Podcast appearances and mentions of Lorin Maazel

durée : 01:28:52 - Lorin Maazel, chef à l'oreille infaillible et à la maîtrise légendaire - par : Aurélie Moreau - Chef d'orchestre et violoniste, Lorin Maazel n'a que 11 ans quand Toscanini l'invite à diriger l'orchestre de la NBC. Sa brillante carrière l'a mené à la tête des plus prestigieux orchestres. Aujourd'hui : Dvořák, Wagner, Schubert, Bizet, Verdi…

Sometimes when I look back on past episodes of Countermelody, I surprise myself with how good they were, even in the early days when I was still trying to figure everything out. This episode, first posted as a bonus episode five years ago is a good example of that. Earlier that season I had coined the term “Full-Figured Baroque” to describe the “old-fashioned” style of Baroque performance that I personally prefer to what one currently hears in churches and concert halls around the world and on recordings. This episode was devoted to Baroque music composed specifically for the Christmas season, recorded between 1940 and 1992, and performed in deliciously non-period style, replete with deliberate tempi, judiciously applied vibrato, and stately ritardandi. There is a special focus on the Christmas portion of Handel's Messiah and Bach's Weihnachts-Oratorium and assorted cantatas for the Advent, Christmas, and Epiphany season. Singers include Janet Baker, Tom Krause, Jerry Hadley, Margaret Marshall, Francisco Araiza, Russell Oberlin, Helen Watts, William Warfield, John Shirley-Quirk, Peter Schreier, Heather Harper, Shirley Verrett, Edith Mathis, Hermann Prey, Marga Höffgen, Agnes Giebel, Kurt Equiluz, Florence Quivar, Aksel Schiøtz, Kirsten Flagstad, Christa Ludwig, Edith Mathis, Brigitte Fassbaender. Ernst Haefliger, Jennifer Vyvyan, Anna Reynolds, Judith Blegen, Fritz Wunderlich, Elly Ameling, Peter Schreier, and Gundula Janowitz. Conductors include Neville Marriner, Raymond Leppard, Colin Davis, Karl Richter, Lorin Maazel, Helmut Winschermann, Vittorio Negri, Karl Münchinger, Leonard Bernstein, Herbert von Karajan, Eugene Ormandy, Adrian Boult, Andrew Davis, and Eugen Jochum, among others. Don't miss out on this full-figured Christmas treat! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 00:17:57 - Disques de légende du mercredi 27 novembre 2024 - Toujours dans notre semaine spéciale Un automne avec Puccini, nous écoutons aujourd'hui Il Trittico dirigé par Lorin Maazel.

durée : 00:17:57 - Disques de légende du mercredi 27 novembre 2024 - Toujours dans notre semaine spéciale Un automne avec Puccini, nous écoutons aujourd'hui Il Trittico dirigé par Lorin Maazel.

