geht. Unverständlich ist allerdings, warum die Rolle des Senators Delaqua, ein Bass, mit einem Schauspieler besetzt wurde, der entsprechend nicht reüssieren kann. Einen Höhepunkt kreiert auch Marie-Luise Engel-Schottleitner mit dem Schwipslied, das übrigens erst 1931 eingefügt wurde, und zwar auf die Melodie der Annen-Polka. Hat sich ausgezahlt, denn es ist wahre Stimmakrobatik, eine Betrunkene darzustellen, die in allen Höhenlagen kiekst. Auch Miriam Portmann gelingt ein Kunststück. Sie erobert die Herzen als Witwe Agricola, eine ältere, aber selbstbewusste und vor allem lebenslustige Frau.  Am Schluss gab es viele Jubelrufe für das Gesamtpaket – Strauss bleibt halt Strauss und Bad Ischl Bad Ischl, auch in Venedig.

I dagens avsnitt försöker vi avhandla förslaget kring en ny lag för kommuners och regioners beredskap (LKRB), vilket är sprunget ur en utredning.Kärnan i utredningens uppdrag har varit att analysera vilket grundläggande ansvar och vilka huvudsakliga uppgifter som kommuner och regioner bör ha i fråga om förberedelser för och verksamhet under fredstida kriser och höjd beredskap, och på grundval av det föreslå en mera ändamålsenlig och utförlig reglering än den i lagen (2006:544) om kommuners och regioners åtgärder inför och vid extraordinära händelser i fredstid och höjd beredskap (LEH).Martin och Patrik diskuterar kring förslaget och hur vi ser på framtiden baserat på den (förhoppningsvis) kommande förändringen.Du kan läsa hela utredningen här:https://www.regeringen.se/rattsliga-dokument/statens-offentliga-utredningar/2024/09/sou-202465/

Bio im LEH: So schaffen es Bio-Herstellermarken ins RegalWie gelingt Bio-Herstellermarken der Schritt in den klassischen Lebensmitteleinzelhandel, und was braucht es, um sich dort dauerhaft zu behaupten? In der ersten Folge des LEH-Marktplatz-Podcasts sprechen wir über Erfolgsstrategien, Herausforderungen und konkrete Praxisbeispiele aus dem Handel.Der LEH-Marktplatz bringt Bio-Hersteller und Lebensmitteleinzelhandel zusammen für Austausch, Vernetzung und Lösungen für eine erfolgreiche Zusammenarbeit.In dieser Folge fassen wir die zentralen Erkenntnisse der Podiumsdiskussion auf der Biofach 2026 zusammen und klären:Welche Bedeutung Bio-Herstellermarken für den LEH habenWann ein Produkt „fit“ für den LEH istWie Bio-Produkte im Markt erfolgreich platziert werden

« Il faut savoir se perdre pour un temps si l'on veut apprendre quelque chose des êtres que nous ne sommes pas nous-mêmes ». L'ArtyShow eût aimé se perdre dans le gai savoir de Nietzsche. Il a aimé se perdre avec tous ces êtres qu'il n'est pas. Il aime se dire que, pendant toute une saison, il se perdra avec tous ces êtres de culture et de passion qui offrent au territoire un supplément d'âme et une parenthèse – légère et dense, inessentielle donc vitale, obstinée et cathartique. L'ArtyShow a douze ans, encore toutes ses dents et tous ses élans. Au menu de 189e épisode, une causerie avec Arthur Pithon. Paï Paï, T’es Rock Coco, Le Héron Carré, Le 122 sont autant d’aventures angevines que cet enfant de la balle (circasienne) a initiées ou auxquelles il a participé. Avec sa nouvelle team, il a remporté l’appel d’offre de la guinguette Parc Balzac à Angers, qui de Héron Carré passera prochainement au Nid du Héron. A la technique, la précieuse Claire. Playlist : Wildfires > SAULT /

Die Top-Meldungen am 30. Januar 2026: Toom setzt auf mehr Kaufleute. Auch Rewe muss Auflagen bei Unimarkt erfüllen. LEH verliert 2025 an Absatz.

20260120 - 06 Lehúzós lomtalanítás by Bochkor

20260120 - 07 Lehúzós lomtalanítás hallgatói reakciók by Bochkor

20260116 - 07 Lehúzós duguláselhárítás hallgatói eakciók by Bochkor

20260116 - 06 Lehúzós duguláselhárítás by Bochkor

Vasant Swaha is a modern mystic sharing his love, joy, and wisdom in retreats. This talk was from a Satsang during the Ladhak Retreat in Leh, India, on the 11th of September of 2018.   For more information visit  www.vasantswaha.net

Vasant Swaha is a modern mystic sharing his love, joy, and wisdom in retreats. This talk was from a Satsang during the Ladhak Retreat in Leh, India, on the 16th of September of 2018.   For more information visit  www.vasantswaha.net

Die Top-Meldungen am 5. Januar 2026: Gerolsteiner braucht einen neuen Chef, Stromausfall in Berlin trifft den LEH und Aldi UK legt im Weihnachtsgeschäft zu.

