Podcasts about Les Troyens

James Robinson, new General and Artistic Director of Seattle Opera, introduces the 2025/26 season. The Pirates of Penzance promises a musically extraordinary operatic approach to Gilbert & Sullivan; come prepared to laugh and to enjoy some familiar music as you've never heard it before. Daphne In Concert offers a rare opportunity to hear a lush Romantic masterpiece by Richard Strauss, an orchestral tour de force with splendid voices. Fellow Travelers, by Gregory Spears & Greg Pierce, is one of the most successful new American operas of the past decade: a bittersweet gay romance hidden inside a political thriller. And Carmen returns in a powerful production conducted by Seattle's beloved Ludovic Morlot and starring some of our favorite singers. Musical examples include excerpts from a 1959 Glyndebourne Pirates of Penzance, conducted by Malcolm Sargent and starring George Baker, Elsie Morison, and James Milligan; the 1964 Vienna Festival Daphne conducted by Karl Böhm and starring Hilde Gueden, Fritz Wunderlich, and James King; the recording of Fellow Travelers' world premiere, 2016 at Cincinnati Opera and starring Aaron Blake, Joseph Lattanzi, and Devon Guthrie, with the Cincinnati Symphony conducted by Mark Gibson; and Seattle Opera recordings of Carmen from 2019, Les Troyens from 2025, starring J'Nai Bridges and conducted by Ludovic Morlot, and Hansel und Gretel from 2016 starring Sasha Cooke and conducted by Sebastian Lang-Lessing.

Zu Gast in der zweiten Ausgabe unserer neuen Sendereihe ist Ulrich Lenz, der Intendant der Oper Graz. Marion Eigl hat sich mit ihm über die besondere Atmosphäre im Haus, den richtigen Riecher in seinem Metier, den großen Erfolg von Hector Berlioz' Les Troyens und die kommenden Produktionen unterhalten.Freuen Sie sich auf Mozarts Così fan tutte ab 1. März,  Franz Lehárs Schön ist die Welt ab 22. März und den Ballettabend Follia! im April.Alle Infos: Oper Graz - Radio Klassik

Start einer neuen Sendereihe auf radio klassik Stephansdom! Martina Raab führt immer am vierten Montag im Monat in die Oper Graz - unter dem Motto: Oper, öffne dich! In der ersten Aussgabe nimmt Vassilis Christopoulos, Chefdirigent der Oper Graz, die Zuhörerschaft mit auf eine Entdeckungsreise zu Hector Berlioz' monumentalem Werk Les Troyens, das zu den herausforderndsten und großartigsten Kompositionen des 19. Jahrhunderts zählt. Berlioz' beeindruckende Kunstfertigkeit in der Orchestrierung und seine Innovationskraft erschufen neue Klangwelten. Les Troyens behandelt universelle Themen wie Krieg, Flucht, Liebe und das menschliche Schicksal, die in ihrer Bedeutung und Relevanz weit über das 19. Jahrhundert hinausreichen. Der besondere Zauber dieses außergewöhnlichen Werkes wird erlebbar in Berlioz‘ Musik. 

Avui al Voltant i Girant: -A la primera part del programa parlarem de música, de música clàssica. En concret, d’òpera. De “Les Troyens”, d’Hector Berlioz, representada a l’Oper Graz, a Àustria. I ho farem perquè l’actuació de la mezzosoprano de l’Ampolla Anna Brull ha estat lloada per la crítica i pel públic que omplia el teatre. Parlarem de música, d’òpera i, en concret, d’aquesta obra i del seu personatge, Didon. -A la segona part del programa anirem fins a Deltebre, per conèixer un nou negoci d’estètica, en concret de manicura, que es diu Dream Nails by Andrea. Entrarem al món de l’estètica d’ungles amb la propietària, Andrea Chacón.

A la primera part del programa parlarem de música, de música clàssica. En concret, d’òpera. De “Les Troyens”, d’Hector Berlioz, representada a l’Oper Graz, a Àustria. I ho farem perquè l’actuació de la mezzosoprano de l’Ampolla Anna Brull ha estat lloada per la crítica i pel públic que omplia el teatre. Parlarem de música, d’òpera i, en concret, d’aquesta obra i del seu personatge, Didon.

A l'Al Dia Terres de l'Ebre d'avui dilluns, 27 de gener: - Obrim l'Informatiu, amb el repàs a l'actualitat d'avui i també del cap de setmana, a través de les nostres emissores col·laboradores, on el fort vent ha estat el protagonista. - A l'entrevista del Dia: amb Anna Brull, la mezzosoprano ebrenca vinculada des de fa més de deu anys a l'Òpera de Graz triomfa amb el seu paper de Didon de l’òpera ‘Les Troyens’ del compositor francès Hector Berlioz. - A de Poble en Poble: anem fins a Deltebre per conèixer l’obra de teatre “Aquelles que donen testimoni”, un repàs per la història a través de les dones que la van viure, que s’estrena el pròxim 1 de febrer a l’església de Sant Miquel de Deltebre. - Sector primari: les problemàtiques en el sector de l’apicultura i la importància de les abelles en el medi natural des de la Cala Ràdio. - Tanquem amb Economia de Butxaca: xx amb Txema Cardona des d’Amposta Ràdio.

A l'entrevista del Dia: amb Anna Brull, la mezzosoprano ebrenca vinculada des de fa més de deu anys a l'Òpera de Graz triomfa amb el seu paper de Didon de l’òpera ‘Les Troyens’ del compositor francès Hector Berlioz.

In January 2025 Seattle Opera will present two concert performances of LES TROYENS À CARTHAGE, the second part (Acts 3, 4, & 5) of Berlioz's monumental masterpiece LES TROYENS. Seattle Opera Dramaturg Jonathan Dean introduces the music of Berlioz and this full-length program, sharing musical examples from recordings of Georges Thill singing French tenor arias; Les Troyens conducted by Colin Davis in 1969 (with the orchestra and chorus of Covent Garden and Jon Vickers); from 2000 (Davis conducting the London Symphony orchestra and chorus, Ben Heppner, Michelle DeYoung, and Sara Mingardo); and from 2017 (John Nelson conducts the Orchestre and Choeur philharmonique de Strasbourg, Joyce DiDonato, and Cyrille Dubois).

C'est un des plus grands mythes de l'Antiquité que Berlioz, marqué par ses souvenirs d'enfant latiniste, a mis en musique dans Les Troyens : les amours tragiques d'Enée avec la reine Didon. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

