American conductor and composer
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5 episodes with Leonard Bernstein
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From playing army on his boyhood farm to portraying some of film's more memorable characters, Bill Sadler's journey proves that great storytelling often begins in the simplest places.Bill and Weezy kick things off with shared memories of growing up in the Buffalo, NY area, where running through the woods, horsing around in the hay loft and inventing games, laid the foundation for Bill's future in storytelling. He launched his performance career with a standup comedy character he created called“Banjo Bill,” who led to a high school teacher encouraging Bill to play the lead role in the school's production of Harvey. By age 18, Bill had shared the stage with a banjo and an invisible rabbit and he was hooked on theater.After studying at SUNY Geneseo and Cornell, Bill immersed himself in the New York theater scene, starring in 75 productions over the course of 12 years and making his way to Broadway in Biloxi Blue! He shares the skinny on working with Neil Simon, where constant rewrites were both challenging and thrillingly hilarious.The conversation turns to some of Bill's most iconic screen roles, including The Shawshank Redemption. He describes director Frank Darabont's vision of a true ensemble and the A game expected from that stellar cast. Bill reminds us that the film closed in three weeks and only Oscar nominations and audiences discovering its brilliance led to its eventual cultural impact and enduring legacy.He also discusses stepping into his villainous Die Hard 2 role following Alan Rickman's iconic fall from the grace of Die Hard 1. Bill also shares a behind-the-scenes moment when force of childhood habit had him ruing takes with his own machine gun sound effects!Fans of Bill & Ted will appreciate Bill's Grim Reaper hot takes and his confession that in the decades between films, he developed an allergy to the makeup required for the role. So, yes, Bill is allergic to death.The episode closes with a look at Bill's latest work, the short film The Last Days of Byron Bray, which studies a love interest of Leonard Bernstein. Bill calls it his finest acting to date.And in IMDB Roulette: How the Fonz made Shakespeare cool, Newhart slapstick and The Cartoon President provide the laughter that keeps us from crying.Current media recommendations--Weezy: The Way Home Season 4 on Netflix, Hallmark, Hallmark+ and PrimeProducer Dina: The Boroughs on NetflixPath Points of Interest:William Sadler Fan SiteWilliam Sadler on WikipediaWilliam Sadler on IMDBWilliam Sadler on FacebookWilliam Sadler on XThe Last Days of Byron BrayThe BoroughsThe Way Home Season 4
Retomamos la historia del pianista norteamericano Dave Brubeck, al que habiamos dejado en la primera parte versionando temas de las películas de Walt Disney. Lo hizo tan bién que a partir de ese momento muchos otros jazzistas comenzaron a considerarlos material para sus discos, convirtiendose muchos de ellos en standards del cancionero estadounidense. Tambien prestamos atención a uno de sus discos mas conocidos y exitosos, el famoso Time Out (1959), que incluía el mítico "Take Five", pero tambien otros experimentos ritmicos como "Blue Rondo a la Turk", o la deliciosa "Three to get ready". Tambien escucharemos temas de su disco homenaje a Leonard Bernstein, o el experimental Countdown - Time in Outer Space (1962) que influenció a músicos de progresivo como Keith Emerson, con temas como el propio "Countdown" o la incursión en la tercera corriente con "Elementals" Finalmente, tras la marcha de Paul Desmond, recuperaremos algun tema de su unión con otro clásico como Gerry Mulligan, para acabar con una extraña formación en la que se asoció con el saxofonista de vanguardia Anthony Braxton.
Bill Murray Meet Jan Vogler: A "Rain-Soaked" New Worlds Review My pal Robert McCready and I went to see America's beloved actor Bill Murray with classical musicians Jan Vogler, Mira Wang and Vanessa Perez. It was an evening of magic in the Lowcountry of South Carolina at Middleton Place, a breathtaking location. Poignant, light-hearted, thought-provoking, funny? It was all of those things. When Bill sang the very last note of "America" by Leonard Bernstein and Stephen Sondheim, the performers all took a bow. In the never next moment buckets of water began pouring down. We scrambled to the car, but still managed to record some thoughts about the show. Watch or listen and hear the highlights and what the boys thoughts.
Jews have left an indelible mark on the fabric of America, impacting activism, music, and religion. One venue holds so many inspiring examples of these contributions: Carnegie Hall. For this episode celebrating the end of Jewish American Heritage Month, Noam joins Kathleen Sabogal (Director, Rose Archives and Museum) on-location at the famous venue. On the corner of 57th Street and 7th Avenue, great names like Leonard Bernstein, Rabbi Stephen Wise, and Isaac Stern advocated for education, women's suffrage, racial equality and more. Is there inspiration here for the next chapter of Jewish American history? The answer will be music to your ears.To learn more about Carnegie Hall's story and view their digital archives, go to https://www.carnegiehall.org/About/History Get in touch at WonderingJews@unpacked.media. Follow @wonderingjews on Instagram, and watch and subscribe on YouTube. ------------ This podcast is brought to you by Unpacked, an OpenDor Media brand. Subscribe to the Unpacked newsletter: https://unpacked.bio/22f7b4 For other podcasts from Unpacked, check out: Jewish History Nerds Soulful Jewish Living Stars of David with Elon Gold Unpacking Israeli History
durée : 00:25:08 - par : Lionel Esparza - En 1959, Leonard Bernstein vient de prendre la tête du Philharmonique de New York, qu'il dirigera jusqu'en 1969. Portés par l'enthousiasme des débuts, le chef et son orchestre gravent Shéhérazade de Nikolaï Rimski-Korsakov, attentifs au dynamisme de la partition comme à ses couleurs chatoyantes. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:25:08 - par : Lionel Esparza - En 1959, Leonard Bernstein vient de prendre la tête du Philharmonique de New York, qu'il dirigera jusqu'en 1969. Portés par l'enthousiasme des débuts, le chef et son orchestre gravent Shéhérazade de Nikolaï Rimski-Korsakov, attentifs au dynamisme de la partition comme à ses couleurs chatoyantes. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
There are few works in the history of theatre that have entered the emotional bloodstream of humanity quite like Fiddler on the Roof. More than a beloved Broadway musical, it is a profound meditation on family, faith, exile, resilience, identity, love, and the fragile balancing act between tradition and change. Since its debut in 1964, the story of Tevye the milkman, his wife Golde, and their daughters in the tiny shtetl of Anatevka has transcended culture, religion, language, and geography — because beneath its deeply Jewish story lies something universally human: the longing to hold onto one another while the world shifts beneath our feet. Now, in a remarkable and internationally celebrated production presented by the Harold Green Jewish Theatre Company, Fiddler on the Roof returns to the language and cultural heartbeat from which it was born — Yiddish. Performed entirely in Yiddish with English subtitles, this historic production arrives at Toronto's legendary Elgin Theatre from May 25 to June 7 under the direction of Tony and Academy Award winner Joel Grey. What began in New York as a six-week theatrical experiment became an 18-month sensation, earning major awards, standing ovations, and more than 500 performances. Critics called it revelatory. Audiences described it as hauntingly beautiful, deeply human, and emotionally transformative. At the center of this extraordinary artistic achievement stands Zalmen Mlotek — one of the world's foremost authorities on