For the final episode of 2025, and of Season Six of the podcast, I present pure frothy escapism from the delectable Mady Mesplé, the finest French coloratura of her generation. My original intention was to feature her exclusively in operetta repertoire, and I've stuck to that. But as I began to compile a setlist I realized that there was a subset of her recordings of this repertoire that presented her at her absolute finest: Viennese operetta, as translated into French. From her earliest recordings, operetta was central to her recorded canon, and from 1969 through 1980, she made a choice selection of complete recordings of operetta in French for the Pathé label. Throughout her recorded legacy, there are selections from works such as La veuve joyeuse, (Die lustige Witwe) Trois valses (Drei Walzer), Le pays du sourire (Das Land des Lächelns), Sang viennois (Wiener Blut) and others, which made such a smooth transition into French that they often sounded as if they were could originally have been set in that language. In addition, in the year 1971, Mesplé made a high-flying recording of Johann Strauss waltzes set to French texts that represents her at her vocal zenith. From all of these aforementioned sources, as well as from a 1980 recording of operetta arias with conductor Pierre Dervaux, come the selections for this episode. And for those who would like some Viennese operetta in its original language, the episode begins with the creator records from Franz Lehár's final original operetta Giuditta, as recorded by Richard Tauber and Jarmila Novotná with Lehár himself conducting the Wiener Philharmoniker. In whichever language you choose, let us waltz our way out of this horrific year into a more humane and livable 2026! Countermelody is the 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 author 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.

Puccini reist nach Wien, wo er Walzerklängen lauscht, und nach Paris, wo er Dissonanzen hört. Mit seiner Musik will er beidem Paroli bieten: den Operetten von Lehár und der Avantgarde von Strawinsky. Doch dann beginnt der Krieg.

India's rural areas are developing at an extraordinary rate, and it poses both challenges and extraordinary opportunities to rethink development at a large scale. Across the OECD, over nine in ten households are now connected to the Internet, but in rural regions connectivity still lags behind, with only about 89% of rural households having even a basic broadband connection. https://www.oecd.org/en/publications/2024/11/oecd-digital-economy-outlook-2024-volume-2_9b2801fc.html India reflects these contrasts in its own way, but the speed of change is remarkable. Over the four years ending in December 2024, internet penetration in rural India surged from 59% to 78%, a jump that outpaced urban growth, which rose from 77% to 90% over the same period. https://telecom.economictimes.indiatimes.com/news/industry/indias-rural-subscribers-to-primarily-drive-arpu-growth-in-fy26-crisil/121130745 Recorded live from the OECD Rural Development Conference in Rio de Janeiro, Shayne MacLachlan speaks with Shahid Iqbal Choudhary, Secretary to the Government in the Department of Rural Development and Panchayati Raj, about how India's fascinating track-record of rural transformation can offer practical lessons to policymakers everywhere. Tune in to hear how one of the world's most dynamic rural transformations is unfolding and what it means for the future of development. Dr. Shahid currently serves as Secretary to the Government, Department of Rural Development and Panchayati Raj (Local Self-Government). Over the course of his distinguished public service career, he has held several key leadership positions, including Secretary, Tribal Affairs, J&K Government; CEO, Mission Youth J&K; Managing Director, Skill Development & Livelihood Initiatives; and multiple tenures as District Development Commissioner/District Magistrate in Srinagar, Rajouri, Bandipora, Leh, Udhampur, Kathua, and Reasi. He has also served as Additional Secretary in the Chief Minister's Office, Director, Information & Public Relations, Managing Director, J&K Tourism Development Corporation, Additional Secretary, Planning & Development, Special Officer, Relief & Reconstruction Leh, and SDM Nowshera. Internationally, Dr. Shahid is recognized as a resource person on mobile indigenous communities, transhumance, and migration. He is a member of the UN Working Group for the International Year of Rangelands and Pastoralists and has represented India in international collaborations on pastoralism and migratory indigenous peoples in Albania (2021), Ethiopia (2021), and Italy (2022). As Public Affairs and Communications Manager, Shayne engages with policy issues concerning SMEs, tourism, culture, regions and cities to name a few. He has worked on a number of OECD campaigns including “Going Digital”, "Climate Action" and "I am the future of work". **** To learn more, visit OECD Latin American Rural Development Conference www.oecd.org/en/events/2025/11/…nt-conference.html and the OECD's work on Rural Development www.oecd.org/en/topics/policy-i…l-development.html. Find out more on these topics by reading Reinforcing Rural Resilience www.oecd.org/en/publications/re…e_7cd485e3-en.html and Rural Innovation Pathways www.oecd.org/en/publications/ru…s_c86de0f4-en.html. To learn more about the OECD, our global reach, and how to join us, go to www.oecd.org/about/ To keep up with latest at the OECD, visit www.oecd.org/ Get the latest OECD content delivered directly to your inbox! Subscribe to our newsletters: www.oecd.org/newsletters

durée : 01:28:23 - Fritz Wunderlich, ténor incomparable - par : Aurélie Moreau - Le légendaire ténor Fritz Wunderlich, qui débuta à l'opéra en 1955, avait conquis un vaste public par sa voix douce et puissante, qui rayonnait avec chaleur. Il perdit la vie avant ses 36 ans. Aujourd'hui : Schumann, Mozart, Mahler, Lehár, Schubert… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The last of my festive potpourri episodes for this, my birthday month, this episode focuses on a favorite vocal range of this opera queen: the soprano voice, in all its variety and glory. Included are such pristine lyric voices as Erika Köth, Benita Valente (who just departed us last weekend, shortly after celebrating her 91st birthday), Judith Raskin, Judith Blegen, Mattiwilda Dobbs, and Edith Mathis, among others; medium- to heavier-weight lyric voices such as Pilar Lorengar, Delia Rigal, Teresa Stratas, Taru Valjakka, Melitta Muszely, and Margarete Teschemacher; and “ambiguous” voices as Arleen Augér, Martha Flowers, Irmgard Seefried, Andrée Esposito, Jill Gomez (pictured), Faye Robinson, Hilde Güden, and Elizabeth Harwood which could, if you'll pardon the term, “swing both ways,” at least in terms of vocal weight! They perform a wide range of material of material including vocal chamber music by Manuel de Falla and Miriam Gideon; art song by Brahms, Bridge, Poulenc, Beethoven, Bizet, Granados, Sibelius, and Mahler; operetta and musical selections by Arlen, Lehár, Stolz, and Kern; and full-throated operatic selections by Richard Strauss, Jacques Ibert, Leoncavallo, and Meyerbeer. It's another jam-packed episode guaranteed (in a limited sense) to bring you the full-range of listening pleasure. 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 author 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.