This Day in Legal History: Happy Birthday RBG!On this day in legal history, March 15 marks the birth of an iconic figure in American jurisprudence, Justice Ruth Bader Ginsburg, born in 1933 in Brooklyn, New York. As the second woman ever appointed to the U.S. Supreme Court, Ginsburg's legal career was marked by a steadfast commitment to justice, equality, and the rule of law. Before her appointment to the Supreme Court in 1993 by President Bill Clinton, Ginsburg had already made significant contributions to the legal field, notably through her work with the Women's Rights Project of the American Civil Liberties Union during the 1970s. Her strategic litigation before the Supreme Court as an attorney broke down numerous legal barriers, leading to greater gender equality. Justice Ginsburg's opinions, both majority and dissenting, on the Supreme Court bench were known for their clarity, depth, and unyielding dedication to civil rights. Notably, her dissent in cases like Ledbetter v. Goodyear Tire & Rubber Co. inspired legislation to ensure fair wages for women, highlighting her influence extending beyond the judiciary to the legislative domain. Ginsburg's legacy is not only embedded in her monumental judicial writings but also in her role as a cultural icon, affectionately dubbed "Notorious RBG," symbolizing her enduring impact on generations of lawyers, activists, and ordinary citizens. Her passing in September 2020 was mourned across the nation, reflecting the profound loss of a legal titan who dedicated her life to advancing equality and justice for all Americans.The IRS, in collaboration with the Department of Justice, has initiated a significant enforcement push against crypto tax fraud, marking a new phase with the first standalone criminal charges in this domain. Frank Richard Ahlgren III from Austin, Texas, faced accusations of underreporting or failing to report over $4 million in Bitcoin sales for the years 2017 and 2019, along with significant capital gains derived from these transactions. This case is notable as the first instance where charges were made solely for failing to accurately report cryptocurrency earnings and gains on tax returns, signaling the IRS's increased focus on tax compliance within the cryptocurrency sector.The IRS has been enhancing its efforts in understanding and regulating the cryptocurrency market, issuing guidelines on crypto staking and proposing rules for broker reporting, which would mandate exchanges to report user transactions and identities. Experts see this as a major advancement for the IRS, reflecting years of building technical resources and expertise to tackle crypto tax fraud independently, without relying on other criminal investigations.Tax compliance for cryptocurrency can be complex due to the difficulty in tracking the purchase and sale history of digital assets, complicating the determination of tax obligations. Despite misconceptions about the anonymity of crypto transactions, the IRS is actively disproving this narrative, hiring industry experts to deepen its understanding of the space and strengthen its enforcement capabilities.The Ahlgren case, if it proceeds to trial, will pose a significant challenge in educating the jury about the intricacies of cryptocurrency, setting a precedent for future prosecutions. Legal and tax professionals are closely monitoring this development, anticipating more actions from the IRS as it continues to target underreporting and tax evasion within the rapidly evolving cryptocurrency market.IRS's First Crypto Tax Charge Signals Beefed-Up Enforcement PushWalt Disney Co. is employing an unconventional strategy in its fight against activist billionaire investor Nelson Peltz, by reviving the character Professor Ludwig Von Drake, Donald Duck's uncle, to influence its shareholders. In an effort to counter Peltz and nominees from the Trian Group and Blackwell, Disney launched a social media campaign urging investors to support only Disney's board nominees for the upcoming annual meeting on April 3. This marks a significant move by Disney to not just appeal to institutional investors but also to the retail ones, highlighting the importance of every vote through the creation of votedisney.com and engaging storytelling involving classic characters.Peltz, known for his aggressive proxy battles, including a notable one with Procter & Gamble, aims to instigate major changes within Disney, criticizing its lagging profit margins compared to other media giants and calling for restructuring across its business lines. Disney's campaign is a testament to the gravity with which it views Peltz's challenge, employing tactics like political-campaign-style videos to directly address and counter Peltz's and his allies' propositions.The company has gone further by attacking Peltz and other nominated board members, labeling some as "disgruntled former employees," thereby illustrating the personal stakes involved in this boardroom battle. Peltz, in response, has launched his own website and published a manifesto highlighting Disney's operational missteps under CEO Bob Iger, advocating for significant structural reforms, especially in its studio operations.The discourse between Disney and Peltz mirrors political campaigning, with both parties securing endorsements and presenting detailed plans for Disney's future. Disney has rallied support from significant figures, including members of the Disney family and influential business leaders, to bolster its position ahead of the shareholder meeting. The contention underscores the broader issues of governance and strategic direction at Disney, especially concerning succession planning and operational efficiency.Key to understanding the drama at Disney is the universal proxy card rule. The universal proxy card rule allows shareholders in a contested election to vote for a combination of management and dissident nominees using a single proxy card. This rule aims to ensure fairness and transparency in proxy voting by enabling shareholders to cast their votes more accurately according to their preferences, regardless of whether they attend the shareholder meeting in person or vote by proxy. By providing a unified method for proxy voting, the universal proxy card rule enhances shareholder democracy and facilitates more meaningful participation in corporate governance decisions. The rule enables institutional investors to consolidate their voting power across multiple shareholders, facilitating their ability to influence corporate governance decisions and effect significant changes within a company.The ongoing proxy fight, accentuated by the universal proxy card rule, represents a crucial juncture for Disney, reflecting the intricate dynamics of shareholder influence, corporate governance, and the power of narrative in determining the future trajectory of one of the world's most iconic entertainment companies. As the April 3 meeting approaches, both Disney and Peltz remain steadfast, each confident in their vision for the company's future.Disney Revives Donald Duck's Uncle for Showdown With BillionaireJustice Sonia Sotomayor's recent public comments about feeling "tired" and the workload on the Supreme Court have sparked quiet concerns among progressives, reminiscent of the anxiety surrounding Justice Ruth Bader Ginsburg's refusal to retire during Barack Obama's presidency. Despite Sotomayor nearing her 70th birthday, there's little pressure from progressives for her to step down before the November election, which could see a shift in control to the Republicans. This situation echoes past regrets over Ginsburg's decision to stay on the court, which ultimately led to a conservative shift following her death.The hesitance to call for Sotomayor's retirement stems from the sensitivity around advocating for the departure of the first woman of color on the Supreme Court. There's an ongoing conversation within progressive circles about the strategic timing of Supreme Court retirements, though public discussions are rare. The Supreme Court's role as a pivotal policy-making entity in the country adds to the complexity of suggesting a justice's retirement, as it feels akin to a personal attack on their legacy and contributions.Not everyone supports the idea of Sotomayor stepping down, considering she is not the oldest nor the longest-tenured justice on the bench. Concerns about her health, given her Type 1 diabetes diagnosis, don't seem to impact her ability to serve, yet there's speculation about whether she'll want to continue for several more years.Historical precedents of justices retiring under like-minded presidents, or due to health issues at politically inconvenient times, provide a mixed picture on the predictability of Supreme Court retirements. The possibility of Sotomayor retiring to ensure a successor aligned with her views is debated, especially considering the potential for political shifts in the Senate that could impact the confirmation process.Calls for Sotomayor's retirement are few, partly due to the fear of repeating accusations of bias that emerged during discussions of Ginsburg's tenure. The current political climate, with an upcoming tight presidential election and competitive Senate races, makes the timing of any retirement particularly consequential. Advocates for Sotomayor's retirement emphasize the strategic benefit of ensuring a like-minded successor, acknowledging the uncertainty of future political landscapes and health concerns. However, expecting a justice to retire in an election year is seen as unusual, highlighting the delicate balance between judicial independence and political strategy.Quiet Fears About Sotomayor Echo Ginsburg Retirement ConcernsA federal judge in Florida, U.S. District Judge Aileen Cannon, denied former President Donald Trump's request to dismiss a criminal case against him related to the possession of classified documents after leaving office. Trump's legal team had argued that the charges were vaguely defined, but Judge Cannon, appointed by Trump himself, found the issue warranted consideration but was not grounds for dismissal at this stage. Trump faces a 40-count indictment, accusing him of illegally retaining sensitive government documents post-presidency, marking one of four criminal cases against him as he campaigns for reelection.Judge Cannon also addressed Trump's claim that the documents were "personal" rather than government property, suggesting this argument could be explored during the trial rather than leading to an outright dismissal of the case. Trump has actively filed legal challenges across his multiple criminal cases, arguing, among other points, that a trial should be postponed until after the election. Notably, if reelected, Trump could potentially halt the federal cases against him, though state law cases would remain unaffected.The timeline for the trial remains uncertain, with Special Prosecutor Jack Smith proposing a July start, while Trump has suggested August, emphasizing his preference for a post-election trial. Trump's legal strategies have seen varied success in other cases, including a pause in a federal case about the 2020 election results pending a Supreme Court decision, and complications in a Georgia state election subversion case due to procedural issues. Additionally, Trump's New York state trial concerning hush money payments has faced potential delays.Judge denies Trump motion to dismiss classified-documents case | ReutersThis week's closing theme is by Hector Berlioz.​​The most famous classical piece associated with the Ides of March is likely the "Ides of March" movement from Hector Berlioz's "Symphonie Fantastique." This movement is part of a larger symphony that tells the story of an artist's obsession with a woman. The ominous and foreboding tone of the "Ides of March" movement captures the sense of impending doom often associated with the Ides of March, famously known as the date of Julius Caesar's assassination.Hector Berlioz, born in 1803, was a pioneering French composer, conductor, and music critic of the Romantic era. Renowned for his innovative orchestration and dramatic flair, Berlioz revolutionized symphonic music with his groundbreaking compositions. His masterpieces, such as the "Symphonie Fantastique" and the opera "Les Troyens," showcase his vivid imagination and emotional intensity, earning him a lasting place in the classical music canon. Berlioz's unique style, characterized by its grandeur and expressiveness, continues to inspire and captivate audiences worldwide, cementing his legacy as one of the most visionary composers of the 19th century.Without further ado, the second movement from Hector Berlioz's  “Symphonie Fantastique,” enjoy. Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