Yiddish theatre and song, Artistic Director of the National Yiddish Theatre Folksbiene, and one of the great guardians of Jewish cultural continuity. Born into one of the most important Yiddish cultural families in North America, Mlotek grew up immersed in the language, music, and memory of Ashkenazi Jewish civilization. His father, Joseph Mlotek, edited the legendary Forverts (Yiddish Forward), while his mother, Eleanor Chana Mlotek, became one of the great archivists of Yiddish folk music. Zalmen himself studied at Juilliard and worked under the legendary Leonard Bernstein before dedicating his life to preserving and revitalizing Yiddish culture through theatre and song. Under his artistic leadership, the National Yiddish Theatre Folksbiene — founded in 1915 and the world's longest continuously operating Yiddish theatre company — has become internationally celebrated for reviving classic Yiddish works and bringing Jewish theatrical history into the modern cultural imagination. Tonight, on The Avrum Rosensweig Show, we explore the enduring power of Fiddler on the Roof, the emotional resonance of hearing it performed in Yiddish, and why this language still carries what Joel Grey calls “history, humour, sorrow and resilience all at once.” For centuries, Yiddish became the emotional heartbeat of Jewish life — the language of storytelling, humour, commerce, lullabies, argument, heartbreak, and survival. Together, we also explore the great Yiddish literary and theatrical tradition shaped by figures such as Sholem Aleichem, I.L. Peretz, Isaac Bashevis Singer, Theo Bikel, Sheldon Harnick, and Itzhak Perlman — and how Yiddish theatre helped shape Broadway itself. But perhaps most importantly, this conversation asks why Fiddler on the Roof continues to unite audiences across generations, faiths, and backgrounds. Why a story rooted in one tiny Jewish village somehow speaks to all humanity. This is not merely an interview about theatre. It is a conversation about memory. About identity. About exile and belonging. About resilience. About family. And about the extraordinary power of language, music, and storytelling to keep a civilization alive. Ladies and gentlemen — Zalmen Mlotek. ——
There are few works in the history of theatre that have entered the emotional bloodstream of humanity quite like Fiddler on the Roof. More than a beloved Broadway musical, it is a profound meditation on family, faith, exile, resilience, identity, love, and the fragile balancing act between tradition and change. Since its debut in 1964, the story of Tevye the milkman, his wife Golde, and their daughters in the tiny shtetl of Anatevka has transcended culture, religion, language, and geography — because beneath its deeply Jewish story lies something universally human: the longing to hold onto one another while the world shifts beneath our feet. Now, in a remarkable and internationally celebrated production presented by the Harold Green Jewish Theatre Company, Fiddler on the Roof returns to the language and cultural heartbeat from which it was born — Yiddish. Performed entirely in Yiddish with English subtitles, this historic production arrives at Toronto's legendary Elgin Theatre from May 25 to June 7 under the direction of Tony and Academy Award winner Joel Grey. What began in New York as a six-week theatrical experiment became an 18-month sensation, earning major awards, standing ovations, and more than 500 performances. Critics called it revelatory. Audiences described it as hauntingly beautiful, deeply human, and emotionally transformative. At the center of this extraordinary artistic achievement stands Zalmen Mlotek — one of the world's foremost authorities on Yiddish theatre and song, Artistic Director of the National Yiddish Theatre Folksbiene, and one of the great guardians of Jewish cultural continuity. Born into one of the most important Yiddish cultural families in North America, Mlotek grew up immersed in the language, music, and memory of Ashkenazi Jewish civilization. His father, Joseph Mlotek, edited the legendary Forverts (Yiddish Forward), while his mother, Eleanor Chana Mlotek, became one of the great archivists of Yiddish folk music. Zalmen himself studied at Juilliard and worked under the legendary Leonard Bernstein before dedicating his life to preserving and revitalizing Yiddish culture through theatre and song. Under his artistic leadership, the National Yiddish Theatre Folksbiene — founded in 1915 and the world's longest continuously operating Yiddish theatre company — has become internationally celebrated for reviving classic Yiddish works and bringing Jewish theatrical history into the modern cultural imagination. Tonight, on The Avrum Rosensweig Show, we explore the enduring power of Fiddler on the Roof, the emotional resonance of hearing it performed in Yiddish, and why this language still carries what Joel Grey calls “history, humour, sorrow and resilience all at once.” For centuries, Yiddish became the emotional heartbeat of Jewish life — the language of storytelling, humour, commerce, lullabies, argument, heartbreak, and survival. Together, we also explore the great Yiddish literary and theatrical tradition shaped by figures such as Sholem Aleichem, I.L. Peretz, Isaac Bashevis Singer, Theo Bikel, Sheldon Harnick, and Itzhak Perlman — and how Yiddish theatre helped shape Broadway itself. But perhaps most importantly, this conversation asks why Fiddler on the Roof continues to unite audiences across generations, faiths, and backgrounds. Why a story rooted in one tiny Jewish village somehow speaks to all humanity. This is not merely an interview about theatre. It is a conversation about memory. About identity. About exile and belonging. About resilience. About family. And about the extraordinary power of language, music, and storytelling to keep a civilization alive. Ladies and gentlemen — Zalmen Mlotek. ——
Michael Stephen Brown is a versatile American pianist and composer best known for his solo performances, rich chamber music collaborations, and unique original works. Bridging the gap between world-class piano playing and storytelling, he has recently released his debut album of all-original music, Twelve Blocks. Showcasing his distinct creative voice, the deeply personal project features a series of musical portraits, emotional detours, and true stories brought to life alongside an impressive roster of guest performers. We chat with Michael on this and get some great insights into his approach to music and composition. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab): Michael’s past year Michaels’ album – Twelve Blocks The process of seeking or receiving commissions for musical performances and/or compositions The Chamber Music Society of Lincoln Center Michael’s musical upbringing Attending Juilliard Jerome Lowenthal Samuel Adler Ursula Oppens Ursula Oppens and Jerome Lowenthal perform Michael’s piece Twelve Blocks, with poetry Composing for one piano, four hands and four albums Composing for one hand only Breakup Etude for the Right Hand Alone The Yaddo retreat The Carnival of Endangered Wonders Lake Alan Piano from Pas de trois – Michael Stephen Brown Composing with pencil and paper versus computer Michael’s piano Octavia A discussion on mental health, music and the arts Creatives Care Planning and rehearsing a repertoire before a show or tour Michael’s upcoming creative works, including release of his own piano concerto Desert Island Discs: Stravinsky: The Rite of Spring – Leonard Bernstein and London Symphony Orchestra, Live Performances 1934-1956 Vol. 1 – Art Tatum, Bach: The Goldberg Variations – Glenn Gould, Ravel: Gaspard de la nuit – Arturo Benedetti Michelangeli Key links: Become a member of our YouTube channel and receive extra content Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our audience survey to help us improve! Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post Michael Stephen Brown, Pianist and Composer appeared first on The Keyboard Chronicles.