O convidado do programa Pânico dessa segunda-feira (11) é Thiago Arancam. Dono de uma voz poderosa, o brasileiro Thiago Arancam é considerado um dos maiores tenores da atualidade. Ele se apresentou nos principais teatros do mundo, em mais de 40 países. Destaque para o Alla Scala (Milão), Ópera de Roma (Itália), Ópera Nacional de Washington (EUA), Ópera Estadual de Viena (Áustria), Deutsche Ópera de Berlim (Alemanha), Bolshoi (Moscou), além de inúmeras produções no Japão, Emirados Árabes, Malásia, Canadá, Espanha, França, Polônia, Letônia, Mônaco e Reino Unido. Foram mais de 700 apresentações ao redor do mundo. No Brasil, em 2011, subiu ao palco do Theatro Municipal do Rio de Janeiro com a montagem da ópera “Tosca”, de Puccini, no papel do pintor Mario Cavaradossi, amante de Floria Tosca. Em 2014, no Theatro Municipal de São Paulo, encenou a Ópera Carmen de Bizet. Na Europa, conheceu Plácido Domingo, com quem gravou “Cyrano de Bergerac”, na São Francisco Opera (USA); “Madame Butterfly”, em Washington e “Carmen”, na Los Angeles Opera. Trabalhou com grandes regentes de orquestra, entre eles: Daniel Harding em vários concertos com a Swedish Radio Symphony Orchestra; Christian Thielemann em “Dresden” na Manon Lescaut, Pier Giorgio Morandi na ópera “Tosca” em Las Palmas e Estocolmo; o brasileiro Silvio Barbato com a Orquestra Camerata Brasil em Brasília, João Carlos Martins, Plácido Domingo, Julius Rudel, Lorin Maazel, Nicola Luisotti, Patrik Fournellier, Renato Palumbo, Corrado Rovaris, entre outros. De volta ao Brasil em 2017, Thiago Arancam reencontrou suas raízes, lançou o álbum “Bela Primavera”, que deu origem ao espetáculo que rodou o país e emocionou o público. Em 2018, gravou o CD “This is Thiago Arancam” (2018); em 2019, “Thiago Arancam (Ao Vivo)”. Os três trabalhos trazem as influências do mundo lírico e aproximam o tenor da Música Popular Brasileira, além da força e da emoção da voz do artista, considerado um dos principais tenores da atualidade. Em paralelo ao trabalho com as turnês e lançamento dos novos álbuns, o cantor seguiu com as apresentações em diferentes países, entre eles Rússia, Lituânia, Estados Unidos e Austrália, com as óperas Madame Butterfly, Manon Lescaut, Turandot, Tosca e Carmen. E também lançou clipes e disponibilizou o conteúdo da turnê Bela Primavera em seu canal oficial no YouTube. Com fôlego gigante, Thiago Arancam protagonizou a versão brasileira de “O Fantasma da Ópera”, musical já visto por mais de 140 milhões de pessoas em todo o mundo. No Brasil, ficou em cartaz no Teatro Renault, em São Paulo, de agosto de 2018 até dezembro de 2019. Arancam realizou 360 apresentações, sendo sua maior marca de execução em uma mesma obra. Durante a pandemia 2020/2021 Thiago realizou mais de 20 shows ao vivo por streaming e transmissões pela televisão, totalizando mais de 10 milhões de visualizações em audiência. Como comentarista, o programa traz Mônica Salgado. Jornalista, criadora de conteúdo multiplataforma, consultora e palestrante.

What does it take to perform at your best in critical moments?It's what differentiates the great from the good. Being at the top of your game requires years of courage, skill, and discipline. This is why some falter whilst others shine.In this episode I am joined by the multi-award-winning trumpet soloist, Alison Balsom. She shares what it takes to get to, and sustain, the highest levels of performance. These are concepts and practises that leaders in all fields would do well to apply.Alison talks about how she chooses the right repertoires to play and people to work with. She also discusses the importance of finding your own interpretation of a piece and what it's like to perform with the conductors and musicians.Music plays a huge role in all our lives, whether we know it or not.This conversation is for anyone looking to perform at the highest of levels and pushing the frontiers of their craft.“It's certainly a high wire act” – Alison BalsomYou'll hear about:●      Alison's process for finding the right work●      How to know when the project is right for you ●      Building relationships in orchestras●      What helps Alison to excel?●      How do you know you've impacted people?●      Alison's mindset minutes before taking the stage●      You are not better in rehearsal●      Has Alison had moments of self-doubt?●      How Alison nurtures and looks after herself●      The impact Alison wants to have on the worldAbout Alison Balsom:Alison has performed as a solo trumpeter worldwide with many of the greatest conductors and orchestras of our time, including Pierre Boulez, Lorin Maazel, Claudio Abbado, the New York Philharmonic Orchestra, Philadelphia Orchestra and London Philharmonic Orchestras, as well as The Balsom Ensemble, a handpicked group of leading Baroque soloists.Balsom has commissioned much music, and had hundreds of works written for her, including by composers such as Betsy Jolas, Dobrinka Tabakova, James MacMillan, and Thea Musgrave.She has been awarded an OBE for Services to Music, and has dedicated her career to broadening the artistic horizons of the trumpet.Resources:Profile: https://bit.ly/3LTvGV0Discography: https://bit.ly/3AbVE3DConcerts: https://bit.ly/3LXD026My resources:Take my new Becoming a Strategic Leader course (https://bit.ly/3KJYDTj)Sign up to my Every Day is a Strategy Day newsletter (http://bit.ly/36WRpri) for modern mindsets and practices to help you get ahead. Subscribe to my YouTube channel (http://bit.ly/3cFGk1k) where you can watch the conversation.For more details about me:●      Services (https://rb.gy/ahlcuy) to CEOs, entrepreneurs and professionals.●      About me (https://rb.gy/dvmg9n) - my background, experience and philosophy.●      Examples of my writing https://rb.gy/jlbdds)●      Follow me and engage with me on LinkedIn (https://bit.ly/2Z2PexP)●      Follow me and engage with me on Twitter (https://bit.ly/36XavNI)