Caetano Vilela é encenador e iluminador. Paulistano, nascido em 1968, iniciou a carreira como ator em grupos experimentais de teatro nos anos 80, seguindo na profissão como diretor e iluminador. A partir de 1997 se dedica às produções de ópera e desde então seu nome ganha destaque ao realizar centenas de produções como assistente, diretor e iluminador em importantes teatros no Brasil e no Exterior. Com seu trabalho de iluminação foi premiado em diversas produções teatrais e musicais; em 2015, junto com outros artistas brasileiros, foi selecionado para representar o Brasil na Quadrienal de Praga (Performance Design and Space), exposição mundial de criadores da área teatral que aconteceu na Tchecoslováquia. Dentre as óperas que dirigiu, destacam-se: A Queda da Casa de Usher/Phillip Glass; Lady Macbeth do Distrito de Mtzensk/Shostakovich; Ariadne em Naxos/Richard Strauss; Os Troianos/Berlioz; O Navio Fantasma/Wagner; Mefistofele/Boito; Ainadamar/Golijov; A Vida Breve/De Falla; O Matrimônio Secreto/Cimarosa; A Clemência de Tito/Mozart; O Senhor Bruschino/Rossini e a estreia no Brasil da ópera Ça Ira de Roger Waters, compositor e fundador do Pink Floyd. Site Caetano Vilela: https://www.behance.net/CaetanoVilela | @caetano.vilela Instagram: @caetano.vilela Sinopse: Ópera retrata a queda de Troia e a história de amor entre a Rainha de Cartago, Dido, e o herói troiano Eneias. Os dois primeiros atos retratam a queda de Tróia. Após uma longa batalha, os gregos saem de Tróia mas deixam lá um cavalo de madeira (com soldados no interior). Uma profetisa troiana, Cassandre (Cassandra), informa que Tróia está condenada, mas o príncipe Chorèbe, seu noivo, ignora-a. Énée (Eneias), um herói troiano, relata a morte de um sacerdote que pediu a destruição do cavalo. Este entra na cidade e Tróia cai. O fantasma de um dirigente troiano (Hector) diz a Eneias que procure uma nova Tróia na Itália. Eneias foge, Chorèbe morre e Cassandra mata-se. Os três últimos actos relatam a passagem dos troianos por Cartago. Didon (Dido), rainha de Cartago, é ajudada pelos recém chegados troianos na defesa da cidade contra Iarbas, rei da Numídia. Dido e Eneias apaixonam-se. A população festeja a vitória de Cartago sobre Iarbas. Os fantasmas dos troianos dizem a Eneias para partir para Itália. Ele decide fazê-lo, com a sua frota, contrariando o pedido de Dido. A rainha sobe a uma pira funerária e mata-se com a espada de Eneias. Ficha Técnica: Ópera Les Troyens (Os troianos) de Hector Berlioz Direção Musical e Regência: Laurent Campellone Elenco: Énée - Michael Hendrick Chorèbe - Kevin Greenlaw Panthée - Fabrício Claussen Narbal - Sávio Sperandio Iopas Tyrian - Geilson Santos Ascagne - Manuela Freua Cassandre - Marquita Lister Didon - Luiza Francesconi Anna - Kismara Pessatti Hylas - Leandro Lacava Ptiam - Murilo Neves Comandante grego - Eli Soares Fantasma de Hector - Alexander De Paula Helenus - Fabiano Cardoso Soldado Troiano - Adriano Disidney Jair Jr. Mercure - Alexander De Paula Grande Sacerdote de Plutão - Eraldo Auzier Polyxène - Jaiana Souza da Silva Hécube - Elaine Martorano Andromache - Angela Patricia Astyanax - Marlon Souza Pereira Direção Cênica, Concepção e Iluminação: Caetano Vilela Assistente de direção: Roberto Borges  Cenários: Renato Rebouças Figurinos: Olintho Malaquias Coreografia: Jorge Garcia Maestro do Coral: Zacarias Fernandes  Direção Artística do Corpo de Dança: Monique Andrade, Getúlio Lima Amazonas Filarmônica  Coral do Amazonas  Corpo de dança do Amazonas  Fotografias: Antonio Neto

Enjoy this sample-platter of music and voices from Seattle Opera's 2024/25 season. Dramaturg Jonathan Dean and Aren Der Hacopian, Director of Artistic Administration and Planning introduce a mainstage season including Pagliacci (Aug ‘24), Jubilee (World Premiere, Oct '24), Les Troyens à Carthage in concert (Jan '25) The Magic Flute (Feb/Mar '25) and Tosca (May '25). Musical clips include tenor Diego Torre (Canio in Pagliacci at Lyric Opera Kansas City); Monica Conesa (Seattle's Nedda, here singing “Casta diva” in Jordan last year); spirituals from Jessye Norman & Kathleen Battle, Paul Robeson, and Marion Anderson; the Les Troyens Act 4 ballet played by the Strasbourg Philharmonic; J'nai Bridges (Delilah in Seattle in 2023); Russell Thomas (Otello at Canadian Opera Company in 2019); Duke Kim (La traviata's Alfredo in Seattle in 2023); Rodion Pogossov (Belcore in Elixir of Love in Seattle in 2022); Sharleen Joynt (Morgana in Alcina in Seattle in 2023); Vanessa Goikoetxea (Alcina in Seattle in 2023); and Lianna Haroutounian (Cio-Cio San in Madame Butterfly in Seattle in 2017).