Kirk returns to Kind of Blue, taking a closer look at two more tunes off of the 1959 jazz classic. First, he digs into the modified 12-bar blues "Freddie Freeloader," with a focus on Wynton Kelly's much-emulated opening piano solo. He then compares and contrasts how John Coltrane and Cannonball Adderley approached the closing track, "Flamenco Sketches" on tenor and alto sax, respectively. Music by: Miles Davis and Bill Evans The Musicians: Miles Davis, Trumpet Julian "Cannonball" Adderley, Alto Sax John Coltrane, Tenor Sax Wynton Kelly & Bill Evans, Piano Paul Chambers, Bass Jimmy Cobb, Drums Produced by Irving Townsend; Engineered by Fred Plaud Album: Kind of Blue, 1959 Listen/Buy via Album.Link ALSO REFERENCED/DISCUSSED: The 2021 episode of Strong Songs about the album's opening track, "So What" Adam Maness and Peter Martin's excellent music podcast “You'll Hear It” Kirk's 2025 “You'll Hear It” guest appearance discussing Tower of Power's 1973 self-titled album Kind of Blue: The Making of the Miles Davis Masterpiece by Ashley Kahn, 2000 “Cold Sweat” by James Brown, 1967 “Everybody Wants to Rule The World” by Tears For Fears from Songs From The Big Chair, 1985 “Some Other Time” by Leonard Bernstein by Bill Evans and Tony Bennett from The Tony Bennett Bill Evans Album, 1975 “A Love Supreme, Pt. 2: Resolution” - by John Coltrane from A Love Supreme, 1965 --------------------MAY 2026 WHOLE NOTE PATRONS Dave Florey - AccessViolation - Jeremy Dawson - Sami Samhuri - Paul Delaney - Jenness Gardner - Melanie Andrich - Ken Hirsh - Joe Laska - David Mascetti - Christopher McConnell - Jamie White - Christopher Miller - Daniel Hannon-Barry - Jay Swartz - Damon White - Catherine Warner - Ben Barron - Corpus Frisky - Cesar - Robyn Metcalfe - Scott Lystig Fritchie - Lisa Crotty - Andy - Melissa Lucas - Greg - Julie Rowe - Rich Fish - Butch Vig - Greg - Matt R MAY 2026 HALF NOTE PATRONS Colin Hodo - Paul De Surra - James Johnson - Arjun Sharma - Justin McElroy - Alexander Polson - Richard Toller - Melanie Stivers - Matt Betzel - Jeffrey Olson - Brett Douville - Brian Amoebas - Bill Thornton - Andrew Fair - Andrew Baker - Amanda Furlotti - Brad Callahan - Jennifer Bush - AJ Schuster - Tanner Morton - Gavin Doig - Chris K - Alexander - David - Naomi - Dave Sharpe - Caro Field - Jonathan Daniels - Eric Helm - Melmaniac - Dhu Wik - Tom Coleman - Diane Turner - Clare Holberton - Randy Souza - Pascal Rueger - Joshua Hill - Stephen Tsoneff - Michael Casner - Diane Hughes - Angela Livingstone - cbalmain - Eric Prestemon - Lauren Reay - Nathan Gouwens - Nell Morse - Karma Jay - Dallas Hockley - M Shane Borders - Kevin Potter - Eoin de Burca - Bonnie Prinsen - Linda Duffy - Ryan Rairigh - Achint Srivastava - Doug Belew - Abbie Berg - Jason Pratt - Geraldine Butler - Bernard Khoo - David Joske - Donald Mackie - Steve Paquin - Mino Capossela - Kelli Brockington - Adam W - Josh Singer - Rob Tsuk - Ailie Fraser - JRRJ - Jeffrey Bean - Rishi Sahay - Zak Remer - Adam Stofsky - Kenneth Jung - Bruno Gaeta - Paul Wayper - Lisa Turner - Wendy Gilchrist - Doreen Carlson - Janice Berry - Christian Hessmann - Richard Sneddon - Portland Eye Care - Deebs - Michael Shain - Jamie - David Futter - Jeff Ulm - Aaron Wade - Greg Henion - KenIsWearingAHat - Ethan Bauman - Catherine Clause - Charles McGee - Tim Sheehan - E Margaret Warton - Matt Baxter - Dr Arthur A Gray - Steve Martino - Stu Baker - Martín Salías - Peter Harding - John Halpin - Douglas H Frazer - Heather J - Alan Maass - Dave Malloy - Robert Granat - Kaya Woodall - Kellen Steffen - Sean Murphy - Jim Sellers - Ben Stein - Bla Blupp - Dick Morgan - Lee R. - Misty Haisfield - Carlos Lerner - Dent Earl - Aaron Wilson - Chris Remo - Brian Johan Peter - Ethan Laser - James McMurry - Anthony Mentz - Thomas - Matthew Jones - Eric Sp - Max - Rand LeShay - Stephen Wolkwitz - Paul Bigelman - Monica St. Angelo - Henry Mindlin - Dave Kolas - Lauren Knotts - Joe Gallo - Merv Adrian - Michael Singer - Inmar Givoni - Mordok's Vape Pen - Clint McElroy - Ol Parker - Dan Cutter - Jeff - Michael - James - Kevin Marcelo - Seattle Trans And Nonbinary Choral Ensemble - Ashley - Melissa Kuhns - Jordan Gatenby - Andrew Hofer - Ian Pidd - Irritable - Meryl Allison - Sy Jacobs - Lawrence - Praline - Kevin Stafford - Daniel Nervo - Philip Kelly - Bea - Julie Kellman - Daniel Kaberon - TB - Aruni Jayatilleke - Rachel - Kym Griffith - PhantomMare - Alison Dugan - Margaret McReynolds - HiddenJester - Brian Rinckenberger - RsP - Lottie Aron - Alex Miller - Steve B - Ian Karmel - Zach Putnam - Stephen - Adam Clark - Freddy Freeman - Erik - Mathias Schmidt - Cheryl Wilke - Tucker Ped - Sarah Vetters - Aaron Cain - Daniel Markoff - Alexis - Alex - Eric Stone - Alan Kress - R J Helow - Max Barnes - Michael Martin - John Domina - James - Andrew Knutson - Doug - Sam Grogan - EwokEater42 - MT - Linda Lange - James Hicks - Michael Adamski - Mark MacIntosh - Jeff Stormer - Michael Sumner - Edward Reisert - Klodrik - Aron - Kevin Davis - Matt - Louise Clarke - Richard Randall - AlanB - Will King - PJ and Ethan - TheShirtRipper - Rebecca Kline - Ned Rosen - Simon Hellman - Jim M - Ben Buddy Slack - Néa --------------------
LIVESTREAM AND IN PERSON TICKETS TO OUR MAY 24 LIVE SHOW IN BROOKLYN ARE AVAILABLE NOW! To get your tickets, go to Littlefieldnyc.com The lads ring in their fifth anniversary by finally explaining the show's title as they cover the 1974 revival of Leonard Bernstein's hit operetta: Candide. Topics include Voltaire's poster mind, the masterful direction of Hal Prince, and what it takes to remain hopeful in the face of the worst of all possible worlds. Media Referenced in this Episode: Candide. Dir. Hal Prince. 1974. “Candide” by Voltaire Libretto for the 1974 Production Libretto for the 1956 Production TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com Interstitial: “The Worst of All Possible Worlds” // Music by Leonard Bernstein // Lyrics by A.J. Ditty // featuring A.J. Ditty as “A.J.“, Josh Boerman as “Josh”, and Brian Alford as “Briangloss”
Welcome to The Reel Schmooze with ToI film reviewer Jordan Hoffman and host Amanda Borschel-Dan, where we bring you all the entertainment news and film reviews a Jew can use. This week, we dive straight into our two films for this week, the 2021 documentary "Bernstein's Wall" and Bradley Cooper's 2023 "Maestro." Our two classical music fans begin with the documentary, highlighting the parts of conductor/composer Leonard Bernstein's life that were previously unknown to them. We hear how the movie employs Bernstein himself as its narrator by weaving together clips from dozens of revealing interviews the celebrity gave over his life. Shifting over to the Hollywood treatment, we zero in on the Maestro's relationship with his wife, Felicia Montealegre Cohn Bernstein. We learn where Cooper stayed true to the contours of the musician's life -- and where he missed the mark. Stick around to see if "Bernstein's Wall" and "Maestro" got an "oy," "meh" or "not bad" in this week's The Reel Schmooze. The Reel Schmooze is produced by Ari Schlacht and can be found wherever you get your podcasts.See omnystudio.com/listener for privacy information.
durée : 01:28:34 - par : Lionel Esparza - On lui doit West Side Story, 3 symphonies, des pages chorales et liturgiques ; on lui doit aussi une discographie immense à la baguette, avec le New York Philharmonic mais pas seulement. Portrait de Leonard Bernstein chef d'orchestre, de Mozart à Chostakovitch, en passant par Brahms, Mahler & Ravel. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 01:28:34 - par : Lionel Esparza - On lui doit West Side Story, 3 symphonies, des pages chorales et liturgiques ; on lui doit aussi une discographie immense à la baguette, avec le New York Philharmonic mais pas seulement. Portrait de Leonard Bernstein chef d'orchestre, de Mozart à Chostakovitch, en passant par Brahms, Mahler & Ravel. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
There was only one way to follow up my interview with the iconic, the unique Steven Blier published earlier this week, and that is with an episode dedicated to his dazzling at the keyboard and his accomplishments as the co-founder and artistic director of NYFOS, the New York Festival of Song, which is just concluding its 38th season. Going all the way back to Steve's first recordings in the late 1980s, I have compiled a setlist that is a testament to his love of song, and his ever-expanding interests in that field. Performances both live and studio, many of them straight from Steve's own archives, feature composers ranging from Franz Schubert to Leonard Bernstein, Eubie Blake to Albert Roussel, Eduard Toldrà to Marc Blitzstein, and Billy Strayhorn to Kurt Weill , including work commissioned specifically by and for Blier and NYFOS. And that's just the tip of the iceberg. These are performed by vocal colleagues of Steven's past and present, including William Sharp, Lorraine Hunt Lieberson, Darius de Haas, Stephanie Blythe, Christopher Trakas, Corinne Winters, Kurt Ollmann, Lisa Vroman, Federico De Michelis, Joshua Blue, Sasha Cooke, Brett Polegato, and many, many others. Kudos to this magnificent artist who has enriched all of our lives! 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.