durée : 00:22:44 - Disques de légende du lundi 24 juin 2024 - La direction de Lorin Maazel donne à cet Otello une dimension toute particulière.

Literatur wird Oper: Lorin Maazel „1984“ – von Evelyn Müller und Marcus Weible Evelyn Müller und Marcus Weible stellen Werke aus verschiedenen Literaturgattungen und ihre musikdramaturgische Umsetzung in der Welt der Oper vor. (Hördauer ca. 16 Minuten)   "Ein Buch als geistige Waffe: Orwell hat unser politisches Bewusstsein so nachhaltig geprägt, dass sein Roman zu einer sich selbst verhindernden Prophezeiung geworden ist; er leistet einen entscheidenden Beitrag, zu verhindern, dass das, was er beschreibt, über uns kommen kan.“ (Daniel Kehlmann: „Nachwort zu George Orwell“, 2017) "Orwells geniale Vision: die Aktualität heutiger sozialer Probleme, die angesprochen werden, die "objektive" Intensität, die Orwell in den dramatischen Momenten kreiert, und vor allem die herzzerreißende Liebesgeschichte zwischen den zwei Hauptfiguren, Julia und Winston. Ein ideales Ausgangsmaterial für eine Oper." (Lorin Maazel, 2005) 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.” Regie und Realisation Uwe Kullnick Wem dieser Beitrag gefallen hat, der mag vielleicht auch diesen. Live Termine in Schwabing - Hörbahn on Stage  --- Send in a voice message: https://podcasters.spotify.com/pod/show/hoerbahn/message

Die Namensliste der Chefdirigenten, die das BRSO über die Jahre lenkten und begleiteten, liest sich imposant: Eugen Jochum, Rafael Kubelík, Sir Colin Davis, Lorin Maazel, Mariss Jansons und heute Sir Simon Rattle. In der Aufzählung fehlt jedoch ein Mann, der das nicht wurde, was er werden sollte. Markus Vanhoefer erinnert an ein tragisches Kapitel der Orchestergeschichte.

durée : 01:58:20 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 - par : Christian Merlin - Deuxième volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

durée : 00:28:40 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 (4/4) : Nouvelle génération - par : Christian Merlin - Deuxième volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

durée : 00:28:25 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 (3/4) : Invités étrangers - par : Christian Merlin - Deuxième volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

durée : 00:28:33 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 (2/4) : Figures françaises - par : Christian Merlin - Deuxième volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

durée : 00:28:16 - Les 90 ans de l'Orchestre National II - les années 1950 et 1960 (1/4) : Désormière et la création - par : Christian Merlin - 2e volet de notre histoire de l'Orchestre National, quand il s'appelait encore « de la RTF », puis « de l'ORTF ». La modernité défendue par Roger Désormière, et le retour d'Amérique de Charles Munch, précèdent l'émergence d'une nouvelle génération avec les virtuoses Lorin Maazel et Seiji Ozawa. - réalisé par : Marie Grout

