Podcasts about Liebestod

We got together with Jesse Sanes (Cleanse, Liebestod) to watch the classic "Oh! Moro volume 5" VHS. It was cool to see footage of Osaka after having been there, let alone revisiting some classic noise sets from Merzbow, Monde Bruits, Masonna and more! For the ExtraNoisextra on the patreon, we talk about the new Cleanse tape and how Greh and Jesse work together. This 20 minute segment immediately follows the episode on the patreon feed.

durée : 00:58:42 - Les Fictions - Avignon - Angélica Liddell mêle l'art et la vie, la fiction et la biographie, la réflexion théorique et la création poétique. Parmi l'ensemble de ses textes théoriques, nous avons choisi ceux qui nous ont paru le plus éclairer les spectacles de l'artiste et sa démarche artistique.

durée : 00:58:42 - Les Fictions - Avignon - Angélica Liddell mêle l'art et la vie, la fiction et la biographie, la réflexion théorique et la création poétique. Parmi l'ensemble de ses textes théoriques, nous avons choisi ceux qui nous ont paru le plus éclairer les spectacles de l'artiste et sa démarche artistique.

durée : 00:58:42 - Les Fictions - Avignon - Angélica Liddell mêle l'art et la vie, la fiction et la biographie, la réflexion théorique et la création poétique. Parmi l'ensemble de ses textes théoriques, nous avons choisi ceux qui nous ont paru le plus éclairer les spectacles de l'artiste et sa démarche artistique.

Send us a Text Message.This is the final episode--sort of*--of a multi-part series about medieval adultery in literature, history, and popular culture. My co-host Professor Larissa 'Kat' Tracey and I review how adultery has been dealt with in movies about the Middle Ages. We begin with three Hollywood medieval epics, "The Kingdom of Heaven," "Braveheart," and "The Last Duel," and then turn to the focus of our previous episodes, movies about Lancelot and Guinevere and Tristan and Iseult.*I will be posting a short episode on the film adaptation of Sigrid Undset's Nobel Prize winning novel Kristin Lavransdatter. That really will be our last word on medieval adultery.This episode includes sound clips  from the following movies:"Kingdom of Heaven" (2006), dir. Ridley Scott: Baldwin IV offers Balian command of the armies of Jerusalem and marriage to his sister (unfortunately the recording is not the best quality)"The Last Duel" (2021), dir. Ridley Scott: musical score (comp: Harry Gregson Williams)"Knights of the Round Table" (1953), dir. Richard Thorpe: musical score (comp: Miklós Rózsa)"Excalibur" (1982), dir. John Boorman: musical score (Predlude to the Liebestod, from Wagner's Tristan und Isolde)"Lovespell (1981), dir. Tom Donovon: musical score (comp. Paddy Moloney)Works consulted:Susan Aronstein, Hollywood Knights: Arthurian Cinema and the Politics of Nostalgia . Palgrave, 2005.Virginia Blanton, Martha M. Johnson-Olin, and Charlene Miller Avrich, eds., Medieval Women in Film: An Annotated Handlist and Reference Guide. Medieval Feminist ForumSubsidia Series, 2014. Kevin J. Harty, ed., Cinema Arthuriana.  McFarland, 2002.Kevin J. Harty, ed., Medieval Women on Film. McFarland, 2020.Bert Olton, Arthurian Legends on Film and Television. McFarland, 2000.Listen on Podurama https://podurama.com Intro and exit music are by Alexander NakaradaIf you have questions, feel free to contact me at richard.abels54@gmail.com

Jessye Norman Conductor: Seiji Ozawa San Francisco Symphony Orchestra 21 May 1975 Broadcast

Bravo på lørdag tager de sidste af Lytterønskerne fra Turen til Leipzig med i aftenens program. Hør blandt andet den lange, rørende skæring fra Verdis Quattro Pezzi Sacri - Te deum. Der bliver også en "effektiv" duet fra samme komponists geniale hånd og så noget moderne fra Kurt Weills også geniale hånd. Hvis man som jeg er til Strauss (Richard) så kommer der en pragtfuld, morsom scene fra Arabella. Og glæd dig til en interessant oplevelse med Liebestod, fra Tristan & Isolde, udsat for et klaver. Vært: Lotte Heise.

This is the second of a three part series with my very special co-host, Dr. Larissa 'Kat' Tracy, about adultery in the Middle Ages. In the previous episode, Kat and I talked about the Lancelot and Guinevere story. In this episode, we tackle the other great medieval tale of adulterous love, Tristan and Iseult. We begin, however, with a possible contemporary historical analogue, a scandal involving Countess Elizabeth of Vermandois, wife of Count Philip of Flanders, and a very unfortunate household knight.  If true, the adultery of the countess and the vengeance taken by her husband emphasizes the difference between literature and reality--but, the "if" is very much in question.  In the third and concluding episode, we will look at how the stories of Lancelot and Guinevere and Tristan and Iseult have been used in modern literature and movies.If you are enjoying this podcast, please share it with friends and family who might be interested in things medieval. And if you are listening on a platform that allows ratings and reviews, such as Apple podcasts, please take the time to rate and review it. I am told that is the best way of spreading the good news.This episode includes an orchestral snippet of Arturo Toscanini conducting the Liebestod  from Richard Wagner's opera "Tristan und Isolde" (https://www.youtube.com/watch?v=lBFcDGTzgAI)Listen on Podurama https://podurama.com Intro and exit music are by Alexander NakaradaIf you have questions, feel free to contact me at richard.abels54@gmail.com

Cerramos por esta temporada la sección. Y lo hacemos por todo lo alto con una serie de fragmentos operísticos de muy alto valor en interpretaciones señeras. Empezamos con el aria Parto, parto de La clemenza di Tito de Mozart en la ígnea interpretación de Cecilia Bartoli. Escuchamos también el final en la voz de Teresa Berganza. Luego el Liebestod del Tristán wagneriano, un adiós supremo (hay duda de si significa la muerte física) cantada por una de las Isoldas de nuestros días, Nina Stemme. Cambiamos de tercio y nos vamos al verismo para seguir de nuevo la despedida de Turiddu, en ese arrebatado y premonitorio Addio a la mamma de Cavalleria rusticana de Mascagni con el broncíneo timbre de Mario del Monaco por todo lo alto. Alfredo Kraus es después el gran protagonista del final de Werther de Massenet. El programa de remata con los últimos minutos de Andrea Chénier de Giordano. Un adiós corajudo y diríamos que entusiasta si no estuviera la muerte por medio, de Maddalena y Chénier. En las voces arrojadas y fulgurantes de Renata Tebaldi y Franco Corelli. Escuchar audio

Bei den Pfingstfestspielen im Festspielhaus Baden-Baden dreht sich eine Woche lang alles um Richard Wagner. Den Auftakt macht das SWR Symphonieorchester mit seinem Chefdirigenten Teodor Currentzis. Neben Vorspiel und Liebestod aus „Tristan und Isolde“ und dem „Ring ohne Worte“ wird auch eine musikalische Wagner-Betrachtung des ukrainisch-russischen Komponisten Alexei Retinski zu hören sein. Ein Probenbesuch.