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

Donald Macleod surveys the spell Shakespeare cast on Berlioz's life and music Berlioz burst onto the musical stage of 19th century Paris determined to break the mould of France's elegant and refined classical style. He wanted to create music that could be bombastic, barbaric and grotesque, as well as sentimental, scintillating and sorrowful. In this, he was inspired by writers as much as fellow musicians. He was captivated by stories and crowded his imagination with the tales of Virgil, Scott, Goethe and, most of all, William Shakespeare. This week, Donald Macleod traces the tangled literary connections in Berlioz's life and music, including the profound spell cast by Shakespeare over the composer's art and personality. Music featured: Symphonie fantastique: IV. Marche au supplice Harold en Italie: III. Sérénade Les Nuits d'été: IV. Absence, VI. L'île inconnue Waverley, Grande Ouverture Roméo et Juliette: Part 1 (extracts) Roméo et Juliette, Op 17: Part 2 (extract) La Damnation de Faust: Scène 15. Symphonie fantastique: II. Un bal (Valse) Lélio, ou Le Retour a la vie: VI. Fantaisie sur ‘La tempête' de Shakespeare Symphonie fantastique: V. Songe d'une nuit du Sabbat Lélio, ou Le Retour a la vie: II. Choeur d'Ombres La Mort d'Ophélie Roméo et Juliette: Part 2, II. Scene d'amour Tristia: III. Marche funèbre pour la dernière scène d'Hamlet Le Roi Lear Marche hongroise La Damnation de Faust: Part 2 (excerpts) L'Enfance du Christ: Part 2, ‘La fuite en Egypte' (excerpts) Les Troyens, Act 4: ‘Nuit d'ivresse et d'extase infinie !' Roméo et Juliette, Parts 4 & 5 Béatrice et Bénédict: (excerpts) Roméo et Juliette: Part 6 & 7 (excerpts) Presented by Donald Macleod Produced by Chris Taylor for BBC Audio Wales and West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Berlioz and Shakespeare https://www.bbc.co.uk/programmes/m001ryz1 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

And I think it was in the middle of that process that I started to realize that like the Israelites sort of collecting their stones and piling them all together, and to what is called an Ebenezer, I think, here I raise mine every day. And so, all these things started to dawn on me that this was a thing, and I hadn't realized that these stones were related, and they needed...then they build up to something. And so, it didn't happen before, it happened during the process of becoming an opera singer. And then, as the career progressed, the talking about it I was sort of forced always to talk about faith and sort of what it meant to me. I mean, it was in a very cursory kind of way, but it was frequently brought up and then maybe that was also contributed to the fact that I realized it was more of a call than I had realized.---In this episode, listen as Ben Heppner (Canadian tenor and broadcaster) shares with Rev. Dr. Andrew Stirling (Ambassador, Canadian Bible Society) about the role of Scripture in his life. Recorded as part of a series entitled The Word for Life: When Scripture Comes Alive, Ben talks about discovering in his early years a view of the Bible as bread, not stone, that gives life, and points you to Jesus. Referring to Joshua 4:9 and 1 Samuel 7, he shares how, in retrospect, he realized that over the years, God helped him to add different elements to his toolkit, including opera. He explains how the church has been foundational in his life and acknowledges that it was in the church that he learned the ropes of being a public singer.Ben Heppner is a celebrated Canadian tenor whose career highlights include roles in some of the world's most prestigious opera houses, including the Metropolitan Opera, the Royal Opera House, and La Scala. Ben Heppner's contributions to the world of classical music extend to concert performances, recordings, and collaborations with renowned orchestras and conductors. He is a 1988 winner of the Metropolitan Opera auditions and received Grammy® Awards in 1998 for his recording of Die Meistersinger on London/Decca records and in 2001 for his recording of Les Troyens with the London Symphony Orchestra on LSO Live. Heppner hosted CBC Radio's SATURDAY AFTERNOON AT THE OPERA, featuring the finest opera productions and recordings from around the world from 2013 to 2021, and now hosts CBS Radio's BACKSTAGE, where he shares stories from behind the scenes. Ben Heppner lives in Toronto with his wife. He has three grown children and five grandchildren. Heppner loves drinking coffee on the deck and touring the countryside on his motorcycle.

In this episode, listen as Ben Heppner (Canadian tenor and broadcaster) shares with Rev. Dr. Andrew Stirling (Ambassador, Canadian Bible Society) about the role of Scripture in his life. Recorded as part of a series entitled The Word for Life: When Scripture Comes Alive, Ben talks about discovering in his early years a view of the Bible as bread, not stone, that gives life, and points you to Jesus. Referring to Joshua 4:9 and 1 Samuel 7, he shares how, in retrospect, he realized that over the years, God helped him to add different elements to his toolkit, including opera. He explains how the church has been foundational in his life and acknowledges that it was in the church that he learned the ropes of being a public singer.Ben Heppner is a celebrated Canadian tenor whose career highlights include roles in some of the world's most prestigious opera houses, including the Metropolitan Opera, the Royal Opera House, and La Scala. Ben Heppner's contributions to the world of classical music extend to concert performances, recordings, and collaborations with renowned orchestras and conductors. He is a 1988 winner of the Metropolitan Opera auditions and received Grammy® Awards in 1998 for his recording of Die Meistersinger on London/Decca records and in 2001 for his recording of Les Troyens with the London Symphony Orchestra on LSO Live. Heppner hosted CBC Radio's SATURDAY AFTERNOON AT THE OPERA, featuring the finest opera productions and recordings from around the world from 2013 to 2021, and now hosts CBS Radio's BACKSTAGE, where he shares stories from behind the scenes. Ben Heppner lives in Toronto with his wife. He has three grown children and five grandchildren. Heppner loves drinking coffee on the deck and touring the countryside on his motorcycle.---Learn more about the Canadian Bible Society: biblesociety.caConnect with us on Instagram: @canadianbiblesocietyWhether you're well-versed in Scripture or just starting out on your journey, The Bible Course offers a superb overview of the world's best-selling book.  This eight-session course will help you grow in your understanding of the Bible. Watch the first session of The Bible Course and learn more at biblecourse.ca. Help people hear God speak: biblesociety.ca/donate---Learn more about Ben Heppner thecanadianencyclopedia.ca/en/article/ben-heppner 

Ian Partridge, the quintessential English lyric tenor, celebrated his 85th birthday in June. I may be a few weeks late in celebrating that event, but my enthusiasm and admiration for this singer has remained at a consistent level ever since I first discovered his voice on a recording of songs by Ralph Vaughan Williams. Partridge, in fact, has left a vast recorded legacy, including work as both a solo concert artist and recitalist and as a member of such distinguished choral groups as Pro Cantione Antiqua, the Wilbye Consort, and the Louis Halsey Singers. His solo repertoire ranged from 11th century plainsong to the thornier musical 20th century idioms of Schoenberg and Britten. This episode samples the vast array of that recorded legacy, including examples from the Baroque period by Bach, Schütz, Handel, and Monteverdi; through art songs by Schubert, Brahms, Fauré, Bax, Gurney, and Warlock. We also hear him live from Covent Garden in his sole operatic role, the Carthaginian poet Iopas in Berlioz's Les Troyens, and in lute songs and consort music by Campion and Byrd. In all these performances the voice is produced with such ease, the tone so pure and ethereally beautiful, yet never faked or “finessed,” while the interpretations themselves, no matter the musical style, are full of depth, integrity, and subtlety. Here is an enormously satisfying artist who embodies integrity and dedication to his craft. Guest stars include Jill Gomez, Nigel Rogers, Pierre Boulez, Benjamin Britten, Colin Davis, Ernest Ansermet, Norman Walker, Prunella Scales, and the tenor's sister, pianist Jennifer Partridge, with whom he gave over 400 song recitals. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

Didon: Christa Ludwig | Anna: Mignon Dunn | Ascagne: Judith Blegen | Enée: Jon Vickers | Narbal: John Macurdy | Iopas: Kenneth Riegel | Hylas: Leo Goeke | Panthée: Richard T. Gill | Conductor: Rafael Kubelik | Metropolitan Opera | 15 November 1973 | In-house recording

Cassandre/Didon: Shirley Verrett | Anna: Mignon Dunn | Ascagne: Judith Blegen | Enée: Jon Vickers | Chorèbe: Louis Quilico | Narbal: John Macurdy | Iopas: Kenneth Riegel | Hylas: Leo Goeke | Panthée: Richard T. Gill | Priam: Edmund Karlsrud | Conductor: Rafael Kubelik | Metropolitan Opera | 22 October 1973 | In-house recording