V novém Talk to si Pavel Dobrovský povídá s Matějem Lehárem, ředitelem orchestru Filmharmonie.VIDEO Z ROZHOVORU JE DOSTUPNÉ PRO PATRONY!Filmharmonie se soustředí na koncerty filmové hudby a od roku 2018 cíleně zařazuje i koncerty Games plné herní hudby. „Herní hudba je pro mě přirozeným pokračováním filmové. Má silné melodie, emoce i příběh — jen místo plátna má svět, ve kterém se hráč může pohybovat,“ říká Matěj Lehár.Dozvíte se, proč koncerty Filmharmonie od roku 2014 vyprodávají Rudolfinum, proč Matěj sází na akustický sál bez zadních projekcí a jak staví program výhradně z příjmů ze vstupenek. „Ve chvíli, kdy jdete do sportovní haly, už orchestr musí být nazvučený a hodně záleží na zvukaři. V Rudolfinu hrajeme akusticky a všechno, co chceme, aby posluchači slyšeli, se k nim opravdu dostane,“ dodává Matěj.Podíváme se i do zákulisí a dozvíte se, jak se přepisují MIDI stopy do orchestrálních partitur i o tom, jak se shání licence a noty. „Když chcete hrát skladbu z videohry, často zjistíte, že neexistuje žádný oficiální notový zápis a že studia ani netuší, proč by se to mělo dělat. Musíte se obrátit přímo na skladatele – a když ho to nadchne, někdy vám po týdnu pošle celý balík not s tím, že si to máte prostě zahrát,“ vysvětluje Matěj.Dozvíte se, jak poslouchat leitmotivy a na co se zaměřit, aby orchestru „rozumělo“ i první posluchačské setkání. „Stačí se nechat tou hudbou obklopit a nevzdávat to po prvních minutách. Člověk si k ní musí postupně najít cestu,“ říká Lehár. „Orchestr má obrovskou sílu, ale i schopnost detailu. Když se desítky lidí na pódiu snaží o jednu věc, musí z toho jít energie. Publikum to cítí a odchází nabité.“Zazní i pozvánka na koncert Games 23. listopadu 2025 v Rudolfinu: průřez českou herní hudbou od devadesátek po současnost (např. Brány Skeldalu, Mafia, Operace Flashpoint/Arma, Factorio, Space Engineers, Machinarium, Samorost, Polda, Posel smrti, Kingdom Come I/II, Bulánci). „Je to pocta české herní hudbě a skladatelům, kteří ji tvoří srdcem,“ uzavírá Matěj Lehár.Podívejte se na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.retronation.cz⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ na skvělé výlety do herního retra!

It takes a special talent in our politicians to make Leh's Tibetan Buddhists so belligerent, ThePrint Political Editor DK Singh elaborated in this episode of #PoliticallyCorrect   To read the latest column: https://theprint.in/opinion/politically-correct/modi-silent-on-ladakh-manipur/2757998/