Interview with Anne Richmond Boston of Swimming Pool Q's. Anne was born in Louisville, Kentucky. She was a member of the church choir, took violin and ballet lessons all through elementary school. Her father was transferred to Winter Haven, Florida, for one year (where violin and ballet stopped) and then moved the family to Atlanta, Georgia. She was accepted into the high school chorus and was chosen to sing in a special chorus performing Leonard Bernstein's “Chichester Psalms.” Vocal harmonies were something she came to naturally. Perfoming “Going to the Chapel” with a band in the high school talent show was her first experience of being onstage behind a mic. She really dug it. It was about this time that the music of Janis Joplin, Grace Slick, Sandy Denny, Linda Ronstadt, Tammy Wynette, Dolly Parton, Melba Montgomery, Aretha Franklin, Judy Collins, and The Supremes took up residence in her being. She became friends with local Atlanta phenoms Thermos Greenwood (original rock band) and was invited along with a chorus of people to sing on the song “Chocolate City” for their album Pinhead Teddy. Anne was invited to become a member of the newly formed band The Swimming Pool Q's in 1978 and sang on their recordings The Deep End, The Swimming Pool Q's, and Blue Tomorrow. They continue to perform today. As a graphic designer, Anne created much of the early Swimming Pool Q's promotional material, supervised photo sessions, and designed single and album cover packaging. Leaving the Q's in 1987, Anne and her then-husband recorded The Big House of Time which was released on DB Records in 1990. It contained many originals and several cover songs, including “When You Dance” by Neil Young and “Darling Be Home Soon” by John Sebastian. T he follow up was I Should Be Happy. Anne's has had the pleasure of singing either live with, or on recordings by: Drive-By Truckers, Widespread Panic, Thermos Greenwood, Terry Adams (NRBQ), The Brains, Johnny Jenkins, Marti Jones, Syd Straw, Laurie Sargent, Julie Adams, Kelly Hogan
Keim, Stefan www.deutschlandfunk.de, Kultur heute
In einer Woche startet „Michael“ in den Kinos, die Filmbiografie von Michael Jackson. Bruce Springsteen, Bob Dylan, Robbie Williams, Amy Winehouse, Leonard Bernstein waren kürzlich erst dran: Seit dem Erfolg von „Bohemian Rhapsody“ über Queen und Freddie Mercury sind Musik-Biopics enorm beliebt. Wie funktionieren diese Filme? Haben sie dokumentarischen Wert, erzählen sie authentisch ein Stück Geschichte – oder doch nur unterhaltsame Stories, mit denen ein Musikkatalog vermarktet wird? Und werden uns die Popstars bald genauso nerven wie vor ihnen die Superhelden? Bernd Lechler diskutiert mit Dr. Laura Niebling –Medienwissenschaftlerin, Uni Regensburg; Wolfgang M. Schmitt – Filmkritiker; Jenni Zylka –Kulturjournalistin
durée : 01:58:39 - par : Christian Merlin - Le renouvellement opéré par Karajan porte ses fruits, recueillis par les nouveaux chouchous de l'orchestre, Leonard Bernstein et Carlos Kleiber, tandis qu'arrive une nouvelle génération de chefs, les Abbado, Maazel, Muti, qui accompagnent l'orchestre vers le nouveau millénaire. - réalisation : Marie Grout, Soizic Noël Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
Laura Jackson, Reno Phil music director and conductor, and composer Michelle Isaac speak with Chris Morrison about the sixth and final concerts of the Reno Phil's 2025-26 Classix season, "Carmina Burana," happening April 17-19, 2026. The concerts include the Symphonic Suite from On the Waterfront by Leonard Bernstein, the world premiere of Pressing Truths by Michelle Isaac, and Carmina Burana by Carl Orff. Along with the Reno Phil, the concerts feature soloists Ashley Fabian, Arnold Livingston Geis, and Weston Hurt, the Reno Phil Chorus, and the Sierra Nevada Children's Chorus.
durée : 00:28:48 - par : Christian Merlin - Le renouvellement opéré par Karajan porte ses fruits, recueillis par les nouveaux chouchous de l'orchestre, Leonard Bernstein et Carlos Kleiber, tandis qu'arrive une nouvelle génération de chefs, les Abbado, Maazel, Muti, qui accompagnent l'orchestre vers le nouveau millénaire. - réalisation : Marie Grout, Soizic Noël Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:28:37 - par : Christian Merlin - Le renouvellement opéré par Karajan porte ses fruits, recueillis par les nouveaux chouchous de l'orchestre, Leonard Bernstein et Carlos Kleiber, tandis qu'arrive une nouvelle génération de chefs, les Abbado, Maazel, Muti, qui accompagnent l'orchestre vers le nouveau millénaire. - réalisation : Marie Grout, Soizic Noël Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:28:43 - par : Christian Merlin - Le renouvellement opéré par Karajan porte ses fruits, recueillis par les nouveaux chouchous de l'orchestre, Leonard Bernstein et Carlos Kleiber, tandis qu'arrive une nouvelle génération de chefs, les Abbado, Maazel, Muti, qui accompagnent l'orchestre vers le nouveau millénaire. - réalisation : Marie Grout, Soizic Noël Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:28:39 - par : Christian Merlin - Le renouvellement opéré par Karajan porte ses fruits, recueillis par les nouveaux chouchous de l'orchestre, Leonard Bernstein et Carlos Kleiber, tandis qu'arrive une nouvelle génération de chefs, les Abbado, Maazel, Muti, qui accompagnent l'orchestre vers le nouveau millénaire. - réalisation : Marie Grout, Soizic Noël Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
As the 1950s moved on, new talents were emerging, taking up the challenge laid down by Rodgers and Hammerstein to create integrated musicals featuring real characters dealing with real issues. Among others, Jerome Robbins, Leonard Bernstein, Arthur Laurents, and Stephen Sondheim heard that challenge and rose to meet it, creating something brand new and incredibly challening for 50s Broadway audiences. West Side Story debuted in 1957 (Erik says 1959 a few times in the episode, ignore him), and its 1961 film adaptation cemented its legacy as a classic. So why has it taken this long to get to it? The reasons are complicated. Join us as we discuss them and the 2021 version of "America," All clips are from 2021's motion picture soundtrack of West Side Story featuring Ariana DeBose and David Alvarez and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and commentary. All rights reserved to the copyright owners. Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com Recommended Reading/Viewing: https://sites.google.com/view/analyzing-vocal-music/posts/leonard-bernstein-america https://www.pbs.org/wnet/americanmasters/the-divided-states-of-america-why-rita-moreno-objected-to-west-side-storys-original-lyrics/18671/ Ethan Mordden, Anything Goes: A History of American Musical Theater (Mordden's other volumes are also excellent resources for more in-depth discussion) Broadway: The American Musical
durée : 00:46:04 - Les Nuits de France Culture - par : Mathias Le Gargasson - Au micro de Bruno Monsaingeon, Nadia Boulanger retraçait son apprentissage auprès de Gabriel Fauré et détaillait les méthodes qu'elle avait appliquées tout au long de sa carrière pour former des générations de musiciens, d'Aaron Copland, Leonard Bernstein, Quincy Jones à Philip Glass. - réalisation : Antoine Larcher
durée : 00:46:04 - Les Nuits de France Culture - Au micro de Bruno Monsaingeon, Nadia Boulanger retraçait son apprentissage auprès de Gabriel Fauré et détaillait les méthodes qu'elle avait appliquées tout au long de sa carrière pour former des générations de musiciens, d'Aaron Copland, Leonard Bernstein, Quincy Jones à Philip Glass. - réalisation : Mathias Le Gargasson, Antoine Larcher, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
„Wir leben in der besten aller möglichen Welten“, lernt Candide von seinem Lehrer – bevor ihn Kriege und Naturkatastrophen um die Welt treiben. Ist das wirklich die beste aller Welten? Leonard Bernstein stellt diese Frage in seiner fetzigen Broadway-Operette „Candide“. Von Nick Sternitzke.