Cassandre: Helga Dernesch | Didon: Agnes Baltsa | Anna: Marjana Lipovsek | Ascagne: Olivera Miljakovic | Enée: Pentti Perksalo | Chorèbe: Hans Helm | Narbal: Kurt Rydl | Iopas: Horst R. Laubenthal | Panthée: Peter Wimberger | Priam: Alfred Sramek | Conductor: Gerd Albrecht | Wiener Staatsoper | 25 September 1979 | In-house recording

Quels sont les trucs et astuces des artistes pour lutter contre le trac en tournée ? Comment dépeindre une tempête en musique et quels sont les instruments qui sont les ancêtres du bruitage ? Quels sont les liens entre l'opéra français et les tragédies de Racine ? Comment définir la voix de ténor ? Qui était Traetta ?  Fermez les yeux, ouvrez grand les oreilles et laissez-vous conduire sur les routes de Baroque en stock par Pauline Lambert et Christophe Rousset. Retrouvez tous les épisodes de ce podcast de Radio Classique et des Talens Lyriques sur radioclassique.fr ou sur vos plateformes habituelles.   Références musicales : Leclair, Scylla et Glaucus, Premier air des démons, “Brillante fille de Latone” (air de Circé), Véronique Gens, Les Talens Lyriques, Christophe Rousset (dir.)  Berlioz, Les Troyens, “Je vais mourir !” (monologue de Didon, acte V), Véronique Gens, Les Talens Lyriques, Christophe Rousset (dir.)  Marais, Alcione, Tempête (acte V), Le Concert des Nations, Jordi Savall (dir.)  Vivaldi, Concerto pour flûte à bec, cordes et basse continue “La Tempesta di mare”,  Il Giardino Armonico, Giovanni Antonini (flûte et direction)  Beethoven, Symphonie n°6 “pastorale”, 4e mouvement, Le Concert des Nations, Jordi Savall (dir.)  Mozart, Mitridate, re di Ponto, “Quel ribelle e quell' ingrato”, Giuseppe Sabbatini, Les Talens Lyriques, Christophe Rousset (dir.)  Mozart, La Flûte enchantée, “Dies Bildnis ist bezaubernd schön”, Fritz Wunderlich, Orchestre Philharmonique de Berlin, Karl Böhm (dir.)  Traetta, Antigona, Danse et chœur, “Giusti Numi, ah voi rendete” (acte I), Accentus, Les Talens Lyriques, Christophe Rousset (dir.)   Réalisation : Lucile Metz Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Gabriele Leucht und Marcus Weible stellen Werke aus verschiedenen Literaturgattungen und ihre musikdramaturgische Umsetzung in der Welt der Oper vor. In der achten Folge der Rubrik “Literatur wird Oper” begeben wir uns in die Urgründe europäischer Mythologie. Vergils “Aeneis” inspirierte Hector Berlioz zu seinem monumentalen Werk “Les Troyens”. Wir beschäftigen uns mit dem Leben dieses französischen Komponisten und seinem überragenden Einfluss auf das Musikleben des 19. Jahrhunderts. Mit “Les Troyens” schuf Berlioz ein Musikdrama das viele Jahrzehnte als “unaufführbar” galt, aber dennoch völlig neue Maßstäbe in der Welt der Oper setzte. Im Fokus unserer Besprechung steht die Aufführung dieses einzigartigen Werkes, die am 10.07.2022 in der Bayerischen Staatsoper in München erfolgte. Hector Berlioz (* 11.12.1803 – 08.03.1869) Die Epoche der musikalischen Romantik wurde nachhaltig von Hector Berlioz geprägt. Seine Bedeutung erschöpft sich aber nicht nur in seinem Wirken als Dirigent und Komponist. Auch als brillanter Schriftsteller und Kritiker bleibt er bis heute in Erinnerung. Sohn eines Arztes, studierte er zunächst Medizin, bald jedoch Komposition am Pariser Conservatoire. Berlioz Werke sind überwiegend Programmmusik mit starken Bindungen an die Literatur. Der überaus belesene Komponist hegte eine lebenslange Leidenschaft für die Dramen Shakespeares. Er hinterließ ein umfangreiches Oeuvre das neben Opern, mehrere Sinfonien, Chorwerke, Lieder und Ouvertüren umfasst. Marcus Weible, geboren 1968 in München. Nach Abitur und Bundeswehr habe ich Geschichte und Rechtswissenschaften in Erlangen und Würzburg studiert. Ich war 15 Jahre als Rechtsanwalt und juristischer Repetitor bei Kern – Nordbayern tätig. In dieser Zeit bereitete ich bundesweit zahlreiche Studenten und Referendare auf das Erste und Zweite Juristische Staatsexamen vor. Mittlerweile lebe ich in Regensburg und gehe dort dem Anwaltsberuf mit Schwerpunkt im Verwaltungsrecht nach. Neben meinem Hobby Geschichte, sind und waren SF und Fantasy meine große Leidenschaft. Ich bin Mitglied des Münchner Fankreises „Die Phantasten“ und betätige mich auf mehreren Literaturseiten als Autor und Rezensent.” Gabriele Leucht, geboren: 1981 in München, Ausbildung: von den alten Sprachen bis zur Avvocatessa der Juristerei in Rosenheim, Birmingham, Maryland, Neapel, Straßburg und München. Interessen: Kunst, je abstrakter desto lieber, Literatur, besonders Romane und Dramen, Opern-Musik, fürs Herz italienisch, für den Rest auch alles andere, Politik: Grundgesetz-Fanatikerin, Antirassistin u.v.m., Sport: nicht ohne meine Berge.

Avant de fantasmer sur nos ancêtres gaulois, le prototype du roman national français en avait trouvé d'autres bien plus originaux. Et vous, vous seriez pas un peu Troyens sur les bords ? Un podcast écrit et présenté par Histony ; réalisé par Loma, le tout sous licence CC-BY-SA.

In der achten Folge der Rubrik "Literatur wird Oper" begeben wir uns in die Urgründe europäischer Mythologie. Vergils "Aeneis" inspirierte Hector Berlioz zu seinem monumentalen Werk "Les Troyens". Wir beschäftigen uns mit dem Leben dieses französischen Komponisten und seinem überragenden Einfluß auf das Musikleben des 19. Jahrhunderts. Mit "Les Troyens" schuf Berlioz ein Musikdrama das viele Jahrzehnte als "unaufführbar" galt, aber dennoch völlig neue Maßstäbe in der Welt der Oper setzte. Im Fokus unserer Besprechung steht die Aufführung dieses einzigartigen Werkes, die am 10.07.2022 in der Bayerischen Staatsoper in München erfolgte.

Dans cet épisode de Backstage, découvrez pourquoi Les Troyens de Berlioz a failli ne jamais être créé ! Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Nach unserer letzten Podcastfolge zu LES TROYENS gibt es hier die subjektive, leicht beschwipste Opernkritik von Kathi und Linda. Hört Euch an, wie den beiden unsere Premiere gefallen hat! Habt Ihr Fragen oder Anregungen? Dann schreibt Kathi und Linda: how-to-oper@staatsoper.de FRAGEN, ANREGUNGEN, IDEEN? Schreibt Kathi und Linda: how-to-oper@staatsoper.de

Fuchs, Jörn Florianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Ziemlich wenig Schatten in Karthago: An der Bayerischen Staatsoper wird Hector Berlioz' Monumentalwerk zu einem Duell zwischen Freikörperkultur und Frömmelei. Das regte manchen auf. Gleichwohl gab es gestern auch viel Zustimmung für den Fünf-Stunden-Abend.