Join us for a deep dive with visionary engineer and activist Sonam Wangchuk, whose groundbreaking ideas on education, sustainability, and social justice have inspired millions worldwide. In this extended conversation, you'll learn:• What education is truly for: Why we must shift from conquering nature to nurturing it, and how unschooling and mother-tongue instruction empower real learning.• Climate wisdom from Ladakh: Stories of Wangchuk's mother predicting the farming crisis and how indigenous knowledge drives his fight against glacial melt.• The “I Live Simply” movement: How a pledge-based platform can mobilise global behavioral change—planting trees, reducing meat consumption, choosing trains over flights—without spending a rupee.• Revolutionary activism: Lessons on nonviolent resistance, the power of failure, and Gandhi's timeless call to “live simply so others simply live.”As Wangchuk awaits a Supreme Court hearing on October 6th, challenging his detention, his words resonate with urgent clarity: personal change sparks collective revolution. Perfect for climate activists, education reformers, social entrepreneurs, and anyone seeking practical, scalable solutions to today's most pressing challenges.About I Live Simply movement:A unique crowd-funding campaign where the contribution made is not monetarily, rather by pledging a greener and simpler lifestyle changes.As leaders of tomorrow, students' participation in this movement can have a huge impact on fighting global warming. Some of the pledges today's youth can make could be: Making your college campus plastic-free, planting more trees in your campus and around, adopting bike-pooling or using more of public transport, reducing unnecessary water consumption, less data consumption which meant lesser online streaming, taking initiatives to partner with waste management organisations for proper recycling of e-waste, TetraPaks, plastics etc.PS: To measure the impact of this episode, I urge you to use #ilivesimply #TheGalataPodcast  Link: https://www.ilivesimply.org/ About Sonam Wangchuk,A mechanical engineer by education, Sonam has worked in the field of education reform for 27+ years. The man who inspired the popular “Phunsukh Wangdu” character in the Bollywood hit Three Idiots, Sonam has been instrumental in changing the face of education in the mountains. His sessions throw a whole new perspective on innovation and entrepreneurship that embraces social change.In 1988, he founded SECMOL (Students' Educational and Cultural Movement of Ladakh) that aims to reform the government school system in Ladakh. In 1994 he was instrumental in the launch of Operation New Hope, a triangular collaboration of the government, village communities and the civil society, whose work has been instrumental in improving the pass percentage of 10th graders in the region from a dismal 5% to 75%.For students who still failed in their state exams, he founded the SECMOL Alternative School Campus near Leh, a special school where the admission criterion is a failure in exams and not grades. As an engineer, Sonam Wangchuk has been teaching innovation at the SECMOL Alternative School, where together with the students, he designed and built solar heated buildings that are low cost, made of earth/mud but maintain +15 C even when the outside temperature is –15 C in Ladakhi winters.His “Ice Stupa” artificial glacier has claimed fame for helping solve the water crisis in the region due to climate change and fast melting glaciers. The Ice Stupas store water in the winter in the form of giant ice cones or stupas, which melt over summer and provide water to the lands, just in time for irrigation.Sonam is the recipient of several awards, The Rolex Award for Enterprise 2016 in Hollywood USA, The Terra Award 2016 for World's Best Earth Buildings in Lyon France, The UNESCO Chair for Earth Architecture for India in 2014, ‘Real Heroes' Award by CNN IBN Channel in 2008, ‘Green Teacher' Award by Sanctuary Asia Magazine in 2005, Ashoka Fellowship by Ashoka: Innovators for the Public in 2002, ‘Man of the Year' by The Week magazine in India in 2001 and the Governors Medal by the J&K State Government in 1996.Introduction Credits: Outstanding Speakers Bureau.Links to reach Sonam:Twitter: https://twitter.com/Wangchuk66Website: https://secmol.org

On September 24, Ladakh witnessed unprecedented violence and protests which left four persons dead in police action. Two days later, climate activist Sonam Wangchuk, who was sitting on a hunger strike with 15 others, was detained under the National Security Act (NSA) and taken to Jodhpur Central Jail in Rajasthan. The government accused the activist of instigating the violence, a charge denied by Wangchuk. A year after it was turned into a Union Territory in 2019, the region, with a population of around three lakh, has been protesting for constitutional safeguards, the two major demands being statehood and tribal status under the Sixth Schedule of the Constitution. The government is engaged in talks with two civil society groups, the Leh Apex Body and the Kargil Democratic Alliance, representing the Leh and Kargil regions, respectively, for the past three years. The talks led to few outcomes regarding policies on reservation and domicile status, but this was not acceptable to the groups as the two core demands remained unmet. Should Ladakh get statehood? Here we discuss the question. Guests: Rangarajan R, former IAS officer and author of Courseware on Quality Simplified, and Sajjad Kargili, member of the Kargil Democratic Alliance. Host: Vijaita Singh Produced by Jude Francis Weston Learn more about your ad choices. Visit megaphone.fm/adchoices

Fringed by China and Pakistan, Ladakh is India's high-altitude borderland. For years now, locals led peaceful protests demanding statehood and constitutional protections for land, jobs, and identity. But last week, that peace broke. Violence erupted in Leh city in the Union Territory of Ladakh on Wednesday (September 24, 2025), several protesters were killed as security forces launched a heavy crackdown. At the centre of it all is Sonam Wangchuk — an engineer, climate activist, and one of Ladakh's most respected voices. He was arrested under the National Security Act, a law that allows detention without trial for up to 12 months. What triggered this escalation? Why did peaceful protests turn deadly? And what does Wangchuk's detention mean for the future of Ladakh's struggle? Guest: Peerzada Ashiq, Kashmir-based journalist with The Hindu Host: Anupama Chandrasekaran Produced and edited by Jude Francis Weston Learn more about your ad choices. Visit megaphone.fm/adchoices

一個被稱為黃金草原的小鎮，一個被譽為小瑞士的地區，一個唐玄奘西行取經途經之地 這裡充滿野性與寧靜的能量，什麼都沒有卻有著大自然的富饒 旅程刻意安排經過索馬，只為了單純的騎馬行程 沒想到我從這片土地上得到的還要多

Send us a textIn his first interview as the new CEO, Steve shares his perspective on the Urgent Care field and the role of the Urgent Care Association and its affiliates (the College of Urgent Care Medicine, the Urgent Care College of Physicians, the Urgent Care Foundation and the Commission on Urgent Care Quality) in leading into the future.Learn more about where UCA is headed, and the leader who is taking the reins (of the associations and of this podcast!)p.s. thank you for 5 great years of Urgent Care Leadership! - LEH