Gewinnspiel, Liebestod, Tina Turner, Emotionale Vaseline

Gepresenteerd door: Hans van den Boom Radio Filharmonisch Orkest Dimitry Slobodeniouk, dirigent * R. Wagner - Vorspiel und Liebestod (uit ‘Tristan')   * S. Rachmaninoff - Symfonie nr.3, op.44  

Gepresenteerd door: Ab Nieuwdorp Radio Filharmonisch Orkest Dima Slobodeniouk, dirigent Baiba Skride, viool * Richard Wagner - Tristan und Isolde: Vorspiel und Liebestod  * Sofia Goebaidoelina - Dialog: Ich und Du (Concert voor viool en orkest no.3) (Nederlandse première) * Sergej Rachmaninov - Symfonie no.3 op.44 in a 

Harvard Absolvent, Hitlers Intimus in den 20er Jahren, in den 30ern sein Auslandspressechef, Ende der 30er vor den Nazis auf der Flucht und dann, unter FDR in Washington DC für die Amerikaner tätig: Ernst Hanfstängel war während Hitlers aktivsten Jahren in nächser Nähe dabei. Der "Führer" war fast Dauergast in seiner Wohnung in München, spielte mit Hanfstängels Sohn Eisenbahn und ließ "Putzi" immer wieder den Liebestod von Wagner am Klavier spielen - so kam der begnadete Musiker Hanfstängel auch da, SA-Stumlieder zu komponieren. Und damit noch nicht genug: Putzis Frau Helene verhinderte Hitlers Selbstmord - und schickte ihn direkt danach in Putzis blauem Bademantel in die Haft in Landsberg. Die interessante Geschichte dieses Mannes erzählen wir in der heutigen Podcast-Folge.

Christoph vom Sneakpod war wieder da und sprach mit mir über die ultimative 90er-Verfilmung von Romeo und Julia. Es geht natürlich um Liebe, um die Frage, ob Leo je besser aussah und um den Stil zwischen Postmoderne und Nazarenertum. Wir fragen, ob das Schauspiel gut oder schlecht ist und warum der Film eigentlich in Mittelamerika spielt. Ist der Liebestod nur ein billiger Ausweg oder wirklich romantisch? Und was sagen eigentlich die Sons of Anarchy dazu?

Gestern hatte in der Wiener Staatsoper die mit Spannung erwartete Neuproduktion von Richard Wagners Oper „Tristan und Isolde“ ihre Premiere. Mit Spannung deshalb, weil es bereits während der Generalprobe nach dem 1. Aufzug Unmutsbekundungen durch das anwesende Publikum gegeben hatte, die sich Staatsoperndirektor Bogdan Roščić verbat. Über die Premiere berichtet für radio klassik Stephansdom Opern.News-Chefredakteur Stephan Burianek. Er galt lange Zeit als das Enfant terrible unter den Opernregisseuren: Wenn Calixto Bieito auf dem Programmzettel steht, dann sind verstörende Reaktionen quasi vorprogrammiert. Den Spanier interessieren vor allem die menschlichen Abgründe, er ist eher Realist als Optimist, und dementsprechend realitätsnah sind in der Regel seine Inszenierungen. Gewalt, Sex, Blut und nackte Körper sind seine Markenzeichen. Das heißt freilich nicht, dass sich Bieito im Vorfeld nicht eindringlich mit den Werken beschäftigt, außerdem zeichnen sich seine Inszenierungen zumeist durch eine intensive Arbeit mit den Sängerinnen und Sängern aus. Das soll nun auch an der Wiener Staatsoper bei den Proben zur Neuinszenierung von Richard Wagners Oper „Tristan und Isolde“ der Fall gewesen sein, wie Andreas Schager und Martina Serafin, die hier das Protagonistenpaar verkörpern, in einem Interview erzählt haben. Trotzdem könnten Bieito-Fans diesmal enttäuscht sein, denn der Regisseur gibt sich überraschend zahm. Kein Sex, kein brutale Schlägerei. Auf der mit hartem Licht ausgeleuchteten Bühne von Rebecca Ringst ist im Gegensatz zur eigentlichen Handlung natürlich weder im ersten noch im dritten Aufzug ein Schiff zu sehen. Stattdessen verortet das Regieteam die Oper in einem neutralen Raum mit großflächigen Wasserbecken auf dem Boden. Stille Wasser sind tief, sagt man. Tatsächlich beleuchtet Bieito weniger die eigentliche Handlung, als vielmehr das durch den Liebeswahn erschütterte Innenleben der beiden Hauptfiguren. Das wird nicht zuletzt im zweiten Aufzug klar, in dem Bieito das Duett zwischen Tristan und Isolde zunächst als telepathischen Traum inszeniert, in dem jeder der beiden in getrennten Kabinen die eigene heile Welt zertrümmert. Erst dann finden sie, von ihrer Todessehnsucht getrieben, für eine Selbstverstümmelungsszene physisch zueinander. Das hat den praktischen Vorteil, dass Tristan von Melot erst gar nicht verletzt werden muss, denn Tristan ist zu diesem Zeitpunkt bereits völlig blutverschmiert. Und die Musik? Das Staatsopernorchester unter Philippe Jordan klingt gewohnt erstklassig, wiewohl der Musikdirektor des Hauses vor allem den ersten Aufzug allzu dehnt, was das Gegenteil der dadurch erwünschten Spannung erzeugt. Den Sängerinnen und Sängern macht er es, wie schon in vergangenen Produktionen zu hören war, nicht einfach. Selbst der vor Sangeskraft bekanntermaßen strotzende Andreas Schager, der als Tristan von der Regie als vom Schicksal Gezeichneter gezeigt wird, stößt im Laufe der fordernden Partie zunehmend an seine Grenzen. Martina Serafin teilt sich ihre Kraft als Isolde gut ein und schafft den finalen Liebestod makellos. Ekaterina Gubanova ist eine klangschöne wiewohl kaum verständliche Brangäne. König Marke, mit dem Bieito offenbar wenig anzufangen weiß, wird von René Pape überaus zurückhaltend und beinahe liedhaft gesungen. Iain Paterson ist ein verlässlicher Kurwenal, Clemens Unterreiner ein erfreulicher Melot, und als Luxusbesetzung sei an dieser St