Die Kunsthistorikerin und Leiterin des Linzer ars electronica -Festivals Christl Bauer im Gespräch über die künstlerischen Möglichkeiten von künstlicher Intelligenz / Das Münchner Dokfest widmet sich in er Reihe "Brave New Work" dem Wandel unserer Arbeitswelt / Dunkles Kapitel in der US-Geschichte: Die Pulitzer-Preis-Jury würdigt die Berichterstattung über die Erstürmung des Kapitols / Sandalenstoff fürs Musiktheater: Die Bayerische Staatsoper bringt Berlioz‘ "Les Troyens" heraus

Fuchs, Jörn Florianwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Hector Berlioz hat sich für seine Oper "Les Troyens" einen Stoff der antiken Mythologie ausgesucht. Nach 21 Jahren nimmt sich die Bayerische Staatsoper dieses fünfstündige Mammutwerk nun wieder vor, mit Daniele Rustioni am Pult. Regie führt der französische Filmemacher Christophe Honoré.

Hier sind zwei Welten festgehalten: eine im Krieg, eine im Frieden - in der riesenhaften französischen Grand Opéra Les Troyens von Hector Berlioz. Es ist ein Wahnsinn der Extreme. Wohl kein Komponist tauchte je tiefer in die Stoffe, die ihn zu Musik bewegten, und bei Berlioz sind es immer die größten: Faust, Romeo und Julia, Hamlet, darunter macht er es nicht – doch der Untergang Trojas, des trojanischen Feldherren Aeneas‘ Flucht nach Karthago, wo er die Königin Dido liebt und sie verlässt, weil er nach Italien weitermuss, seinem Auftrag folgen, ein Held sein, Rom, die Stadt und ein Weltreich zu gründen – diese Geschichte durchdrang den romantischen Extremisten Hector Berlioz ein Künstlerleben lang. So rückt nach vorn, worauf auch Berlioz grandiose und maßlose Musik zielt: Auf das, was tief in seinen Figuren west, und was den kleinen Hector erschütterte, ihre Gefühle, Ängste, ihre Sehnsüchte. Autor und Sprecher: Holger Noltze Sprecher: Daniele Rustioni Sprecherin: Cathrin Störmer Schnitt: Jan Beckhaus Betreuung: Anna Blei Dramaturgie und Projektleitung: Christopher Warmuth

Hier sind zwei Welten festgehalten: eine im Krieg, eine im Frieden - in der riesenhaften französischen Grand Opéra Les Troyens von Hector Berlioz. Es ist ein Wahnsinn der Extreme. Wohl kein Komponist tauchte je tiefer in die Stoffe, die ihn zu Musik bewegten, und bei Berlioz sind es immer die größten: Faust, Romeo und Julia, Hamlet, darunter macht er es nicht – doch der Untergang Trojas, des trojanischen Feldherren Aeneas‘ Flucht nach Karthago, wo er die Königin Dido liebt und sie verlässt, weil er nach Italien weitermuss, seinem Auftrag folgen, ein Held sein, Rom, die Stadt und ein Weltreich zu gründen – diese Geschichte durchdrang den romantischen Extremisten Hector Berlioz ein Künstlerleben lang. So rückt nach vorn, worauf auch Berlioz grandiose und maßlose Musik zielt: Auf das, was tief in seinen Figuren west, und was den kleinen Hector erschütterte, ihre Gefühle, Ängste, ihre Sehnsüchte. Autor und Sprecher: Holger Noltze Sprecher: Daniele Rustioni Sprecherin: Cathrin Störmer Schnitt: Jan Beckhaus Betreuung: Anna Blei Dramaturgie und Projektleitung: Christopher Warmuth

Zuerst: wir freuen uns, dass Linda Becker zurück ist und unser HOW TO OPER - Team wieder vollständig macht. Wie sah das trojanische Pferd eigentlich wirklich aus? In der aktuellen Folge von HOW TO OPER erfahren wir mehr zur Neuproduktion von LES TROYENS. Wir tauchen ein in die Welt der griechischen Mythologie und erleben die Sagen um den Krieg von Troja – dabei dürfen dramatische Lovestorys natürlich nicht fehlen. In der sechsten Folge HOW TO OPER sprechen Linda und Kathi gemeinsam mit unserer Dramaturgin Katja Leclerc über die Oper von Hector Berlioz, die am 9. Mai Premiere in München feiert. FRAGEN, ANREGUNGEN, IDEEN? Schreibt Kathi und Linda: how-to-oper@staatsoper.de

After a lot of procrastinating - even in this very episode - Anna and Krista finally talk about the grandest of grand operas, Les Troyens. Such a shame that Berlioz fucked off before he could see the entire shitshow! They also explain a few things they've done to their merch, read Jonas' statement on the state of the world and squee over Anna's upcoming outing!

durée : 01:58:30 - Relax ! du lundi 20 décembre 2021 - par : Lionel Esparza - Pour cette première émission de la semaine de Noël, Lionel vous propose une programmation pas exclusive ! En disque de légende, nous écouterons Les Troyens de Berlioz enregistré intégralement en studio sous la direction de Sir Colin Davis ! - réalisé par : Vivian Lecuivre

durée : 00:21:09 - Disques de légende du lundi 20 décembre 2021 - Aujourd'hui dans Disques de légende, l'opéra de Berlioz : Les Troyens. Une version datant de 1969, le premier enregistrement studio en intégral et sans coupures !

durée : 01:28:41 - Hector Berlioz par John Nelson - par : François-Xavier Szymczak - Après un compagnonnage de plus de 45 ans, des enregistrements mémorables : un Requiem, une Damnation de Faust, une Victoire de la musique classique pour son disque, Les Troyens ; John Nelson n'en a pas fini avec Hector Berlioz, dont il est l'un des plus fervents ambassadeurs. - réalisé par : Emmanuel Benito

Les Troyens forment une famille d'astéroïdes qui précèdent ou suivent la planète JUPITER sur son orbite. La sonde américaine LUCY est précisément envoyée pour en explorer quelques-uns pour la première fois.

Los troyanos (título original en francés, Les Troyens) es una ópera en cinco actos con música de Hector Berlioz y libreto en francés del mismo compositor, basado en los Libros I, II y IV de la Eneida, de Virgilio.

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

A combustible combination as René Pape singing “Wotan’s Farewell” and “Fire Music” from Die Walküre. Régine Crespin witnesses the burning of Troy in Les Troyens. Larissa Diadkova sees her mother burned at the stake in Il trovatore. The post Fire and Music appeared first on WFMT.

durée : 00:26:59 - Marie-Nicole Lemieux, contralto (5/5) - par : Judith Chaine - Dernier volet de notre entretien avec Marie-Nicole Lemieux. Elle évoque ses grands rôles et son amour de la scène : d'Orlando, Dalila, à Azucena en passant par Miss Quickly, où l’équilibre entre le jeu et la musique se tisse. Sa plus grande fierté restant Cassandre dans Les Troyens de Berlioz. - réalisé par : Périne Menguy

Hector Berlioz’s opera “Les Troyens” is an opera on a truly epic scale, with a story based on the oldest and most successful fan fiction ever written: The Aneid, Virgil's take on the great warrior from the siege of Troy presented in Homer's Illiad. This opera’s tale includes three continents, two legendary founders of empires, and one love story that definitely doesn’t go according to plan. If roaming Romans romancing roving refugee rowers is your thing (or maybe if you just like operas that give costumers a lot to work with), you will love “Les Troyens!” Hosted by Pat and guest co-host Grant.