Interpreten: Piotr Beczała, Wiener Sängerknaben, Wiener Philharmoniker, Tugan SokhievLabel: Sony ClassicalEAN: 198029354027Wenn sich der Schlosspark Schönbrunn in ein klingendes Freilufttheater verwandelt, dann ist Sommernachtskonzert-Zeit. Am 13. Juni war es wieder so weit. Bei bestem Sommerwetter sind wieder zig-Tausende in den Schlosspark gekommen, um den Wiener Philharmonikern und ihren Gästen zu lauschen. Wer nicht dabei war, hat bereits jetzt die Möglichkeit, das Versäumte auf CD nachzuhören, so wie Michael Gmasz.Eröffnet wurde das Konzert mit Johann Sebastian Bachs „Air“, einem stillen, fast schwebenden Gedenken an die Opfer des wenige Tage vor dem Konzert stattgefundenen Amoklaufs von Graz. Eine Schweigeminute folgte – ein Moment der Stille, der auf der CD spürbar nachhallt. Danach aber entfaltete sich ein musikalischer Bogen, der von der Melancholie zur Lebensfreude führte – ganz im Sinne der heilenden Kraft der Musik. Erstmals am Pult des Sommernachtskonzerts: der russische Dirigent Tugan Sokhiev. Er führt die Wiener Philharmoniker mit einer Mischung aus Eleganz und Energie durch ein Programm, das sich ganz den Opern- und Operettenmelodien Europas verschrieben hat. Eine abwechslungsreiche Tour de Force mit Bizet, Offenbach, Tschaikowsky, Grieg und Nicolai, dessen Ouvertüre zu Die lustigen Weiber von Windsor dem 25-jährigen Jubiläum des Hauses der Musik gewidmet war. Sokhievs Lesart ist dabei nie plakativ, sondern stets durchdacht – etwa beim „Danse Bacchanale“ von Saint-Saëns, der unter seiner Leitung nicht nur exotisch, sondern auch strukturell klar wirkt. Mit Piotr Beczała ist neben Sokhiev ein weiterer Debütant des Sommernachtskonzertes auf der Bühne gestanden. Mit seinem Paraderepertoire, wie der „Blumenarie“ aus Bizets Carmen oder Operettenklassikern von Kálmán und Lehár. Sein „Nessun dorma“ aus Puccinis Turandot hat sicher bei vielen der Anwesenden für Gänsehaut gesorgt und tut das auch im Nachhinein auf CD. Auch die Wiener Sängerknaben sollen nicht unerwähnt bleiben, waren auch sie heuer erstmals dabei. Klanglich opulent, rhythmisch präzise und mit jener unverwechselbaren Wiener Eleganz. Man hört, dass die Wiener Philharmoniker ihren Ausflug nach Schönbrunn bei bestem Sommerwetter sehr genossen haben. (mg)

Leah dives into the social construct of breastfeeding and the overwhelming guilt often placed on mothers. Drawing from research and lived experiences, Leh explores how cultural expectations, medical advice, and shifting family structures have created an impossible standard for mothers—one that demands exclusive breastfeeding as proof of being a “good” parent.Leah challenges the narrative that mothers must navigate these pressures alone, highlighting the historical context of communal caregiving and the modern isolation of the nuclear family. She discusses the emotional toll of breastfeeding distress, the pain of inauthenticity, and the disproportionate impact on women from different socioeconomic backgrounds.Follow Leah Ruppanner at https://www.instagram.com/prof.leah/Follow the MissPerceived Podcast on Instagram https://www.instagram.com/missperceivedpodcast Hosted on Acast. See acast.com/privacy for more information.

Bernadette Spitzer berichtet für radio klassik Stephansdom vom Lehár Festival in Bad Ischl: Zu Orpheus in der Unterwelt habe ich eine durchaus persönliche Erinnerung, war es doch die erste Operette, die ich sah. Ich war noch im Kindergarten, als mich meine Eltern in eine Aufführung der Musikuniversität ins Wiener Schlosstheater mitnahmen. In Erinnerung geblieben ist mir vor allem der Cancan, und besonders amüsiert haben mich die eitle öffentliche Meinung, der fette Jupiter, der sich als Fliege verkleidet und der weinerliche Prinz von Arkadien. Würde ich all das in Bad Ischl wieder erleben? Die Antwort lautet: Zum Glück schon. / Intendant und Regisseur Thomas Enzinger hat für seine Produktion keine Kosten gescheut. Es ist erstaunlich, was sich alles mit der kleinen Bühne im schmucklosen Kongresshaus machen lässt. Offenbach hat seine 90-minütige Urfassung aus 1858 später deutlich auf vier Stunden erweitert. Für Bad Ischl ist eine Mischung aus beiden erstellt worden, eine Art Bad Ischler Fassung, die rund 3 Stunden dauert. Die römische Götterwelt, die Offenbach ins 19. Jahrhundert holte, um seine Zeitgenossen zu karikieren, schafft es glaubwürdig auch ins 21. Im Zentrum steht die alles dirigierende Öffentliche Meinung, die zeitgemäß eine Influencerin ist. In grellpinken Jeans, mit langen Fingernägeln und Girlie-Gehabe brilliert Eva Schöler. Man ist direkt verwundert, als diese piepsende Tussi, die ständig ihr pinkes Handy am Selfie-Stick vor sich herträgt, und alles auf Instagram streamt, plötzlich in einem wunderschön vollen Opernmezzo zu singen beginnt. Ebenso hervorragend ist das Brüderpaar Jupiter und Pluto. Martin Achrainer als Jupiter glänzt nicht nur stimmlich – als Fliege beweist er sein komisches Talent und seine körperliche Fitness. Pluto Peter Bording mimt den Gott der Unterwelt ebenso stimmgewaltig wie diabolisch. Seltsam ist ja, dass der Titel der Operette eigentlich irreführend ist. Um Orpheus in der Unterwelt geht es nur ganz kurz, denn im Mittelpunkt stehen die Götter. Orpheus hat eigentlich eine Nebenrolle. Die wird aber sehr charmant ausgefüllt von Robert Bartneck, der den verklemmten Geigenlehrer sehr mitleidserregend und mit voller Stimme verkörpert.Selbstredend fügt Regisseur Enzinger ständig aktuelle Bezüge ein. So ist Jupiter etwa bestrebt, das Image des Olymp mit Merchandise-Artikeln und dem Slogan „Make Olymp great again“ zu verbessern. Am meisten zu tun hat aber neben dem Orchester unter der Leitung von Laszlo Gyüker – das Ballett. Die drei Damen und drei Herren, Ischl-Profis bereits aus früheren Produktionen bekannt, haben fast immer was zu tun auf der Bühne und beeindrucken durch Einsatz und Eleganz. Der Cancan am Schluss ist auch ein Kind unserer Zeit, denn getanzt wird er vom gesamten Tanzensemble. Der Abend endet, yeah Bro, mit viel Applaus und einem gut gelaunten Publikum.