Wagner: Prelude and Liebestod to "Tristan und Isolde"Bruckner: Symphony No. 1 in C minor, WAB 101Bruckner: Symphony No. 5 in B-flat Major, WAB 105Andris Nelsons conducts the GewandhausorchesterPurchase the music (without talk) at:Bruckner: Symphonies 1 and 5 plus Wagner: Prelude and Liebestod to Tristan und Isolde (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

A very special opera queen episode profiling an opera queen gone wrong: the Italian opera and film director (of 1968's famous Romeo and Juliet) who fought fascists as a partisan in the hills over Florence, mingled with Visconti and Cocteau and Marais and Chanel, and directed Callas in many of her mid-career triumphs before beginning to harden his style from lush realism to a celebration of set decoration above all. Zeffirelli, born at a time when the last composers whose works still fill the grand opera repertory were dying, faced, like all practitioners of the operatic arts in the 20th century, a choice between making living theatre or dead, ten-ton museum pieces. He chose the museum-piece approach and in so doing did tremendous artistic damage. CONTENT WARNING: THIS EPISODE DISCUSSES CHILDHOOD SEXUAL ABUSE AND RACIST LANGUAGE. ----more---- See Callas in Tosca in 1964 here. See Leontyne Price's costumes for Antony and Cleopatra here and  here. See Zeffirelli's MET Opera Turandot set here. See Waltraud Meier sing the Liebestod here. SOURCES: Duane Byrge, “Franco Zeffirelli, Oscar-Nominated Director for ‘Romeo and Juliet,' Dies at 96,” The Hollywood Reporter (blog), June 15, 2019, https://www.hollywoodreporter.com/news/general-news/franco-zeffirelli-dead-romeo-juliet-920639/ Rachel Donadio, “Maestro Still Runs the Show, Grandly,” The New York Times, August 18, 2009, sec. Arts, https://www.nytimes.com/2009/08/19/arts/music/19zeffirelli.html Roger Ebert, “Romeo and Juliet Movie Review (1968) | Roger Ebert,” accessed January 31, 2022, https://www.rogerebert.com/reviews/romeo-and-juliet-1968 Johanna Fiedler, Molto Agitato: The Mayhem behind the Music at the Metropolitan Opera (New York: Anchor Books, 2003)  Jonathan Kandell, “Franco Zeffirelli, Italian Director With Taste for Excess, Dies at 96,” The New York Times, June 15, 2019, sec. Arts, https://www.nytimes.com/2019/06/15/arts/music/franco-zeffirelli-dead.html Rebecca Keegan, “The Dark Side of Franco Zeffirelli: Abuse Accusers Speak Out Upon the Famed Director's Death,” The Hollywood Reporter (blog), June 18, 2019, https://www.hollywoodreporter.com/movies/movie-news/franco-zeffirelli-abuse-accusers-speak-1219298/ Wayne Koestenbaum, The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire (London: Da Capo Press, 2001) Barbara McMahon, “Zeffirelli Tells All about Priest's Sexual Assault,” The Guardian, November 21, 2006, sec. World news, https://www.theguardian.com/world/2006/nov/21/books.film  Peter Murphy, “Bruce Robinson Interview,” The New Review, accessed January 31, 2022, https://web.archive.org/web/20070707184620/http://www.laurahird.com/newreview/brucerobinson.html John J. O'Connor, “TV Review; Zeffirelli's Lavish ‘Turandot' at the Met Opera,” The New York Times, January 27, 1988, sec. Arts, https://www.nytimes.com/1988/01/27/arts/tv-review-zeffirelli-s-lavish-turandot-at-the-met-opera.html Neda Ulaby, “Franco Zeffirelli, Creator Of Lavish Productions On Screen And Stage, Dies At 96,” NPR, June 15, 2019, sec. Obituaries, https://www.npr.org/2019/06/15/514094174/franco-zeffirelli-creator-of-lavish-productions-on-screen-and-stage-dies-at-96 Daniel J. Wakin, “For Opening Night at the Metropolitan, a New Sound: Booing,” The New York Times, September 22, 2009, sec. Arts, https://www.nytimes.com/2009/09/23/arts/music/23opera.html Franco Zeffirelli, Zeffirelli: The Autobiography of Franco Zeffirelli, 1st American ed (New York: Weidenfeld & Nicolson, 1986) “Opera: ‘Falstaff' Staged by Zeffirelli; New Production of the Met Is Magnificent; Bernstein Conducts —Colzani in Title Role,” The New York Times, March 7, 1964, sec. Archives, https://www.nytimes.com/1964/03/07/archives/opera-falstaff-staged-by-zeffirelli-new-production-of-the-met-is.html Our intro music is Arpeggia Colorix by Yann Terrien, downloaded from WFMU's Free Music Archive and distributed under a Creative Commons Attribution-ShareAlike License. Our outro music is by DJ Michaeloswell Graphicsdesigner. ----more----

Synopsis If the name Henry Holden Huss doesn't ring a bell, we're not surprised – but in his heyday, around 1900, he was famous as a leading American concert pianist and composer. On today's date in 1894, Huss was the soloist with the Boston Symphony for the premiere of his own Piano Concerto in B Major. Now, piano concertos written in the key of B Major are not exactly thick on the ground, and Huss's unusual choice was probably influenced by the “Liebestod” or “Love-Death” music from Wagner's ultra-Romantic opera “Tristan and Isolde.” Certainly, Huss's Piano Concerto is in a similarly ultra-Romantic vein. In addition to his musical fame, Huss was justly proud of his ancestors: He was related on his father's side to the early 15th century Protestant martyr John Huss and on his mother's side to a member of George Washington's staff. Like his contemporary, pianist-composer Edward MacDowell, Huss studied in Germany. Unlike the more famous but tragic short career of MacDowell, Huss enjoyed a long, healthy and productive creative life. In addition to his Piano Concerto, Huss wrote symphonic poems, chamber works, music for chorus, and, not surprisingly, a number of solo piano works. He died at the age of 91 in 1953. Music Played in Today's Program Henry Holden Huss (1862–1953) — Piano Concerto, Op. 10 (Ian Hobson, piano; BBC Scottish Symphony; Martyn Brabbins, cond.) Hyperion 66949