The Metropolitan OperaNaomi Andre attended Westtown SchoolEric Mitchko is the General Director for the North Carolina Opera.Barnard College, Columbia UniversityThe Magic Flute is an opera by Wolfgang Amadeus Mozart.Der Rosenkavalier is a comic opera by Richard Strauss.Tatiana Troyanos was an American mezzo-soprano of Greek and German descent, remembered as "one of the defining singers of her generation" (Boston Globe).Dame Gwyneth Jones is a Welsh operatic dramatic soprano.Kathleen Battle is an American operatic soprano known for her distinctive vocal range and tone.Khovanshchina is an opera by Modest Mussorgsky.Dialogues des Carmélites is an opera, divided into twelve scenes with linking orchestral interludes, by Francis Poulenc.Manon Lescaut is an opera by Giacomo Puccini.Columbia UniversityJessye Norman is an American opera singer and recitalist.Sieglinde is a character in Die Walküre, the second of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen.Leona Mitchell is an American operatic soprano and an Oklahoma Music Hall of Fame inductee.Mimi is a character in the opera La bohème, composed by Giacomo Puccini.Martina Arroyo is an American operatic soprano who had a major international opera career from the 1960s through the 1980s. She was part of the first generation of black opera singers of Puerto Rican descent to achieve wide success, and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world.Aida is an opera by Giuseppe Verdi.Dame Kiri Te Kanawa is a New Zealand soprano.The Māori are the indigenous Polynesian people of New Zealand.Nabucco is an Italian-language opera composed in 1841 by Giuseppe Verdi.Samuel Ramey is an American operatic bass.Andrea Gruber is an American dramatic soprano particularly admired for her interpretations of the works of Puccini, Verdi, and Wagner.James Levine is an American conductor and pianist. He is primarily known for his tenure as Music Director of the Metropolitan Opera, a position he held for 40 years.Alfred Walker is an American operatic bass-baritone.Michèle Crider is an American lirico spinto operatic soprano.Mark Rucker, baritone, serves as professor of voice at MSU's College of Music.Porgy and Bess is an English-language opera by the American composer George Gershwin.Fidelio is Ludwig van Beethoven's only opera.Marian Anderson was an American contralto singer, one of the most celebrated of the twentieth century.Elizabeth Taylor Greenfield, dubbed "The Black Swan" (a play on Jenny Lind's sobriquet, "The Swedish Nightingale”, was an African-American singer considered the best-known black concert artist of her time.James Alan Bland, also known as Jimmy Bland, was an African-American musician and song writer.Thomas Dartmouth Rice, known professionally as Daddy Rice, was an American performer and playwright who performed blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time."Oh, Dem Golden Slippers" is a popular song commonly sung by blackface performers in the 19th century.Prada S.p.A. is an Italian luxury fashion house, specializing in leather handbags, travel accessories, shoes, ready-to-wear, perfumes and other fashion accessories, founded in 1913 by Mario Prada.Gucci is an Italian luxury brand of fashion and leather goods. Gucci was founded by Guccio Gucci in Florence, Tuscany, in 1921.Ralph Shearer Northam is an American politician and physician serving as the Governor of Virginia.Matilda Sissieretta Joyner Jones, known as Sissieretta Jones, was an American soprano. She sometimes was called "The Black Patti", a reference to Italian opera singer Adelina Patti.The Daughters of the American Revolution is a lineage-based membership service organization for women who are directly descended from a person involved in the United States' efforts towards independence.Eleanor Roosevelt was an American political figure, diplomat and activist, and served as First Lady of the United States.Rosa Parks was an American activist in the civil rights movement best known for her pivotal role in the Montgomery bus boycott.Mattiwilda Dobbs was an African-American coloratura soprano and one of the first black singers to enjoy a major international career in opera.Lillian Evanti was an African-American opera singer.Mary Lucinda Cardwell Dawson was an African-American musician and teacher and the founding director of the National Negro Opera Company.Theodore Drury, born in Kentucky, was a singer and music promoter.Dr. Kristen Turner’s work has been published in the Journal of the Society for American Music, and the Journal of Musicological Research. Her research interests are in 19th century opera, 19th and 20th century American musical culture, African American music, music and politics, and music and gender.Sir Rudolf Bing, KBE was an Austrian-born opera impresario who worked in Germany, the United Kingdom and the United States, most notably as General Manager of the Metropolitan Opera in New York City from 1950 to 1972.Ulrica is a character in the opera Un ballo in maschera, an opera by Giuseppe Verdi.RCA Studio B is a music recording studio in Nashville, Tennessee built in 1956. Originally known simply by the name “RCA Studios”, it became known in the 1960s for being an essential factor to the development of the production style and technique known as the Nashville Sound.“O don fatale” is an aria from the opera Les Troyens, a French grand opera by Hector Berlioz.Dom Sébastien, Roi de Portugal is a French grand opera by Gaetano Donizetti.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.The Julliard SchoolWilliam Warfield was an American concert bass-baritone singer and actor.Alice Ford is a character in the opera Falstaff.Donna Anna is a character in the opera Don Giovanni.Franco Corelli was an Italian tenor who had a major international opera career between 1951 and 1976.Il Trovatore is an opera by Giuseppe Verdi.Madame Butterfly is an opera by Giacomo Puccini.Liù is a character in the opera Turandot by Giacomo Puccini.The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi.Joe is a character in the musical Show Boat by Jerome Kern.La Scala is an opera house in Milan, Italy.Otello is an opera by Giuseppe Verdi.Atlanta Symphony OrchestraRussell Thomas is an American operatic tenor.Robert Spano is an American conductor and pianist.The Gershwin Initiative at the University of MichiganHouston Grand OperaLyric Opera of ChicagoFrancesca Zambello is an American opera and theatre director. She serves as General Director of The Glimmerglass Festival and Artistic Director of the Washington National Opera.The Neil Simon Theatre, formerly the Alvin Theatre, is a Broadway venue built in 1927.Götterdämmerung is the last in Richard Wagner's cycle of four music dramas titled Der Ring des Nibelungen.Treemonisha is an opera by African-American composer Scott Joplin, who is most noted for his ragtime piano works.Harry Lawrence Freeman was a United States opera composer, conductor, impresario and teacher. He was the first African-American to write an opera (Epthalia, 1891) that was successfully produced.Voodoo is an opera in three acts with music and libretto by Harry Lawrence Freeman.William Menefield is a Cincinnati-born composer. How work Fierce will be premiered by the Cincinnati Opera in 2020.Sheila Williams is the author of Dancing on the Edge of the Roof, On the Right Side of a Dream, The Shade of My Own Tree and Girls Most Likely.

Der amerikanische Dirigent John Nelson leitet eine ungekürzte Einspielung von Hector Berlioz' Oper "Les Troyens". Joyce DiDonato singt die Partie der Didon. Volkmar Fischer schwärmt von "vokalen Leuchtfeuern".