durée : 01:28:28 - Angelika Kirchschlager, naturel et raffinement - par : Aurélie Moreau - Angelika Kirchschlager, mezzo-soprano à la voix rayonnante, a reçu le Prix Européen de la Culture pour sa contribution exceptionnelle à l'art lyrique. Son enseignement est très recherché. Aujourd'hui : Bach, Korngold, Lehár, Mendelssohn, Berlioz… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Interpreten: Budafok Dohnányi Orchestra, Guido MancusiLabel: paladino musicEAN: 9120040731397Zeitgenössisches erklingt auf unserer CD der Woche, die Michael Gmasz wieder aus den vergangenen CD Empfehlungen ausgewählt hat. Darauf ist mit Guido Mancusi der Komponist und musikalische Leiter der Aufnahme in Personalunion zu erleben. Auch so kann Musik des 21. Jahrhunderts klingen.Regelmäßige Konzert- und Opernbesucherinnen und -besucher kennen Guido Mancusi wahrscheinlich eher in seiner Funktion als Dirigent. Dass er aber auch schon seit Beginn seiner Musikkarriere selbst komponiert, haben wohl nicht alle auf dem Schirm. Nachdem seine erste „Personale“ mit eigenen Orchesterwerken nun bereits zehn Jahre zurückliegt, ist es an der Zeit gewesen, sich wieder mit dem eigenen Oevre auseinanderzusetzen. Mancusi ist dabei in seiner Funktion als erster Gastdirigent des Budafok Dohnányi Orchesters zu erleben, dem er mit dem eröffnenden Scherzo zum 30-jährigen Bestandsjubiläum auch gleich das erste Werk gewidmet hat.Darauf folgt ein Feuerwerk an kürzeren und längeren Kompositionen, vorwiegend dem Tanzmusikbereich zuzuordnen. Walzer, Polkas, Galoppe und mit dem Zahlendreher auch „fast“ ein Marsch, irgendwie. Mancusi verschweigt in seinen Kompositionen seine Vorbilder gar nicht, sondern setzt diese, wie John Williams im angesprochenen Scherzo, sogar fulminant in Szene. Seine jahrzehntelange Erfahrung als Dirigent der Wiener Tanzmusik à la Strauss, Lanner, Lehár und co. kommt ihm auch bei seinen eigenen Werken zugute. So transportiert er die Stilistik des ausgehenden 19. Jahrhunderts elegant ins 21., in dem er sich sowohl mit der Wahl der Titel als auch mit seinem musikalischen Material zeitgenössischen Phänomenen widmet. Sie kennen die Tonleiter, die beim Losfahren eines Railjet Zuges erklingt? Mancusi hat sie für seine Schnellpolka Railjet Express im Jahr 2022 für eine rasante musikalische Zugfahrt nach Salzburg verarbeitet. Inklusive mozartscher Anspielungen … An legendäre Nächte in Bukarest mit seinem Schloss Schönbrunn Orchester erinnert der gleichnamige Walzer von 2007, an mit weißem Käse gewürzten Bauernsalat, der offenbar bis heute Eindruck hinterlassen hat, seine Polka Schnell Shopska Salata…s „alla bulgara“. Eine abwechslungsreiche CD, schmissig gespielt und somit auch ein schöner, zeitgemäßer Beitrag zum Strauss-Jahr 2025! (mg)

If you're a baseball fan, you know it's impossible to watch a game these days without hearing about torpedo bats, the new bat design giving Major League hitters unforeseen power. But what is it about these bats that allows players to hit the ball so deep?Louisiana Considered's Alana Schreiber visited Marucci Sports, a bat company in Baton Rouge, to find out. Coming to Lafayette this week is a conference on Big Towns, a gathering of representatives from places too big to be towns and too small to be cities. The meeting is a chance for these big towns to learn from one another when it comes to economics, city planning and more. Christiaan Mader, founder and editor of The Current, and Heather Blanchard, CEO of United Way of Acadiana, tell us more about the event. A former president of Xavier University, the first woman to be mayor of Lake Charles, and a photographer and food writer are some of this year's winners of the Louisiana Endowment for the Humanities' Bright Lights awards.Clare Shelburne, LEH program manager, tells us more about the awards and what it means to be recognized. —Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schreiber. We get production support from Garrett Pittman and our assistant producer Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, the NPR App and wherever you get your podcasts. Louisiana Considered wants to hear from you!Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