When we talk about “falling in love,” we talk about it like it is something that just happens. Suddenly the ground opens up and we are falling for somebody, as if there is no choice in the matter. This is everywhere -- in movies, TV shows, novels, and of course, in opera. Take Wagner's Tristan und Isolde - while Tristan is bringing her across the Irish sea to marry his uncle Marke, King of Cornwall, they both drink a love potion and fall instantly, madly in love with each other. But Isolde is still betrothed to King Marke, who catches them in a passionate night of love, and one of his men stabs Tristan, who later dies from the wound. Standing over his lifeless body, Isolde sings of her love for Tristan in her final climactic aria, the “Liebestod,” as their love triumphs over even death itself. As their love transcends death.Host Rhiannon Giddens and her guests explore forbidden passion, agonizing desire, and what it means to “fall” in love. Soprano Jane Eaglen is known for her portrayals of Wagner's most commanding heroines, including Brünnhilde and Isolde. She actually met her husband during her first-ever production of Tristan und Isolde at Seattle Opera, and she would find his seat in the audience each night and sing to him from the stage. She is on the voice faculty at the New England Conservatory. Alex Ross is the music critic for The New Yorker and author of The Rest is Noise and Listen to This. He spent nearly a decade writing his most recent book, Wagnerism: Art and Politics in the Shadow of Music, which explores Wagner's wide and complicated influence on art and politics. When he first heard Wagner's music, he thought it was “messy, unsteady, and confusing,” but Tristan und Isolde was the opera that changed his mind. Mandy Len Catron has been studying and writing about romantic love for ten years. She wrote the essay, “To Fall In Love With Anyone, Do This,” for The New York Times “Modern Love” column about how she and a friend fell in love by answering 36 questions and staring into each other's eyes--almost like a modern-day love potion. The essay went viral shortly after its publication in 2015. She has also written the book How To Fall in Love With Anyone: A Memoir In Essays. To spice things up, she's currently working on a book about loneliness.

The loudest episode of I'M SO POPULAR ever recorded — screaming for opera + Richard Wagner's TRISTAN UND ISOLDE. Unstable Zoom connections make up the orchestra of the heart as Pariah and Chi Chi grasp enormous, impossible four hour long art performance in their hands and try to make themselves “artists” with it. Dying as you conduct, shaving bassoon reeds by hand, the genitals of a Brazilian piano performer, perishing before you make yourself real, men calling your name as they drive by you in the street, an iTunes gift card from my dead grandfather… Pariah plays the prelude for twelve minutes — have we learned why we're here? Follow Pariah on Twitter: twitter.com/DollPariah And I'M SO POPULAR: twitter.com/imsopopularpod impopular.me (S2.E32)

durée : 00:53:34 - Le Masque et la Plume - par : Jérôme Garcin - Que valent "La Cerisaie" de Tchekhov, par Tiago Rodrigues, "Entre chien et loup" de Lars von Trier par Christiane Jatahy, "Hamlet à l'impératif" d'Olivier Py, "Liebestod" d'Angelica Liddell, "Fraternité, conte fantastique" de Caroline Guiela Nguyen et "Kingdom" d'Anne-Cécile Vandalem.

Beim Theaterfestival in Avignon sticht die Uraufführung "Liebestod" der Regisseurin Angélica Liddel hervor. Unser Kritiker erlebt eine Beschwörung und Abrechnung mit einer Kultur, die den Kontakt zu ihren mythologischen Quellen verloren hat. Von Eberhard Spreng www.deutschlandfunkkultur.de, Rang I Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Beim Theaterfestival in Avignon sticht die Uraufführung "Liebestod" der Regisseurin Angélica Liddel hervor. Unser Kritiker erlebt eine Beschwörung und Abrechnung mit einer Kultur, die den Kontakt zu ihren mythologischen Quellen verloren hat. Von Eberhard Spreng www.deutschlandfunkkultur.de, Rang I Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Bruno Marques, investigador doutorado em História da Arte Contemporânea, é o curador da exposição “Liebestod – amor e morte”, de Vasco Araújo, patente no Espaço Sismógrafo, no Porto See omnystudio.com/listener for privacy information.

Présentée par Stéphane Blet, Musiques en liberté est une nouvelle émission d'ERFM ! La présentation de ce quatrième épisode : Dans cette nouvelle capsule de Musiques en liberté, Stéphane Blet nous offre un panel 100 % vocal, de Brel à Wagner, de Legrand à Bizet, du classique au jazz et nous fait redécouvrir des versions injustement oubliées, qui sont pourtant de véritables références vocales. Les morceaux sélectionnés : 0'00 à 0'24 : Générique 1'46 à 6'11 : Tina Arena. Les moulins de mon coeur 7'25 à 19'47 : Juliette Gréco. La Bohème, La Javanaise et la Chanson des vieux amants 20'25 à 29'02 : Jessye Norman. Liebestod. (Wagner) 29'48 à 31'07 : Stéphane Blet. Flamme sombre 31'05 à 34'04 : Anne Sofie von Otter. Die Nachtigall. (Alban Berg) 35'12 à 38'26 : Frida Boccara : Ne me quitte pas 38'57 à 42'30 : Sertab Erener. Lal 42'59 à 47'34 : David Bowie. My way 48'02 à 50'33 : Julie London. Fly me to the moon 50'58 à 55'08 : Janet Baker. Morgen. (Richard Strauss) 56'31 à 59'44 : Anne Sofie von Otter. Erinnerung. (Gustav Mahler) 60'22 à 63'25 : Erika Miklosa. La reine de la nuit. (Mozart) 63'59 à 64'49 : Stephane Blet. C'est triste la vie 66'07 à 70'12 : Maria Callas. Carmen 71'02 à 75'00 : Patricia Petibon. Je te veux. (Erik Satie) Source: https://bit.ly/3wh5muZ

In this episode we discuss fics that answer the big questions in life and why those types of stories are important to fanfiction as a genre. Fic Recs Liebestod by IamblichusFandom: Buffy the Vampire Slayer Link: https://archiveofourown.org/works/18051587/chapters/42661694 They really should have known the First Evil wasn't done with them after Sunnydale... Enter: Time-travel, mysterious prophesies, and lots of poetry. Spuffy. BtVS Post-Season 7; Angel AU Season 5. All's well that ends well.~The Dragon's Gold by IamblichusFandom: Buffy the Vampire Slayer Link: https://dark-solace.org/elysian/viewstory.php?sid=6248&ageconsent=ok&warning=5 (will need an account to browse on this website) A year ago, Buffy and Spike went down into a cave, had some ritualized sex, and changed the rules of the game once and for all, returning a soul to each and every vampire. One thing no one predicted? Some vampires might be more dangerous with a soul than without one. (Takes place about a year after Liebestod.)~Never Grow A Wishbone by ShanaStorytellerFandom: Harry Potter Link: https://archiveofourown.org/works/8017603/chapters/18355225 She almost smiles, and true alarm starts to build in his chest. “I’m afraid I’m not here for something so small. Professor Roberts has resigned.” “Good,” Draco says honestly, “Would you like a list of suitable alternatives? I know a number of competent potions masters abroad, but then of course you’d have to hire another teacher to act as the Slytherin head. I’m afraid you’ve dried up all the half decent Slytherin Potions masters.” “Not all of them,” she says quietly.He blinks. She can’t be serious. “You can’t be serious.”“Gravely,” she says, “Mr. Malfoy, I am not above begging.”What the bloody fuck. “I don’t even like potions!”Draco returns to Hogwarts.He has a duty to his blood and his name and his house, and he will fulfill it.