Star Trek Movie Source Music with Tony Robinson. The scores to the films and episodes of Star Trek have been analyzed and studied for over five decades and are the primary focus of this podcast. One episode of Melodic Treks has even focused on instances of singing on screen throughout the 729 episodes and films. However, there are many instances of music that are designed as background filler, and are used to enhance the mood of scenes that are on screen. This type of music placement is called "source music." In this episode of Melodic Treks, Host Brandon-Shea Mutala is joined by Tony Robinson, host of Continuing Mission, to discuss five instances of source music in the Star Trek films, as well as the song created for the end titles of Star Trek Beyond, "Sledgehammer" by Rihanna. Chapters Opening (00:00:00)  Welcome, Tony! (00:01:01)  "Magic Carpet Ride" (performed by Steppenwolf) (00:04:14)  "Les Troyens" (written by H. Berlioz) (00:13:59)  "I Hate You" (written by K. Thatcher) (00:25:03)  "Make Over Mambo" (composed by  A. Silvestri) (00:35:22)  "Sabotage" (performed by The Beastie Boys) (00:36:47)  "Sledgehammer" (performed by Rihanna) (00:45:10)  Final Thoughts (00:51:50)  Host Brandon-Shea Mutala Guest Tony Robinson Production Brandon-Shea Mutala (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Tony Robinson (Associate Producer) Stephen Boyd (Associate Producer) Richard Marquez (Production Manager) Tony Robinson (Show Art) Brandon-Shea Mutala (Patreon Manager)

It's a special podcast-only show! Let the swearing begin! In ‘Chalk Talk’, George and Oliver take a look at those events that happen before and after an opera performance: pre-show lectures, post-show discussions and, as seen last Sunday night at LA Opera, after-parties. Do they add to the experience or do they distract from the main event...? Then, you get all your opera headlines and our hot takes on them in ‘The Two Minute Drill’... Plus, ‘Monday Evening Quarterback’ returns, when we review the new production of “Les Troyens”, by Hector Berlioz, at Lyric Opera of Chicago. Mega hit or epic fail? We’ll tell you what we think... And you tell us what you think! @operaboxscore #operaballs

Berlioz' Lesart der Vergil'schen „Aeneis“ verknappt die Geschichte um die mythische Gründung Roms durch Aeneas auf den tragischen Konflikt zweier Vertriebener. In Troja warnt Kassandra ihr Volk vergeblich, während man das Pferd jubelnd in die Stadt zieht. Aeneas und seine Leute entkommen, geleitet durch den Ruf der Götter: „Italien!“. In der Idylle Karthagos lebt Dido, vertrieben mit ihrem Volk aus Tyros, und verliebt sich in Aeneas, der ihr militärisch beigestanden hat. Doch Aeneas bleibt nicht, denn er hat einen Auftrag. Der letzte Akt ist Abgesang, Verzweiflung und Tod Didos. Victor Hugo befindet, „dass es Hässliches gibt neben dem Schönen, Missgestaltetes dicht beim Anmutigen, Groteskes hinter dem Erhabenen, Schlechtes zugleich mit dem Guten, Schatten mit dem Licht.“ Berlioz setzt seine Figuren auch musikalisch diesen gegenlaufigen Kräften aus - aus Vertreibung wird Verheißung wird Verrat. Inszenierung: Michael Thalheimer Bühnenbild: Olaf Altmann Kostüme: Michaela Barth Licht: Norman Plathe Dramaturgie: Johannes Blum

On occasion, a brilliant artist comes along and thrills audiences all over the globe. Here are three excerpts from tenor Bryan Hymel's Album entitled "Heroique." The operas are: Vepres Siciliennes, Les Troyens (where he made a Met debut on short notice and was a sensation. See Youtube), and Queen of Sheba.  Buy the whole album!!!!  As usual, I only give you excerpts, since I  would not want him to lose royalties. He is too nice a guy!

Find out more about the grand epic opera Les Troyens, performed by the Mariinsky Opera at the 2014 Edinburgh International Festival. Part of Festival SoundBites, by www.sinfinimusic.com. Find out more information and book tickets at www.eif.co.uk/troyens

With influenza reaching epidemic proportions in the United States — and the common cold not far behind — opera singers are dropping out of productions at an alarming rate. Of course, cancellations happen for all kinds of reasons. The voice can be a delicate instrument and various personal and professional issues arise. There are also cancellations of a cloudier, more debatable variety. Regardless, with the relative ease of modern air travel comes a more mobile generation of artists, exposed to germ-filled plane cabins and, in the case of foreign-born artists, visa difficulties. On this edition of Conducting Business, host Naomi Lewin talks with three opera professionals about how presenters and opera companies manage cancellations — and the kinds of actions and deals that happen behind the scenes to secure replacement musicians. Perryn Leech, the managing director of the Houston Grand Opera Bill Palant, a vice president and artist manager at IMG Artists who oversees the careers of many singers. Stephen Gaertner, a baritone who has worked as an understudy at the Metropolitan Opera. He recently stepped in during the middle of a performance to replace an ailing Dwayne Croft in Les Troyens at the Met. Weigh in: have you ever discovered a new singer because of a last-minute substitution? Leave your comments below. A few highlights from the segment: Bill Palant: "I do think that with the ease of transport, not only is it easier to pop people in but it also serves the opposite in that singers are spending more time on airplanes and picking up bugs. Flying at 30,000 feat, you’re getting dried up and showing up a day or two before a performance, and you are risking being sick. I think the ease of travel plays both for and against opera companies and not only singers who are engaged to perform but singers who are engaged to cover." Perryn Leech: "If you or I aren’t feeling 100 percent, we can go into the office and do a 70 percent day and probably no one really notices. If a performer goes on and does a 70 percent day, they have an army of critics out there and an army of audience who say ‘oh I saw her, isn’t she getting worse, isn’t he getting worse?" Stephen Gaertner: "Last season I had four assignments [as an understudy] and all were very interesting and challenging roles. And in neither case was I called to replace my colleague. It was frustrating... But a lot of times when you do go on you might be surprised who you end up on stage with. For instance, I went on stage in Les Troyens, and there I was singing a big duet with Deborah Voigt."

Music Director of The Royal Opera Antonio Pappano and director David McVicar introduce their production of Berlioz's epic Les Troyens for Covent Garden. Interviewed by Penny Smith.

Music Director of The Royal Opera Antonio Pappano and director David McVicar introduce their production of Berlioz's epic Les Troyens for Covent Garden. Interviewed by Penny Smith.

With Rana Mitter. Night Waves has a first night review of The Royal Opera's production of Berlioz's Les Troyens - complete with over 100 singers. Rana is also joined by Dambisa Moyo, Steve Tsang and Isobel Hilton for an examination of China's race for resources. Emma Griffin, one of the next of this year's New Generation Thinkers reexamines the impact of the Industrial Revolution on the working class. Frances Ashcroft shows how electrical signals in our cells are essential to everything we think and do and with James Malpas, Rana takes a look at Tate Modern's latest exhibition Edvard Munch: The Modern Eye.

Highlights from an Italian version of Berlioz's "Les Troyens" from La Scala, 1960 under Rafael Kubelik. Mario del Monaco,Giulietta Simionato(Dido),Nell Rankin (Cassandra). and Nicola Zaccaria (Narbal) are in the cast.    (67 min.)

One of the most in demand directors working today, David McVicar has left an indelible mark on the Covent Garden stage over the last decade. Since his debut with Rigoletto in 2001, he has brought a renewed vigour and urgency to many great works. This Season alone The Royal Opera stage four McVicar revivals, alongside his hotly anticipated new production of Les Troyens. Come and hear him discuss his career to date and future plans.

Inleiding Les Troyens door Adriaan Wouters.

  Compilation of choruses from 16 operas as follows: Nabucco(in photo), I Lombardi, Macbeth (2 versions),Iris, Mefistofele, War and Peace, Boris Godunov, Prince Igor,Parsifal, Gotterdamerung, Meistersinger, Fidelio, Les Troyens,Romeo et Juliette, and Peter Grimes.                             (74 min.)