On the eve of World War II, a handsome young scholar arrived in Paris. The queer, Black son of a housecleaner, who had nevertheless been decorated in the halls of Harvard and Columbia, Reed Peggram flirted with Leonard Bernstein, sat for portraits by famous artists, charmed minor royalty and became like a little brother to famed researcher and writer Jan Gay. Finally in Europe and on the same prestigious scholarship as literary luminaries Zora Neale Hurston and Langston Hughes before him, he ignored the increasingly alarmed calls to return home to a repressive, segregated America and a constrained life as a second class citizen. And as tensions grew and gas masks were distributed in the City of Lights, Reed turned instead to the new life he'd made: with Arne, a tall and dashing Danish scholar with whom he had formed a deep bond.Award-winning historian Ethelene Whitmire unearthed a trove of Reed's letters when she met one of his descendants at a lecture, awed that she'd heard so little of this charismatic man and his fascinating true story of love and war. In The Remarkable Life of Reed Peggram (Viking, 2026), she introduces us to an unforgettable character who fled from country to country as fighting advanced, was captured by Nazis and outwitted them in a daring escape, and risked it all in a personal fight for a life of love, freedom, beauty and dignity in a world set against him. Ethelene Whitmire is a respected historian and professor for the Department of African American Studies at the University of Wisconsin–Madison. Her research has won awards and funding from the Ford Foundation, the Fulbright Program, and the American Library Association, and she has been invited to writers residencies including Yaddo, UCross, Hedgebrook, and Virginia Center for the Creative Arts. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). She is currently working on the book Diasporic Connections: How Afro-Brazilians Use African American Culture to Challenge Racial Exceptionalism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
On the eve of World War II, a handsome young scholar arrived in Paris. The queer, Black son of a housecleaner, who had nevertheless been decorated in the halls of Harvard and Columbia, Reed Peggram flirted with Leonard Bernstein, sat for portraits by famous artists, charmed minor royalty and became like a little brother to famed researcher and writer Jan Gay. Finally in Europe and on the same prestigious scholarship as literary luminaries Zora Neale Hurston and Langston Hughes before him, he ignored the increasingly alarmed calls to return home to a repressive, segregated America and a constrained life as a second class citizen. And as tensions grew and gas masks were distributed in the City of Lights, Reed turned instead to the new life he'd made: with Arne, a tall and dashing Danish scholar with whom he had formed a deep bond.Award-winning historian Ethelene Whitmire unearthed a trove of Reed's letters when she met one of his descendants at a lecture, awed that she'd heard so little of this charismatic man and his fascinating true story of love and war. In The Remarkable Life of Reed Peggram (Viking, 2026), she introduces us to an unforgettable character who fled from country to country as fighting advanced, was captured by Nazis and outwitted them in a daring escape, and risked it all in a personal fight for a life of love, freedom, beauty and dignity in a world set against him. Ethelene Whitmire is a respected historian and professor for the Department of African American Studies at the University of Wisconsin–Madison. Her research has won awards and funding from the Ford Foundation, the Fulbright Program, and the American Library Association, and she has been invited to writers residencies including Yaddo, UCross, Hedgebrook, and Virginia Center for the Creative Arts. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). She is currently working on the book Diasporic Connections: How Afro-Brazilians Use African American Culture to Challenge Racial Exceptionalism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
On the eve of World War II, a handsome young scholar arrived in Paris. The queer, Black son of a housecleaner, who had nevertheless been decorated in the halls of Harvard and Columbia, Reed Peggram flirted with Leonard Bernstein, sat for portraits by famous artists, charmed minor royalty and became like a little brother to famed researcher and writer Jan Gay. Finally in Europe and on the same prestigious scholarship as literary luminaries Zora Neale Hurston and Langston Hughes before him, he ignored the increasingly alarmed calls to return home to a repressive, segregated America and a constrained life as a second class citizen. And as tensions grew and gas masks were distributed in the City of Lights, Reed turned instead to the new life he'd made: with Arne, a tall and dashing Danish scholar with whom he had formed a deep bond.Award-winning historian Ethelene Whitmire unearthed a trove of Reed's letters when she met one of his descendants at a lecture, awed that she'd heard so little of this charismatic man and his fascinating true story of love and war. In The Remarkable Life of Reed Peggram (Viking, 2026), she introduces us to an unforgettable character who fled from country to country as fighting advanced, was captured by Nazis and outwitted them in a daring escape, and risked it all in a personal fight for a life of love, freedom, beauty and dignity in a world set against him. Ethelene Whitmire is a respected historian and professor for the Department of African American Studies at the University of Wisconsin–Madison. Her research has won awards and funding from the Ford Foundation, the Fulbright Program, and the American Library Association, and she has been invited to writers residencies including Yaddo, UCross, Hedgebrook, and Virginia Center for the Creative Arts. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). She is currently working on the book Diasporic Connections: How Afro-Brazilians Use African American Culture to Challenge Racial Exceptionalism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
On the eve of World War II, a handsome young scholar arrived in Paris. The queer, Black son of a housecleaner, who had nevertheless been decorated in the halls of Harvard and Columbia, Reed Peggram flirted with Leonard Bernstein, sat for portraits by famous artists, charmed minor royalty and became like a little brother to famed researcher and writer Jan Gay. Finally in Europe and on the same prestigious scholarship as literary luminaries Zora Neale Hurston and Langston Hughes before him, he ignored the increasingly alarmed calls to return home to a repressive, segregated America and a constrained life as a second class citizen. And as tensions grew and gas masks were distributed in the City of Lights, Reed turned instead to the new life he'd made: with Arne, a tall and dashing Danish scholar with whom he had formed a deep bond.Award-winning historian Ethelene Whitmire unearthed a trove of Reed's letters when she met one of his descendants at a lecture, awed that she'd heard so little of this charismatic man and his fascinating true story of love and war. In The Remarkable Life of Reed Peggram (Viking, 2026), she introduces us to an unforgettable character who fled from country to country as fighting advanced, was captured by Nazis and outwitted them in a daring escape, and risked it all in a personal fight for a life of love, freedom, beauty and dignity in a world set against him. Ethelene Whitmire is a respected historian and professor for the Department of African American Studies at the University of Wisconsin–Madison. Her research has won awards and funding from the Ford Foundation, the Fulbright Program, and the American Library Association, and she has been invited to writers residencies including Yaddo, UCross, Hedgebrook, and Virginia Center for the Creative Arts. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). She is currently working on the book Diasporic Connections: How Afro-Brazilians Use African American Culture to Challenge Racial Exceptionalism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
On the eve of World War II, a handsome young scholar arrived in Paris. The queer, Black son of a housecleaner, who had nevertheless been decorated in the halls of Harvard and Columbia, Reed Peggram flirted with Leonard Bernstein, sat for portraits by famous artists, charmed minor royalty and became like a little brother to famed researcher and writer Jan Gay. Finally in Europe and on the same prestigious scholarship as literary luminaries Zora Neale Hurston and Langston Hughes before him, he ignored the increasingly alarmed calls to return home to a repressive, segregated America and a constrained life as a second class citizen. And as tensions grew and gas masks were distributed in the City of Lights, Reed turned instead to the new life he'd made: with Arne, a tall and dashing Danish scholar with whom he had formed a deep bond.Award-winning historian Ethelene Whitmire unearthed a trove of Reed's letters when she met one of his descendants at a lecture, awed that she'd heard so little of this charismatic man and his fascinating true story of love and war. In The Remarkable Life of Reed Peggram (Viking, 2026), she introduces us to an unforgettable character who fled from country to country as fighting advanced, was captured by Nazis and outwitted them in a daring escape, and risked it all in a personal fight for a life of love, freedom, beauty and dignity in a world set against him. Ethelene Whitmire is a respected historian and professor for the Department of African American Studies at the University of Wisconsin–Madison. Her research has won awards and funding from the Ford Foundation, the Fulbright Program, and the American Library Association, and she has been invited to writers residencies including Yaddo, UCross, Hedgebrook, and Virginia Center for the Creative Arts. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). She is currently working on the book Diasporic Connections: How Afro-Brazilians Use African American Culture to Challenge Racial Exceptionalism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Nat'l Media , Historic EventI am BOTH a Northerner & present Washingtonian who was born after the Historic Marches for My Civil Rights to Vote, Education, Public Accommodations,Transportation & EmploymentMajor Media Nationally & Internationally covered in the Marches. Citizens & Celebrities also participated:Joan Baez, James Baldwin, Harry Belafonte, Tony Bennett, Leonard Bernstein, Sammy Davis, Jr., Billy Eckstein, Dick Gregory, Lena Home, Mahalia Jackson, William Marshall, Johnny Mathis, Nina Simone, Susan Sarandon, Pernell Roberts, Peter,Paul & Mary....My Guest is the Reverend Clarence Varner who was in Grade School when he joined the Marches for Civil Rights in the 1960's. Although it cost Him is Part-Time Job while a Teenager, He held on to his Beliefs to Stay in the Fight, even getting Arrested Several times & Tear Gassed, Cattle Prod Shocked, Attack Dogs & Fire Hosed because he stood with others to Petition the the Governor for the Right for Blacks to Vote.Rev. Clarence Varner served The United States in the Marine Corps for 8 years & served in during Vietnam during the War , he was wounded. Today he serves his God, Country & Community in the continued fight for Civil Rights*In 1965, Blacks could not: *go to eat, Blacks were served at the Side or Back Door.*Social Movie Theatres, & Clubs too*Schools in the South & other State were Segregated*Housing was Segregated in Much of America. Redlining was the norm.* Thriving Middle Class Black Business's in Black Communities were forced out of Business due to the Federal Highway's that were built OVER that land.* Separate water Fountains & Bathrooms*Separate Transportation on Buses & Trains, etc.* Upper Corporate Jobs were not opened to most Blacks These Marches were ignited by the Death of SCLC local Jimmie Lee JacksonWhat did Jimmie Lee Jackson accomplish?Jimmie Lee Jackson, was a Vietnam veteran, Baptist deacon, activist and martyr of the Civil Rights Movement. Jackson, active in the fight for equal rights, had tried multiple times to register to vote in Alabama and was denied each time.When Jimmie Lee Jackson saw his frail 80-year-old grandfather rudely turned away from the registrar's office in 1962 after attempting to register to vote in Marion, Ala. He knew he had to join the civil rights movement.On Feb. 18, 1965, he was among more than 200 people participating in a night march in Marion. Before they had walked a block, they were confronted by state troopers and the police chief, who ordered them to disperse.Jackson and his mother huddled for safety in a café. When Jackson's grandfather entered the café bloodied and beaten, the young man tried to take him to a hospital. But they were quickly shoved back by a crowd of club-swinging troopers and terrified marchers. Another trooper pulled his pistol and shot Jackson in the stomach. It was two hours before Jackson arrived at the hospital in Selma. He died eight days later.At one of two services for Jackson, Dr. Martin Luther King Jr. told a crowd of 2,000: “Jimmie Lee Jackson's death says to us that we must work passionately and unrelentingly to make the American dream a reality. His death must prove that unmerited suffering does not go unredeemed.”© 2026 Building Abundant Success!!2026 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Tahra Zafar is a costume and creature effects designer. She designed the Paddington Bear puppet featured in the hit West End production Paddington: The Musical.Born into a theatre family, she grew up with an Armenian American father who worked as a choreographer in the first West End production of West Side Story, and a mother who moved from a career as a ballerina to theatre work around the world. Her interest in making began early, helping her father with practical projects such as restoring their house, even learning to build walls and spending her spare time model making, with Airfix creations suspended from her bedroom ceiling.After studying theatre design at Central Saint Martins, she began her career making theatre costumes. She spent some time at the Jim Henson creature workshop where she made some of the creatures for the first Harry Potter film including Hedwig the owl and Scabbers the rat.After her daughter was born, Tahra worked on some of the characters for In the Night Garden with her daughter, a willing judge of what worked for toddlers. In 2012, Tahra was in charge of 23,000 costumes for the London 2012 Olympic opening and closing ceremonies. This role included an audience with the late Queen to ensure the wig and dress were correct for Her Majesty's stunt double when that iconic skydive was performed at the Olympic opening ceremony. Tahra lives in London with her daughter.DISC ONE: Thunderbirds (Main Theme) - The Barry Gray Orchestra DISC TWO: Gee, Officer Krupke. Composed by Leonard Bernstein and performed by Leo Kharibian, Norman Furber and Vince Logan DISC THREE: Beethoven: Symphony No. 9 In D Minor (movement six) Composed by Ludwig van Beethoven and performed by Berlin Philharmoniker, Wiener Singverein and conducted by Herbert von Karajan DISC FOUR: Brazil – Geoff Muldaur DISC FIVE: Sir Duke - Stevie Wonder DISC SIX: Groove Is in the Heart - Deee-Lite DISC SEVEN: Eclipse - Pink Floyd DISC EIGHT: Take Five - Dave Brubeck BOOK CHOICE: The Hitchhiker's Guide to the Galaxy Complete Books by Douglas Adams LUXURY ITEM: A set of art materials and a storage box CASTAWAY'S FAVOURITE: Eclipse - Pink Floyd Presenter: Lauren Laverne Producer: Sarah TaylorDesert Island Discs has cast other costume designers away to the island over the years including Oscar winners Jenny Beavan and Sandy Powell. You can hear their programmes if you search through BBC Sounds or our own Desert Island Discs website.
Wie der einstige Bürgerschreck Bela Bartok 1936 einen Sensationserfolg erzielte, ohne seine fortschrittliche Ästhetik verraten zu müssen. Diese "Neue Musik" nimmt auch Skeptiker sofort gefangen. Wilhelm Sinkovicz präsentiert im Sinkothek-Musiksalon die mitreißende Aufnahme aus Chicago unter Fritz Reiner. Dazu Ausschnitte aus einer empfehlenswerten Bartok-CD des RSO Wien unter Michael Gielen mit Ernst Kovacic -- und ein paar Takte Beethoven mit den Wiener Philharmonikern unter Leonard Bernstein.
durée : 01:28:22 - Relax ! du jeudi 05 mars 2026 - par : Aude Giger - Diriger un orchestre ne leur suffit pas. Daniel Barenboim, Leonard Bernstein ou Lars Vogt au piano, Barbara Hannigan à la voix, Jaap van Zweden au violon : certains chefs sont aussi de grands solistes, pour qui diriger et jouer restent deux passions indissociables. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
Kent Nagano is one of today's outstanding conductors for both operatic and orchestral repertoire. He will be the next chief conductor and artistic director of the Orquesta y Coro Nacionales de España (OCNE) in Madrid starting in September 2026 and is the newly appointed principal artistic partner of Filarmonica Toscanini. He has been honorary conductor of the Deutsches Symphonie-Orchester Berlin since 2006, Concerto Köln since 2019, the Orchestre symphonique de Montréal since 2021 and the Philharmonisches Staatsorchester Hamburg since 2023 and is as patron of the Herrenchiemsee Festival. Kent regularly works with leading international orchestras worldwide, 2025/26 season highlights include several projects with the Deutsches Symphonie-Orchester Berlin, the Munich Philharmonic Orchestra, Maggio Musicale, the Tonhalle Orchestra Zurich, Opera de Paris, and the Philharmonia Orchestra amont others. In 2015 Kent published "Erwarten Sie Wunder!" in Berlin Verlag, a passionate appeal for the relevance of classical music in today's world. In 2019 the book was released in English by the Canadian McGill-Queen's University Press under the title “Classical Music - Expect the Unexpected.” In September 2021, he published his second book with Berlin Verlag. In "10 Lessons of my Life", he recalls ten deeply personal encounters from which he learned important lessons, not only for his career but for his life more broadly. Among those experiences are encounters with the Icelandic pop artist Björk, Frank Zappa, Leonard Bernstein, Pierre Boulez and the Nobel Prize winner in physics Donald Glaser. We'll talk about both books!
durée : 00:16:03 - Disques de légende du jeudi 26 février 2026 - Leonard Bernstein a laissé plusieurs versions de ce célèbre "Adagio" de Samuel Barber, qu'il a même dirigé lors des funérailles du compositeur en 1981. Il y revient seulement quelques mois après avec l'Orchestre Philharmonique de Los Angeles, dans un enregistrement live poignant. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
La cantante estadounidense Stacey Kent ha publicado un EP titulado 'A little time for love' con 'Carinhoso' de Pixinguinha, 'The shadow of your smile' de Mandel y Webster y 'Lucky to be me' de Leonard Bernstein. Nova, proyecto de Laura Vall, cantante barcelonesa afincada desde hace años en California, aborda clásicos de Antonio Carlos Jobim como Água de beber', 'Chega de saudade', 'Águas de março' o 'Insensatez' en el disco 'Baila Nova plays Jobim'. Hace 70 años que Helen Merrill grabó 'Dream of you' con arreglos de Gil Evans para canciones como 'I`m a fool to want you', 'He was too good to me' y 'You are lucky to me'. Y escuchamos la grabación que ha hecho Caetano Veloso de 'Mais simples' adelanto de un disco colectivo con composiciones de Zé Miguel Wisnik. Abren Snarky Puppy and The Metropole Orkest ('Only here and nowhere else') y cierra Gonzalo Rubalcaba con ''Cumbà' de Pino Daniele.Escuchar audio
Midori is a visionary artist, activist and educator who explores and builds connections between music and the human experience. In the four decades since her debut with the New York Philharmonic at age 11, she has performed with many of the world's most prestigious orchestras and has collaborated with world-renowned musicians including Leonard Bernstein, Yo-Yo Ma, and many others.She is in Albany to perform the Beethoven Violin Concerto with the Albany Symphony Orchestra with guest conductor André Raphel. Plus, you'll experience Shostakovich's gripping, intense Symphony No. 10 – and the concert opens with a work by Pulitzer Prize-winning composer Jennifer Higdon. Midori will be on stage tomorrow night - Saturday, January 17th @ 7:30PM at the Palace Theatre with André Raphel conducting.