SynopsisToday's date marks the birthday of American composer and educator Gardner Read, who was born in Evanston, Illinois, in 1913.Read studied music at Northwestern University, then at the Eastman School, where his teachers included Howard Hanson and Bernard Rogers. He also studied with Aaron Copland and Italian modernist composer Ildebrando Pizzetti. Read became a noted teacher himself and held posts in St. Louis, Kansas City, Cleveland and Boston. His Symphony No. 1 was premiered by John Barbirolli and won first prize at the New York Philharmonic Society's American Composers' Contest. He wrote four symphonies in all, as well as other orchestral, choral and chamber works and a significant body of works for or with pipe organ.In 1978, musicologist Nicolas Slonimsky wrote: “In American music, the name of Gardner Read is synonymous with the best traditions of modern classicism and inspired romanticism. ... To the musical analyst, it presents a technical interest as well, for in his use of the multicolored palette of modern instrumentation, Gardner Read offers fascinating examples of organized sonorities. The substance of his compositions is infinitely varied; he is a true Renaissance man, working in many different genres without prejudice and achieving his objectives with impeccable taste.”Music Played in Today's ProgramGardner Read (1913-2005): Allegro scherzando, from Symphony No. 4 (Cleveland Orchestra; Lorin Maazel, cond.) New World 742

Philharmonic, conducted by Yannick Nézet-Séguin with Mezzo-soprano Elina Garanca as soloist. The Summer Night Concert was performed this year on June 8th, 2023. It is an annual open-air event, which has been held since 2008. The park of Schönbrunn Palace in Vienna/Austria is the magical setting for the concert. The illustrious conductors who have previously led the orchestra at this event are Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Lorin Maazel, Christoph Eschenbach, Zubin Mehta, Semyon Bychkov, Gustavo Dudamel, Daniel Harding, and Andris Nelsons.1. Georges Bizet, Suite Nr. 1 aus der Oper Carmen (Arrangement Ernest Guiraud 1885)             Nr. 5. Les Toréadors (Vorspiel zum 1. Akt)             Nr. 2. Intermezzo (Vorspiel zum 3. Akt)             Nr. 1a. Aragonaise (Vorspiel zum 4. Akt) 2. Georges Bizet, Habanera aus der Oper Carmen3. Lili Boulanger, D‘un matin de printemps. Fassung für Orchester 19184. Hector Berlioz, Ouvertüre zur Oper Le Corsaire op. 215. Charles Gounod, „O ma lyre immortelle“ Arie aus der Oper Sapho6. Maurice Ravel, Daphnis et Cloé. Suite Nr. 27. Camille Saint-Saëns, „Mon cœur s'ouvre à ta voix” Arie aus der Oper Samson et Dalila8. Maurice Ravel, BoleroHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

durée : 01:28:54 - Julia Fischer, violoniste (2/3) - par : François-Xavier Szymczak - Parrainée par Lorin Maazel, Julia Fischer joue depuis près de 20 ans sur son merveilleux Guadagnini de 1742.

Einen guten Ruf hat sie nicht, die Oper "1984" von Lorin Maazel. Der Regensburger Intendant ließ sich davon aber nicht abschrecken. Und er landete mit der musikalischen Geisterbahnfahrt nach dem berühmten Roman von George Orwell einen Publikumserfolg.

Jahrelang schlummerte die Partitur der Oper "1984" von Lorin Maazel in der Vergessenheit. Der Komponist selbst brachte die Oper erst 21 Jahre nach der Entstehung auf die Bühne. Jetzt wird das Werk erstmals in Deutschland aufgeführt. Am 3. Juni ist im Theater Regensburg die mit Spannung erwartete Premiere.