"This field recording of Buddhist chanting in what seems to be a temple in India was personally very timely. After recently reading several books on Buddhist philosophy and spiritual practices, finding this particular field recording in the the Sonic Heritage catalogue seemed by coincidence to be the perfect source to work with on this project. "Having decided immediately not to stray too far from the setting and the ambience of the original recording, I set about to enhance the musical aspects of the field recording, while repurposing as many of the original sounds as possible. The intent was to preserve the space, people and performance while adding the structure and influence of mystical-like rhythms to draw in the listener." Monks chanting at Leh reimagined by Gerald Fratzl (Absturtzt). ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

(00:00:00) Bevezetés és időjárás(00:02:24) Depresszió ellen(00:04:20) Lehúzó brutalista házak(00:09:51) Változó építkezési stílusok(00:15:24) Színek (nem) kedvelése(00:20:01) Balesetveszélyesebb a piros autó?(00:23:36) Mindenről van statisztika(00:28:50) Van, aki dolgozik, de mégse?(00:42:17) Irigység(00:49:20) Őszinteség és felvett szerep(00:54:57) Befejezés

If a person prepared tea with a teabag on Shabbat (following the relevant Halachic guidelines), is he then allowed to remove the teabag from the cup? At first glance, it appears that removing the teabag would violate the prohibition of Borer – separating – as one is removing Pesolet – an undesirable substance – from Ochel – the food he desires. The Halachic authorities discuss this question and rule that one may, in fact, remove the teabag from the cup, on the basis of a ruling of the Maharitatz known as "En Berera Be'lah," which means that the laws of Borer do not apply to removing a solid from a liquid. Just like one may, according to this position, remove an insect from a beverage on Shabbat, similarly, one may remove a teabag from a teacup. An additional question arises concerning the drops of liquid that fall from the bag into the cup during the process of removing the bag. At the moment when the teabag is hovering over the cup, drops of tea drip from the bag into the cup, which seemingly pose a problem of Borer. Even though by holding the bag over the cup one separates the Ochel (the drops of tea) from the Pesolet (the teabag), which is permissible, we should perhaps regard the bag as a Keli – a utensil. One of the conditions for allowing Borer on Shabbat is that the separation is done by hand, and not with a utensil. In this situation, however, one separates with a teabag, as the drops of water fall through the small perforations in the bag into the cup, seemingly in violation of the prohibition of Borer. Rabbi Moshe Halevi (Israel, 1961-2001) writes that one may remove the teabag from the cup even if drops of tea will then fall from the bag into the cup. He explains that even if we indeed regard a teabag as a Keli, it is certainly not a utensil made specifically for the purpose of separating, like a sifter or sieve. As such, the prohibition of Borer potentially applies in this case only on the level of Mi'de'rabbanan (Rabbinic enactment), since the Biblical prohibition applies only when using a utensil especially made for the purpose of separating. And when one removes a teabag from a cup, he certainly does not intend to have drops of tea fall from the bag into the cup, and thus this situation is one of "Pesik Resheh De'lo Niha Leh" – where one performs an action that will inevitably result in an action forbidden on Shabbat, but one has no interest in that forbidden action. "Pesik Resheh" is permitted on Shabbat when the prohibition involved was enacted by the Sages and is not forbidden on the level of Torah law. Therefore, since separating with a teabag is forbidden only by force of Rabbinic enactment, it is permissible to remove it from a cup even if drops will invariably fall from it. However, this line of reasoning suffices to permit removing the teabag only if one indeed has no interest in those drops of tea that fall from the bag. Some people, however, specifically want those drops in their cup of tea, as those drops have absorbed the flavor of the tea. This then changes the situation to one of "Pesik Resheh De'niha Leh," where one is interested in the resulting forbidden action, regarding which we cannot apply the leniency mentioned above. Therefore, the Shemirat Shabbat Ke'hilchatah (Rav Yehoshua Neubert, contemporary) rules that one should remove the teabag from the cup with a spoon, so that any drops that drip from the teabag will fall into the spoon and be discarded along with the teabag, such that no separation is done. This is also the ruling of Rav Yitzhak Zafrani in his Vayizra Yitzhak. Although those who are lenient in this regard and remove the teabag by hand have authorities on whom to rely, it is preferable to follow the stringent view and remove it with a spoon. Certainly, according to all opinions, it would be forbidden to intentionally hold the spoon over the cup of tea in order for drops to fall into the tea. Summary: After preparing tea on Shabbat, it is preferable to remove the teabag with a spoon, and not by hand. Some authorities permit removing it by hand, as long as one does not intentionally hold the bag over the teacup to allow drops to fall from the bag into the cup.

I can think of no more appropriate way to end this difficult year than with another episode lauding my late friend, the sublime American lyric tenor Jerry Hadley. I am of the firm belief that Jerry was one of the finest singers this country has ever produced. Everyone has their favorite among his performances, which display an eclecticism rare among opera singers, but I believe that his artistry found its fullest and truest expression in his performances of Viennese operetta. His bright, sunny vocal timbre, his capacity for vocal shading and dynamics, his sense of both humor and pathos, his ringing high notes, as well as of precision and acuity of his German diction make him an ideal interpreter of this music. The majority of the music heard on this episode comes from two albums of operetta arias that Jerry recorded in 1995 under the baton of Richard Bonynge. This is supplemented by two duets with Australian soprano Deborah Riedel from a series of English-language versions of Lehár operettas also conducted by Bonynge, as well as various live performances of Jerry in the music of Johann Strauss II and Erich Korngold. While Lehár is the most prominently featured composer, we also heard excerpts from work by Emmerich Kálmán, Carl Millöcker, Ralph Benatzky, Leo Fall, and that king of operetta tenors himself, Richard Tauber, who was also quite a capable composer. The episode concludes with reminiscences of my close friendship with Jerry, crowned by a magisterial live performance of “Dein ist mein ganzes Herz.” 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.  