In today's episode from the Vault, we revisit a 1982 lecture by the composer Lukas Foss, a leader of the American musical avant garde of the 1960s and 70s. In this lecture, a part of the “New American Music Series” of Gallatin Lectures at NYU, Foss discusses the state of American contemporary music, musical minimalism, and his own approach of combining serial elements with spontaneous composition. Foss was born Lukas Fuchs in Berlin, on August 15, 1922, the son of a lawyer and a painter. He began studying piano and music theory when he was 7, and sketched out an opera when he was 11. His family fled to Paris in 1933, and arrived in the U.S. in 1937. He attended the Curtis Institute of Music in Philadelphia, and studied composition with Paul Hindemith at Yale. In 1953, Foss succeeded Arnold Schoenberg as the head of the composition department at the University of California at Los Angeles. In 1962, “Time Cycle,” a four-movement vocal setting of texts by Auden, Housman, Kafka and Nietzsche, premiered with Leonard Bernstein and the New York Philharmonic. From 1971 to 1988 Foss was music director of the Brooklyn Philharmonic. After he left the Brooklyn Philharmonic, in 1990, Foss appeared as a guest conductor and pianist with orchestras around the world. He died in New York City on February 1, 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In today's episode from the Vault, we revisit a 1982 lecture by the composer Lukas Foss, a leader of the American musical avant garde of the 1960s and 70s. In this lecture, a part of the “New American Music Series” of Gallatin Lectures at NYU, Foss discusses the state of American contemporary music, musical minimalism, and his own approach of combining serial elements with spontaneous composition. Foss was born Lukas Fuchs in Berlin, on August 15, 1922, the son of a lawyer and a painter. He began studying piano and music theory when he was 7, and sketched out an opera when he was 11. His family fled to Paris in 1933, and arrived in the U.S. in 1937. He attended the Curtis Institute of Music in Philadelphia, and studied composition with Paul Hindemith at Yale. In 1953, Foss succeeded Arnold Schoenberg as the head of the composition department at the University of California at Los Angeles. In 1962, “Time Cycle,” a four-movement vocal setting of texts by Auden, Housman, Kafka and Nietzsche, premiered with Leonard Bernstein and the New York Philharmonic. From 1971 to 1988 Foss was music director of the Brooklyn Philharmonic. After he left the Brooklyn Philharmonic, in 1990, Foss appeared as a guest conductor and pianist with orchestras around the world. He died in New York City on February 1, 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices
In today's episode from the Vault, we revisit a 1982 lecture by the composer Lukas Foss, a leader of the American musical avant garde of the 1960s and 70s. In this lecture, a part of the “New American Music Series” of Gallatin Lectures at NYU, Foss discusses the state of American contemporary music, musical minimalism, and his own approach of combining serial elements with spontaneous composition. Foss was born Lukas Fuchs in Berlin, on August 15, 1922, the son of a lawyer and a painter. He began studying piano and music theory when he was 7, and sketched out an opera when he was 11. His family fled to Paris in 1933, and arrived in the U.S. in 1937. He attended the Curtis Institute of Music in Philadelphia, and studied composition with Paul Hindemith at Yale. In 1953, Foss succeeded Arnold Schoenberg as the head of the composition department at the University of California at Los Angeles. In 1962, “Time Cycle,” a four-movement vocal setting of texts by Auden, Housman, Kafka and Nietzsche, premiered with Leonard Bernstein and the New York Philharmonic. From 1971 to 1988 Foss was music director of the Brooklyn Philharmonic. After he left the Brooklyn Philharmonic, in 1990, Foss appeared as a guest conductor and pianist with orchestras around the world. He died in New York City on February 1, 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
In today's episode from the Vault, we revisit a 1982 lecture by the composer Lukas Foss, a leader of the American musical avant garde of the 1960s and 70s. In this lecture, a part of the “New American Music Series” of Gallatin Lectures at NYU, Foss discusses the state of American contemporary music, musical minimalism, and his own approach of combining serial elements with spontaneous composition. Foss was born Lukas Fuchs in Berlin, on August 15, 1922, the son of a lawyer and a painter. He began studying piano and music theory when he was 7, and sketched out an opera when he was 11. His family fled to Paris in 1933, and arrived in the U.S. in 1937. He attended the Curtis Institute of Music in Philadelphia, and studied composition with Paul Hindemith at Yale. In 1953, Foss succeeded Arnold Schoenberg as the head of the composition department at the University of California at Los Angeles. In 1962, “Time Cycle,” a four-movement vocal setting of texts by Auden, Housman, Kafka and Nietzsche, premiered with Leonard Bernstein and the New York Philharmonic. From 1971 to 1988 Foss was music director of the Brooklyn Philharmonic. After he left the Brooklyn Philharmonic, in 1990, Foss appeared as a guest conductor and pianist with orchestras around the world. He died in New York City on February 1, 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Hollywood actors and writers are anxious about AI filmmaking, but one Bollywood director tells us that, as far as many Indian creators are concerned, it's democratizing the process. Many Calgarians are once again under a boil-water advisory after the second major water main break in as many years -- and this one left our guest stranded on the roof of her truck. Our guest fills us in on his annual headline-of-the-year bracket -- where the entrants range from the sublime to the ridiculous, except for the sublime part. We revisit our conversation with the Oscar-winning filmmaker Molly O'Brien and her pioneering aunt, Orin O'Brien -- about Orin's many years as the only female member of the New York Philharmonic. We'll hear what it was like to play for Leonard Bernstein -- and why artistry and acclaim don't always go hand in hand. A California man says the 550-pound black bear living underneath his house is no longer welcome -- but for obvious reasons, the bear does not care about that. As It Happens, the New Year's Eve Edition. Radio that knows it's gross when your roommate walks around bear-foot.
In celebration of the Pogues' 'Fairytale of New York' EP, we take a detailed look at how their classic Christmas single came together. The Pogues originally formed in London in 1982 by Shane MacGowan, Spider Stacy and Jem Finer. MacGowan had gotten his start playing in the punk band, the Nipple Erectors, and when that band broke up, he began playing in an Irish traditional music style. Gradually, he brought in James Fearnley, Cait O'Riordan and John Hasler to become a sextet. Andrew Ranken replaced John Hasler as they signed with Stiff Records. Their debut album, Red Roses for Me, was released in 1984. For their second album, they added Philip Chevron on guitar and hired Elvis Costello as their producer. Rum Sodomy & the Lash was released in 1985, and they continued working with Costello for the Poguetry in Motion EP, released in 1986. At this point, Cait O'Riordan left the band and they updated the lineup to include Darryl Hunt and Terry Woods. They signed to Island Records and hired Steve Lillywhite to produce their third album. If I Should Fall from Grace with God was eventually released in 1988 and included the Christmas single, “Fairytale of New York.” In this episode, Steve Lillywhite describes working with the Pogues at this pivotal time in their career when they were expanding the lineup and becoming more ambitious with their song structures and arrangements. Despite not having experience recording a traditional folk band, Lillywhite proved to be the right producer for the Pogues at this moment. His input and confidence in the studio led to them splicing two sections of “Fairytale of New York” together and also enlisting his wife Kirsty MacColl to sing the female part in the song. Jem Finer talks about his initial writing process for the song and how he wrote two potential Christmas ideas that his wife Marcia dismissed as being far too sentimental. Her input led to him rethinking the song and writing about a down on their luck couple, inspired by people who lived in their neighborhood in London. Finer describes how Shane MacGowan then took the song and moved the setting to New York City and added some key lines that were taken from real conversations. James Fearnley describes the thrill of recording the opening section with just piano and voice and how he practiced repeatedly to be able to get that part right. He talks about how the song deserved an ambitious string arrangement and so he worked out some ideas on a synthesizer before bringing in Fiachra Trench to help with the orchestration. By taking inspiration from film scores like Ennio Morricone's Once Upon a Time in America and Leonard Bernstein's On the Waterfront, Fearnley talks about wanting to bring a cinematic sound to match the classic American story that was being told. From the song's long gestation period of a few years, to Steve Lillywhite bringing the tapes home and casually asking Kirsty MacColl to sing on it, to the inspiration behind the classic “I could've been someone” line, to the initial disappointment of getting to number 2 in the charts, to the perfect sparring duet partners in Shane and Kirsty, to the anti-Christmas Christmas song that has become timeless, we'll hear the stories of how the record came together.