Seguimos de nuevo a Sir Rudolf en su habitual y pormenorizada narración de sus años al frente del Metropolitan de Nueva York, sus relaciones con los cantantes, sus problemas y sus cuitas diarias y sus proyectos. Hoy, después de despedir a Maria Callas en Vissi d’arte de Tosca, escuchamos al dúo –no siempre bien avenido- Leontyne Price-Franco Corelli en el final de Ernani de Verdi, en donde aparece asimismo el gran bajo Cesare Siepi. Luego a la mezzo Christa Ludwig, en el papel travestido de Octavian, en el dúo del segundo acto de El Caballero de la Rosa, junto a la soprano Hilda de Groote. Enseguida, el tenor Ramón Vinay nos ofrece un momento cumbre del tercer acto de Tristán e Isolda. Más tarde otro tenor, Albert Da Costa, se luce en una breve y brillantísima página de El Profeta de Meyerbeer. Por último, Birgit Nilsson nos asombra de nuevo con el Liebestod de Tristán. Y se cuenta una curiosa anécdota ocurrida durante una representación de esa ópera wagneriana, en la que tuvieron que intervenir tres tenores distintos. Escuchar audio

Seattle Opera General Director Christina Scheppelmann spoke with soprano Jane Eaglen when “Seattle Opera Mornings on KING FM” played TRISTAN UND ISOLDE, a 1998 production that featured role debuts for both Eaglen (as Isolde) and Ben Heppner (as Tristan). Eaglen describes that eventful summer, what it’s like to sing the Liebestod from Isolde’s point of view, and the importance of a prompter!

Nemone Metaxas and the Reverend Richard Coles are joined by Simon Le Bon. As lead singer of Duran Duran: a band that has sold over 100 million records, had 18 American hit singles and 21 UK Top 20 tunes, he continues to perform to sold-out audiences around the world. He married a supermodel, had a family and explored his passion for yachts - his life the epitome of glamour. Now a proud grandfather, Simon Le Bon will be live in the studio. We also have Ruqsana Begum, who is a Muay Thai world champion, the world’s first female Muslim boxing champion, who for five years kept her sport a secret from her family. and Cardiff based café owner Kemi Nevins, who was fostered as a baby, her parents advertising the opportunity in the local paper. It was the start of a relationship she treasured for life. And Andrew Cotter the sports commentator whose videos reporting on the behaviour of his dogs, Olive and Mabel, have accrued millions of views online. We'll have the Inheritance Tracks of actor Mark Strong who chooses Mr Soft by Cockney Rebel and Birgit Nilsson singing the aria Liebestod from Wagner’s Tristan & Isolde, and your Thank you. Producer: Corinna Jones Editor: Eleanor Garland

Mr Soft's Cockney Rebel, Birgit Nilsson singing Liebestod from Wagner’s Tristan & Isolde

This is the second of a two-part podcast produced by the Irish National Opera in partnership with dlr Libraries. The series will explore the different voice types you'll hear in an opera performance. Part 2 explores the higher voices including sopranos, mezzo sopranos and those rare male voices the countertenors. This episode features special guest interview with countertenor Xavier Sabato. Researched and presented by INO Artistic Partner and mezzo-soprano, Sharon Carty. Edited and mixed by Laoise O'Brien. Audio References: Mozart, Overture, Die Zauberflöte. Irish National Opera / Irish Chamber Orchestra conducted by Peter Whelan. 2019. Handel, Pena tiranna, Amadigi di Gaula. Performed by Xavier Sabata. Il Pomo D'oro conducted by Riccardo Minasi. Aparté. https://www.apartemusic.com/produit/bad-guys-xavier-sabata/ Handel, Sorge nel petto, Rinaldo. Performed by Xavier Sabata. Il Pomo D'oro conducted by Riccardo Minasi. Aparté. https://www.apartemusic.com/produit/bad-guys-xavier-sabata/ Handel, Dover, giustizia, amor, Ariodante. Performed by Hilary Summers. Opera Theatre Company / Irish Baroque Orchestra conducted by Markellos Chryssicos. 2016. Bach, Ave Maria. Performed by Alessandro Moreschi. https://www.youtube.com/watch?v=KLjvfqnD0ws Vivaldi, Ho il cor già lacero, Griselda. Performed by Katie Bray. Irish National Opera / Irish Baroque Orchestra conducted by Peter Whelan. 2019. Rossini, Non più mesta, La Cenerentola. Performed by Tara Erraught. Irish National Opera conducted by Fergus Sheil. 2019. Highest note ever sung, Adam Lopez. https://www.youtube.com/watch?time_continue=172&v=Kdp4NHWr7G8&feature=emb_logo Wagner, Liebestod, Tristan und Isolde. Performed by Miriam Murphy. Wide Open Opera conducted by Fergus Sheil. 2012. Puccini, Un bel dì vedremo, Madama Butterfly. Performed by Celine Byrne. Irish National Opera / RTÉ Concert Orchestra conducted by Timothy Redmond. 2019. Mozart, Der Hölle Rache, Die Zauberflöte. Performed by Kim Sheehan. Irish National Opera / Irish Chamber Orchestra conducted by Peter Whelan. 2019. Mozart, Dove sono, Le Nozze di Figaro. Performed by Máire Flavin. Irish National Opera / Irish Chamber Orchestra conducted by Peter Whelan. 2018. Gluck, Che fiero momento, Orfeo ed Euridice. Performed by Sarah Power. Irish National Opera / Irish Baroque Orchestra conducted by Peter Whelan. 2019.