Installez-vous confortablement au fond de votre lit, remontez la couette jusqu'au menton et fermez les yeuxLes histoiresThe Doll Shop, par Devil LassFroides veines, par Fanny SichelLa cabane à sucre, par Alexandre BergeronMerci à tous les auteurs, n'hésitez pas vous aussi, à envoyer vos histoires sur hello@avantdallerdormir.frMerci à Liliyamith, Neeghal, Jess, Mimi et Jean-Chien pour la narration.On en parle dans l'épisodeLa fin d'avant d'aller dormir ?Minishoot' AdventuresLuigi's Mansion 3Indiana Jones et le Cadran de la destinéeIndiana Jones et le Cercle AncienDream ScenarioLes fourmisASTRO BOTRejoignez-nousDiscordInstagram | FacebookYouTube | TwitchTwitterNotre siteNotre répondeur : 0749252790Soutenez-nousSur Patreon. Un remerciement à nos nouveaux patrons : Merzhina, Robin Selman, MrChikitoss, Lechienzz, Maevaaa, Némombe, Denis Leblanc, Dijonctéegirl21, Leh. Marco, Cyprien Baron, Lucie L,En nous mettant une note sur SensCritique, Apple Podcasts, Spotify, ou Podcast AddictL'équipe

Clarissa Bitar is an accomplished Palestinian oud musician and composer hailing from Los Angeles, California. With a background in Music and a specialization in Ethnomusicology from UC Santa Barbara, Clarissa’s musical journey has been enriched by training under esteemed Arab oudists such as Simon Shaheen, Charbel Rouhana, and Bassam Saba. Their performances have graced stages across the United States and internationally. On this episode, Clarissa talks about growing up playing guitar, falling in love with the oud in college, and gradually switching from a biology major to ethnomusicology major to a working musician.  Clarissa's latest song ‘Leh' is coming out…

For the Founders Day edition of our True and Constant Podcast, hosts Emma Oremus (St. Louis) and Lex Stewart (Ohio) welcome star of stage and screen Kelli O'Hara (Oklahoma City)!   Kelli has earned her place as one of Broadway's leading ladies, with a career that includes 12 Broadway productions and eight Tony Award nominations. She won the 2015 Tony Award for best leading actress in a musical for her role as Anna Leonowens in “The King and I.” Beyond Broadway, Kelli is also an Emmy, SAG, Olivier and Grammy-nominated actress.   When she's not on stage, you can catch Kelli's Emmy-nominated performance in the acclaimed web series “The Accidental Wolf” on Topic or see her in her current role as Aurora Fane in HBO's hit series “The Gilded Age,” for which she received a SAG Ensemble Award nomination. Kelli has also appeared in several recurring television roles, including Showtime's “Masters of Sex,” “13 Reasons Why,” “Blue Bloods” and “All My Children.” Her additional film and television credits include “All the Bright Places,” “Peter Pan Live!,” “Sex & the City 2,” Martin Scorsese's “The Key to Reserva,” “The Good Fight,” “Numb3rs” and “The Independents.”   In 2015, Kelli made history as the first artist to successfully transition from Broadway to opera with her Metropolitan Opera debut in Lehár's “The Merry Widow” alongside Renée Fleming. She returned in 2018 as Despina in Mozart's “Così Fan Tutte” and was last seen at The Metropolitan Opera in the world premiere of Kevin Puts' “The Hours,” performing as Laura Brown. Her concerts have earned international acclaim, from Carnegie Hall to Tokyo, and she frequently appears on PBS live telecasts, The Kennedy Center Honors, and in performances with The New York Philharmonic and The New York Pops. Her solo albums, “Always” and “Wonder in the World,” are available on Ghostlight Records.   We're thrilled to celebrate our sister Kelli's achievements on this special Founders Day edition of The True and Constant Podcast — don't miss it!

This episode kicks off Season 12: An abbreviated season. After eight years of consistent publishing, the Dudes are scaling back for the rest of 2024 in order to fine tune the show, focus energy elsewhere, and just catch up on life. This season will consist of five episodes, one for each month through December. Regular, weekly episodes will resume in February 2025 with Season 13.  The reflection of their trip to India will span over two episodes. In this episode (pt.1), Sean and Kyle reflect on their recent trip to India, describing both the challenges and highlights of their adventure. They mention the initial stress of the journey, the support they received from sponsors and donors, and the excitement and admiration from friends and family.  The episode details their activities, including meeting researchers at the All India Institute for Medical Sciences (AIIMS) and connecting with the FA patient community of India. They recount the logistical difficulties they faced, such as getting their trikes through Customs and navigating airport security with their group, including the language barriers and misunderstandings. Upon arriving in Leh, they acclimated to the high altitude, explored local culture, and prepared their Catrikes for the upcoming trek. The Dudes share humorous and stressful moments, such as the infamous white scarfs, dealing with intense sun exposure, and adapting to local cuisine. Finally, they describe the start of their bike ride, marked by a traditional dance and music presentation by local performers, emphasizing the support and encouragement they received throughout their journey.  Be sure to catch episode 257 for the rest of the story.