In the 1960s, Leonard Bernstein famously helped to popularize the music of a then relatively obscure composer, Gustav Mahler. His work, as well as the work of other conductors, made Mahler into a classical-music household name. Mahler's symphonies are played every year all over the world, and he is firmly ensconced in the so-called canon of standard orchestral repertoire. Would it surprise you to know that Franck's D Minor Symphony once had the same reputation? It was played almost every year by most major orchestras, it was recorded by all the great conductors, and it was a fixture of the canon just like a Brahms symphony. Nowadays you would be lucky if, outside of France and Belgium, you hear Franck's Symphony once every five years, if that. The truth is that, other than a short golden period for this symphony, it has either been controversial (around the time it was premiered) or ignored (nowadays), which is a real shame, since it is a glorious piece that I would argue is drastically underrated in our modern world. The symphony was radically innovative for its time, which probably explains some of the more virulent criticism it received, but even though those innovations now sound completely normal to our ears, they are still at the heart of what makes this symphony so profoundly satisfying to listen to. Ahead of my performances of the symphony in Lille this December, I wanted to dive in and explore this unfairly ignored masterpiece. In about 40 minutes of music in three grand movements, Franck pours his soul into this work. That phrase sounds a bit cliché, I know, but I really mean it; there is an earnestness about this music that I find deeply moving, and it is something we will explore together today. We will talk about Franck's late entry into the world of composition, his reputation as an organist, and the challenges he faced in finding acceptance as a composer. Along the way, we will discuss this gorgeous piece in all of its passion and intensity. Join us!
In 1993, more than 10 years into the AIDS epidemic, the Metropolitan Community Church of San Francisco (MCC-SF) tries to remember all they've lost. We think about remembering too after encountering an archive of 1,200 cassette recordings of this queer church's services during the height of the epidemic. Whether you're a regular church goer or would never step into one, we invite you to spend time with this LGBTQ+ San Francisco church as it struggles to reconcile sexuality and faith in the midst of an existential crisis. For images and links about this episode visit https://www.heavenpodcast.org/episode-1.About the montage: The worship service in this episode was on February 28, 1993. The Dyke March proclamation was written and read by Rev. Lea Brown. Rev. Karen Foster read the statement that sexual orientation does not need to be changed. Jim Mitulski recalled his hospital visit with the man who recognized him by his shape. Paul Francis told strangers at a restaurant to get ugly lovers and Eric Rofes told his mother that he was going to stay safe and keep having sex. Cleve Jones had the vision of a thousand rotting corpses, Rev. Ron Russell Coons preached that we have AIDS as a community, and Rev. Troy Perry proclaimed a revival on Eureka Street. The other people heard in the episode are either unknown or did not want to be named. When We All Get to Heaven is produced by Eureka Street Productions. It is co-created by Lynne Gerber, Siri Colom, and Ariana Nedelman. Our story editor is Sayre Quevedo. Our sound designer is David Herman. Our managing producer is Krissy Clark. Tim Dillinger is our consulting producer and Betsy Towner Levine is our fact-checker. We had additional story editing help from Sarah Ventre, Arwen Nicks, Allison Behringer, and Krissy Clark. For a complete list of credits, please visit http://heavenpodcast.org/credits.This project received generous support from individual donors, the Henry Luce Foundation (www.hluce.org), the E. Rhodes and Leona B. Carpenter Foundation, and California Humanities, a non-profit partner of the National Endowment for the Humanities (www.CalHum.org).Eureka Street Productions has 501c3 status through our fiscal sponsor FJC: A Foundation of Philanthropic Funds.The music for this episode is from the Metropolitan Community Church of San Francisco's archive. It was performed by MCC-SF's musicians and members with Bob Crocker and Jack Hoggatt-St.John as music directors. Additional music is by Tasty Morsels. Thanks to Paul Katz and Henry Machen for permission to use “June in San Francisco” from their fabulous 1991 musical Dirty Dreams of a Clean Cut Kid. The estate of Leonard Bernstein for the use of “Somewhere” from West Side Story. Great thanks, as always, to the members and clergy of the Metropolitan Community Church of San Francisco who made this project possible. Get more Outward with Slate Plus! Join for weekly bonus episodes of Outward and ad-free listening on all your favorite Slate podcasts. Subscribe from the Outward show page on Apple Podcasts or Spotify, or visit slate.com/outwardplus for access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.
In 1993, more than 10 years into the AIDS epidemic, the Metropolitan Community Church of San Francisco (MCC-SF) tries to remember all they've lost. We think about remembering too after encountering an archive of 1,200 cassette recordings of this queer church's services during the height of the epidemic. Whether you're a regular church goer or would never step into one, we invite you to spend time with this LGBTQ+ San Francisco church as it struggles to reconcile sexuality and faith in the midst of an existential crisis. For images and links about this episode visit https://www.heavenpodcast.org/episode-1. About the montage: The worship service in this episode was on February 28, 1993. The Dyke March proclamation was written and read by Rev. Lea Brown. Rev. Karen Foster read the statement that sexual orientation does not need to be changed. Jim Mitulski recalled his hospital visit with the man who recognized him by his shape. Paul Francis told strangers at a restaurant to get ugly lovers and Eric Rofes told his mother that he was going to stay safe and keep having sex. Cleve Jones had the vision of a thousand rotting corpses, Rev. Ron Russell Coons preached that we have AIDS as a community, and Rev. Troy Perry proclaimed a revival on Eureka Street. The other people heard in the episode are either unknown or did not want to be named. When We All Get to Heaven is produced by Eureka Street Productions. It is co-created by Lynne Gerber, Siri Colom, and Ariana Nedelman. Our story editor is Sayre Quevedo. Our sound designer is David Herman. Our managing producer is Krissy Clark. Tim Dillinger is our consulting producer and Betsy Towner Levine is our fact-checker. We had additional story editing help from Sarah Ventre, Arwen Nicks, Allison Behringer, and Krissy Clark. For a complete list of credits, please visit http://heavenpodcast.org/credits. This project received generous support from individual donors, the Henry Luce Foundation (www.hluce.org), the E. Rhodes and Leona B. Carpenter Foundation, and California Humanities, a non-profit partner of the National Endowment for the Humanities (www.CalHum.org). Eureka Street Productions has 501c3 status through our fiscal sponsor FJC: A Foundation of Philanthropic Funds. The music for this episode is from the Metropolitan Community Church of San Francisco's archive. It was performed by MCC-SF's musicians and members with Bob Crocker and Jack Hoggatt-St.John as music directors. Additional music is by Tasty Morsels. Thanks to Paul Katz and Henry Machen for permission to use “June in San Francisco” from their fabulous 1991 musical Dirty Dreams of a Clean Cut Kid. The estate of Leonard Bernstein for the use of “Somewhere” from West Side Story. Great thanks, as always, to the members and clergy of the Metropolitan Community Church of San Francisco who made this project possible. Get more Outward with Slate Plus! Join for weekly bonus episodes of Outward and ad-free listening on all your favorite Slate podcasts. Subscribe from the Outward show page on Apple Podcasts or Spotify, or visit slate.com/outwardplus for access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices
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