“We are not the same persons this year as last; nor are those we love. It is a happy chance if we, changing, continue to love a changed person.” Somerset Maugham This quote is packed with emotion as soon as we stop and consider how this phenomenon has played out in our own lives. I don’t agree that “It is a happy chance...to continue to love a changed person.” I think it’s a freaking miracle if we are able to continue loving while both parties are in constant transition. Somerset Maugham has managed to describe that feeling of, “I don’t know, things just feel different.” He has defined why we might wake up next to a partner of several years and feel as though we have been sleeping next to a complete stranger. Now that Maugham has identified this dynamic, we have a better chance at “choosing love.” Choosing love is one of those simple concepts which is almost impossible to execute on a consistent basis. Choosing love is not a choice, it is an extremely difficult ability to develop. It takes years of self-awareness to develop it to the point where we can do it every now and then. The bible says, “Perfect Love casteth out all fear.” While I believe that to be true, in my opinion, that concept is being stated in the reverse order of development. By removing fear, perfect love is possible. Fear is a primary function of our existence while perfect love or unconditional love is an advanced function which maybe nine people have ever been able to pull off. You might feel as though I’m being awfully negative here but our real situation is usually one of conditional love fueled by fears of loss and disappointment. Until we remove our fears, perfect love will evade us, in my opinion. Yes, we do love and maybe even love often but for the most part, it is inconsistent, partly because of what Maugham is describing. Armed with this perspective we can turn inward and try to observe how and where we are changing. Are we removing fears or adding fears? Hopefully we can use that information to choose to love another who is also changing. The piece of music I’ve chosen for this quote is the Prelude and Liebestod from Tristan und Isolde. If you want to go “full send” and listen to the entire opera I recommend the recording with Ramon Vinay and Martha Mödl. I find Mödl’s singing to be particularly super-human. The doomed characters of Tristan and Isolde are unable to align their love during the entire drama and it is only at the end that they are united—in death. My hope is to attain perfect love without having to die first. Yet, if we were to take it one step further, in order to love perfectly it might require a sort of dying . The Hellenic concept of Agape Love comes to us through Christianity in 1st Corinthians Chapter 13. Make no mistake though, this is a Greek ideal that was drafted into Christianity. If you don’t want to take my word for it, you are welcome to read F.E. Peters’s excellent history, The Harvest of Hellenism. Part of the love chapter says, “When I became an adult, I put childish things behind me.” What does that mean in the context of love? I think it means childish and fearful emotions such as jealousy, envy, and insecurity need to be put behind us in order for us to have a chance at perfect love. The child must die so the adult can live. By performing some philosophical gymnastics we can now look to the Liebestod as the death of the child and the unification of Tristan and Isolde as a union of fully integrated adult individuals. Yes? No? The piece of art is Tristan and Isolde by Rogelio de Egusquiza. Rogelio collaborated with Wagner and dedicated the majority of his career to painting subjects from Wagner’s operas. That’s it for today. I’m sending you all love, albeit love which is conditioned by whether or not you subscribe, but still love to you all and I’ll see you tomorrow with another Infusion of High Culture.

Radio Filharmonisch Orkest Omer Meir Wellber, dirigent *  R. Wagner - Vorspiel und Liebestod (uit Tristan und Isolde) *  P.I. Tsjaikovski - Zesde symfonie, op. 74 'Pathétique'

Radio Filharmonisch Orkest Omer Meir Wellber, dirigent *  R. Wagner - Vorspiel und Liebestod (uit Tristan und Isolde) *  P.I. Tsjaikovski - Zesde symfonie, op. 74 'Pathétique'

Radio Filharmonisch Orkest Omer Meir Wellber, dirigent Rafael Fingerlos, bariton  1.  R. Wagner - Vorspiel und Liebestod uit Tristan und Isolde 2.  G. Mahler - Lieder eines fahrenden Gesellen 3.  P.I. Tsjaikovski - Zesde symfonie 'Pathétique'

Intro - The Alan Smithee Opening Richard Wagner - Tristan Und Isolde, Prelude Claude Debussy - Reverie Erik Satie - Gymnopédie No. 1 Richard Wagner - Tristan Und Isolde, Liebestod Popul Vuh - Aguirre I (L'acrime Di Rei) Claude Debussy - Nocturnes III, Sirenes Edvard Grieg - Solveig's Song (From Peer Gynt Op. 23) Ben Salisbury and Geoff Barrow - Ava Johann Johannsson - Melodia (III) Flying Lotus - Tronix Cavern of Anti-Matter - In Fabric (Variation 3) Cavern of Anti-Matter - In Fabric (Variation 1) Cavern of Anti-Matter - In Fabric (Variation 2) Scott Walker - Vox Lux Opening Credits Mica Levi - Vanity Mica Levi - Children John Barry - Main Title from High Road To China John Barry - Flight Into Space John Barry - Space Lazer Battle John Barry - Moonraker Theme (Instrumental) Johann Johannsson - Desert Music Radiohead - Daydreaming Vangelis - Le Singe Bleu Miles Davis - Nuit Sur Les Champs-Élysées (Take 3 - Generique) Gerry Mulligan - Night Lights (1963 Version) Bohren and Der Club of Gore - Untitled (From Midnight Radio) Bohren and Der Club of Gore - Untitled (From Midnight Radio) Gerry Mulligan - Tell Me When Gerry Mulligan - Prelude In E Minor Gerry Mulligan - Festival Minor Alice Coltrane - Galaxy In Satchidananda Alice Coltrane - Galaxy In Turiya John Barry - The Pyramid John Barry - The Attic John Barry - Raid On Chang's Camp, Finale and End Titles Shirley Bassey - Goldfinger Theme Tchaikovsky - Liturgy Of St. John Chrysostom, Op. 41, Hymn Of The Cherubim Sigur Rós - Svefn-g-englar John Roberts - Can Thought Exist Without The Body Boards Of Canada - Tears From The Compound Eye Boards Of Canada - Everything You Do Is A Balloon Boards Of Canada - Kid For Today Boards Of Canada - In A Beautiful Place Out In The Country The Future Sound Of London - Yage 2019 Amorphous Androgynous - Swab Matthew Herbert - Alone Matthew Herbert - Consequences Gustavo Santaolalla - Only Love Can Conquer Hate Bobby Krlic - The House That Hårga Built Bobby Krlic - Fire Temple Colin Stetson - Reborn Nancy Sinatra and Lee Hazlewood - Some Velvet Morning Nancy Sinatra and Lee Hazlewood - Summer Wine Sonic Youth - Massage The History Still Corners - The Trip Paul Giovanni - Willow's Song (Theatrical Version) Charlie May - Vorab Global Communication - 12:18 Art Of Noise - Moments In Love Klimek - For Steven Spielberg and Azza El-Hassan Christopher Franke - Sheridan's Dream, Sunrise Christopher Franke - White Light, Echoes From The Past, Dying Station, Delenn's Sunrise Christopher Franke - End Title Shirley Bassey - Moonraker Theme Claude Debussy - Suite Bergamasque, Claire de Lune, No. 3

Love in a feed store lost in down the rabbit-hole of time. In their final episode, Ali and Emma return to one of their favourite authors, Jon Steiner to discuss 'Liebostod' narrated by Joel Horwood. Leave your feedback on this episode or on the series generally at the Coffee Pod|cast Facebook page. 'Liebestod' is published in Jon Steiner's debut collection, The Last Wilkie's and other stories (Spineless Wonders, 2016). About The Author Jon Steiner grew up in Washington, D.C. He went to Vassar College in Poughkeepsie, New York, graduating in 1993 with a Bachelors Degree in Film. After a few years in Texas and a few years in New York City, he migrated to Australia in 2000. In 2008, he completed a Graduate Diploma in Creative Writing at the University of Technology Sydney. He lives in the Sydney suburb of Tempe with his wife and daughter. About The Actor Joel Horwood trained in Western Australia and since moving to Sydney has performed in a number of independent theatre productions. These include the devising and subsequent premiere of Decay by award-winning playwright Melissa Lee Speyer and the Australian premiere of Alice Birch's Many Moons with English theatre company Said&Done. Most recently Joel peformed the lead role of Ort Flack in the stage adaptation of Tim Winton's That Eye, The Sky. Credits Presenters: Ali Morris and Emma Walsh Producer: Bronwyn Mehan Theme music: James Seymour Coffee Pod|cast has been produced with the support of the Australian Government through the Australia Council, its arts funding and advisory body and we wish to also acknowledge the support of Little Fictions by the Copyright Agency’s Cultural Fund and the City of Sydney Matching Grants program.    

Ch'io mi scordi di te, Sheherazade, Le Mort de Cleopatre, Wesendonck Lieder and the Liebestod.

Historian Heidi Tworek talks about her book, News From Germany, which deals with the malign influence campaigns that foretold Nazism. It’s a fascinating look at the battle to control news and information in an era of immense turmoil spanning the First World War, the Weimar Republic, and the Third Reich. One of Tworek’s core arguments is that the immense power of British, French, American and German news agencies is comparable with the power now wielded by Google Facebook and Twitter. Tworek also says mistakes made amid hysteria over information warfare in the first half of the 20th century hold valuable lessons for safeguarding democracy in the first half of the 21st. First, Tom and James discuss what Facebook, Google and Twitter say they are doing to curb interference in the run up to elections for a new European Parliament. Read the platforms’ self-assessments here. Please visit our website for episode art and for more about EU Scream. Richard Wagner’s “Liebestod” from Tristan und Isolde played by Ilaria Baldaccini is public domain. “Beethoven Symphony No. 9 in D minor, Op. 125” by Papalin is licensed under CC by 3.0. “Airside No. 9” is played by Lara Natale.Support the show (https://euscream.com/donate/)

Bereits 2015 erstellte Regisseurin Katharina Wagner eine düstere und provokative Inszenierung der Dreiecksbeziehung um den Ritter Tristan und seine Geliebte Isolde, die Gattin des Königs. Dass die Festspielchefin den beiden Protagonisten den Liebestod verwehrt - das sorgt auch im vierten Jahr nach der Premiere noch für Empörung beim Publikum.

Das Festival junger Künstler gehört zum Bayreuther Kultursommer wie die Richard-Wagner-Festspiele. Zum 67. Mal kommen junge Musiker aus der ganzen Welt zusammen, um gemeinsam zu musizieren und voneinander zu lernen. Ein besonderes Opernprojekt ist in diesem Jahr der "Liebestod". Am 13. August ist Premiere.

Im Gegensatz zu normalen Statistiken enden Operndarsteller auf der Bühne sehr oft durch Gewaltverbrechen, übernatürliche Wesen oder sterben einfach so aus Liebe. Die Sopranistin Eleonore Marguerre stellt Dir die zehn schönsten Sterbeszenen vor, von Liebestod bei "Tristan und Isolde" bis zu Gounod's "Faust" oder Puccinis "La Bohème" sind einige Klassiker dabei bei dieser Top Ten Liste.. Aber nicht nur! Laß' Dich überraschen. Und wer einen besonders schönen Operntod erleben will, an der Oper Dortmund ist Eleonore Marguerre ab Oktober 2017 wieder als Violetta in "La Traviata" zu hören. Termine auf  https://www.eleonore-marguerre.de/termine Karten unter Theater Dortmund

1 Lauritz.Melchior                    Walkure "Walse"  (get a stopwatch) 2. Mario Filippeschi     PIRA!!!! 3. Renata Scotto                         Luisa Miller aria 4. Vera Galupe-Borszkh    In questa reggia    (Ira Siff -better than most Turandots) 5. Piero Cappuccilli                        Attila Cab...B FLAT!!! 6.  Joseph Schmidt                            Ma Parri 7. Diana Soviero                              Mefistofele aria 8.Christine Goerke               "Come scoglio" (Cosi) 9. Sergei Lemeshev              May Night Aria 10. Georges Thill                    Saffo aria 11.Maria Caniglia                   "Pace" 12. Marilyn Horne                   "Or la tromba" 13. Joseph Rogatchevsky     Oberon aria 14. Antonio Cortis                    PIRA 15. Lucine Amara, Richard Tucker,Martial Singher   Hoffmnn Trio 16. Meta Seinemeyer            Liebestod  (great  singer,died at 33)

I know you enjoy my pot-pourris and i hope you will appreciate this one as well: 1. Meta Seinemeyer        Tristan und Isolde        "Liebestod"    (so sad,she died at 33.) 2. Cesare Siepi                  L'Italiana in Algeri       "Le femmine d'Italia" 3. Diane Soviero                Risurrezione (Alfano)   "Giunge il treno" 4. Steber/DelMonaco       Fanciulla act two duet (with opened cut, which I love.) 5. Stella/Guelfi                   Aida Nile Duet   (They are superb) 6. Rise Stevens                   Orfeo                   "Che faro" 7. Luisa Tetrazzini              Semiramide       "Bel raggio" 8. Richard Tucker                 Andrea Chenier      "Improvisso" 9. Pavarotti/Millo                 Ballo Love duet 10.Leonard Warren              Forza Cabaletta (He was about to sing this when he died.I will never forget it.) 11. Zinka Milanov                 Forza          "La vergine degli angeli  (1965 concert.) 12.Giuseppe di Stefano       Carmen      "Flower Song" 13. Magda Olivero                Manon Lescaut      "In quelle trine morbide" 14.Titta Ruffo                         Pagliacci Prologue  (a force of nature.) 15. Beverly Sills                     Tabarro aria (her only Trittico) 16.Riccardo Stracciari           Traviata   "Di Provenza "  (Charlie's favorite baritone)

More superb singing from the great Frida Leider. As I had said, sometimes a great singer "escapes" notice, owing to all there is,but here we have some more excerpts from her repertory. 1. Oberon  "Ozean,du Ungeheuer 2. The Wagner Wesendonck Songs 3. Ariadne  "Est gibt ein Reich" 4. Don Giovanni  "Or sai chi l'onore 5. Schubert: Erlkonig and Auf dem Wasser zu singen 6. Schumann   Widmung 7.Tristan und Isolde   Liebestod

Maria Callas as Kundry in act two of Parsifal under Vittorio Gui, Rome 1950. Africo Beldelli and Giuseppe Modesti complete the cast. Collectors all wish to have the rumored complete Tristan und Isolde, but I have added an early recording of the Liebestod  (60 min.)

Here is a selection of various fine sopranos on the Classical Evolution label.I think you will find them interesting: 1.Sumi Jo    Queen of the Night aria 2-3. Cecilia Bartoli, Figaro and Donna del Lago arias. 4.Lucia Alberti    Fille du reggiment Romance 5.Anna Tomowa-Sintow   Ritorna Vincitor 6.Ghena Dimitrova   Vissi d'arte 7-8. Alexandra Pendatchanska   Romeo and Faust arias 9.      Raina Kabaiwanska   Manon Adieu au petit table (no recitative.) 10.    Gwyneth Jones (with James King) Scene from Schmidt's "Notre Dame" 11.     Sylvia Sass   Liebestod                                                                                                            (about 65 min.)           

 How do you do full justice to one of the greatest geniuses in all music? On May 22, we celebrate the 200th birthday of Richard Wagner. We know from various sources that he was not exactly a Teddybear, but most of us who appreciate opera, treasure his work, separately from any personality characteristics;in fact, if we delved into the lives of many composers, we might not find everyone as lovable as we might want. Who cares?    Here are some scenes from his operas with the Vienna Philharmonic under Hans Knappertsbusch: Gotterdamerung: Dawn and Siegfried's Rhine Journey and Funeral Music Parsifal: "Ich sah das Kind" sung by Kirsten Flagstad Walkure Finale sung by George London Tristan und Isolde Prelude and Liebestod sung by Birgit Nilsson.        (63 min.)

Howard Goodall and Suzy Klein discuss Liebestod from Richard Wagner's Tristan & Isolde.

  That great lady, Helen Traubel, in scenes from live performances of Wagner material.Included is a scene from act 3 Walkure with Herbert Janssen from 1944 under George Szell. Then we have some Gotterdamerung scenes under Fritz Stiedry from 1951, with Set Svanholm,Janssen, and Dezso Ernster. This is followed by  a Liebestod from San Francisco 1951 under Pierre Monteux. I conclude with the Immolation Scene under Bruno Walter from Hollywood, 1947.  (69 min.)          I also must mention her enjoyable TV appearances with the beloved Jimmy Durante, a close friend of my mother for many years. How many artists can go from Brunnhilde to Durante???

Ten versions of the great "Liebestod" from Wagner's "Tristan und Isolde."                    The order is as follows: Astrid Varnay,Helen Traubel, Lotte Lehmann, Nanny Larsen-Todsen,Rita Hunter, Johanna Meier, Margaret Harshaw, Martha Moedl,Birgit Nilsson, and Kirsten Flagstad.                                             (73 min.)  

At 97, the actress Gwen Ffrangcon-Davies reflects with interest on the prospect of being castaway and, in conversation with Sue Lawley, looks back over her long career. With a head well-stocked with music - and ringing with Shakespeare - she is determined to survive. But she isn't proposing to be castaway for long. She's already plotting a plan of escape. In the meantime, she looks back on her long and fascinating career in the theatre, which began with advice from Ellen Terry, took her into the Gaiety Chorus (at the back) and eventually, after success in The Immortal Hour, to some of the great Shakespearian roles.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Liebestod (from Tristan and Isolde) by Richard Wagner Luxury: Large bottle of toilet water

At 97, the actress Gwen Ffrangcon-Davies reflects with interest on the prospect of being castaway and, in conversation with Sue Lawley, looks back over her long career. With a head well-stocked with music - and ringing with Shakespeare - she is determined to survive. But she isn't proposing to be castaway for long. She's already plotting a plan of escape. In the meantime, she looks back on her long and fascinating career in the theatre, which began with advice from Ellen Terry, took her into the Gaiety Chorus (at the back) and eventually, after success in The Immortal Hour, to some of the great Shakespearian roles. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Liebestod (from Tristan and Isolde) by Richard Wagner Luxury: Large bottle of toilet water

Roy Plomley's castaway is soprano Margaret Price. Favourite track: Liebestod by Richard Wagner Book: Pacific Cookbook by Victor Sperandeo Luxury: Perfume

Roy Plomley's castaway is actress Angela Baddeley. Favourite track: Liebestod by Richard Wagner Book: Alice in Wonderland by Lewis Carroll Luxury: Portrait of her husband

Roy Plomley's castaway is mezzo-soprano Edith Coates. Favourite track: Liebestod by Richard Wagner Book: Novels by Jean Plaidy Luxury: Brandy

Roy Plomley's castaway is conductor Alexander Gibson. Favourite track: Liebestod by Richard Wagner Book: Complete Opera Book by Gustave Kobbe Luxury: Piano

Roy Plomley's castaway is artist David Hockney. Favourite track: Liebestod by Richard Wagner Book: Route 69 by Floyd Carter Luxury: Paper, pencils and a battery-operated sharpener

Roy Plomley's castaway is broadcaster Steve Race. Favourite track: Liebestod by Richard Wagner Book: Dictionary of Musical Themes Luxury: Pair of binoculars

Roy Plomley's castaway is soprano Madame (Lilian) Stiles-Allen. Favourite track: Liebestod by Richard Wagner Book: The Science of Mind by Ernest Holmes Luxury: Piano

Roy Plomley's castaway is soprano Birgit Nilsson. Favourite track: Liebestod (from Tristan und Isolde) by Richard Wagner Book: The Second World War by Sir Winston Churchill Luxury: Swedish crossword puzzles