Franz von Suppè (1819-1895) - Ouvertures1.       Leichte Kavallerie 2.       Ein Morgen, ein Mittag und ein Abend in Wien (Emanuel Brabec, solo cello) 3.       Pique Dame 4.       Dichter und Bauer (Emanuel Brabec, solo cello)Wiener Philharmoniker – direttore Sir Georg Solti 5.       Banditenstreiche (Jolly Robbers) Berlin Staatskapelle – direttore Otmar Suitner 6.       Die schöne GalathéeWiener Philharmoniker – direttore Lorin Maazel

The Italian-American lyric coloratura soprano Anna Moffo (1932-2006) is, for many, one of the great singers of the past century. My first exposure to this artist was one of two, frankly, disastrous recordings released in the mid-1970s, in which the voice was a mere shadow of its former self, and in which her vocal defects and mannerisms had overtaken the intrinsic beauty of her voice. But there are so many exceptional qualities to Moffo as an artist, musician, and media star, that I felt compelled to do a frank reappraisal of her contribution to the lyric art. And am I glad that I did! I discovered an artist of great integrity who, in her best work, attained a similar level to any of the other great singers performing during that period. Unlike any other opera singer that I can think of, she conquered three distinct markets with equal success: first in Italy (where she rose to overnight stardom in the late 1950s and went on in the 1960s to become the star of her own eponymous television series); then in the United States throughout the 1960s; and finally, in the late 1960s and 70s, in Germany. But hers is also a cautionary tale of “too much, too soon” and the potentially destructive power of the media which has significance also in today's opera world. Throughout the episode, live and studio examples of Moffo's work, both bad and (mostly) good over the course of more than twenty years, are offered to support my discussion of her importance and influence as an artist, one that continues to this day. Vocal guest stars include tenors Carlo Bergonzi, Rudolf Schock, Giuseppe di Stefano, and Sergio Franchi, and musical collaborators include Tullio Serafin, Gerald Moore, Lorin Maazel, Hans Rosbaud, Fernando Previtali, Lehman Engel, Oliviero de Fabritiis, René Leibowitz, Kurt Eichhorn, Berislav Klobučar, and Franco Ferrara. For those who love Moffo, for those who hate her, and for those who find themselves somewhere in between, this episode is (dare I say it?) required listening. 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.

durée : 00:58:35 - Grands Chefs du Concert du Nouvel An à Vienne (4/5) : Lorin Maazell, finesse et intelligence étincelante - par : Aurélie Moreau - Lorin Maazel a été l'un des chefs les plus souvent invités par l'Orchestre Philharmonique de Vienne, et il a dirigé le Concert du Nouvel An onze fois, de 1980 à 1986, en 1994, 1996, 1999 et 2005. Il y a aussi fréquemment joué du violon. - réalisé par : Françoise Cordey

This week is the first of a series of episodes focusing on songs with orchestral accompaniment. The genre is almost a contradiction in terms: the intimacy and textual focus of art song with the sometimes strenuous vocal demands of singing over an orchestra. The most celebrated and successful of such songs (by Berlioz, Mahler, Ravel, Barber, Strauss, and others) are heard over and over on symphonic concerts when vocal soloists are the featured guests. And rightly so, for they are among the most glorious classical music written for the human voice. Typically for Countermelody, however, today's episode, however, will focus on repertoire and composers that are less celebrated to the point of being virtually unknown. Composers heard include Frank Martin, Alexander Zemlinsky, Jean Sibelius, Giuseppe Martucci, Franz Schreker, Othmar Schoeck, Antonín Dvořák, Alberto Ginastera, Alphons Diepenbrock and the two Andrés, Jolivet and Caplet, alongside many others, performed by such favorites as Gwyneth Jones, Phyllis Curtin, Peter Schreier, Gundula Janowitz, Yi-Kwei Sze, Mirella Freni, Francisco Araiza, Elisabeth Söderström, and Bernard Kruysen. Also heard are Helen Donath and Andrzej Hiolski, singers soon to be featured on their own episodes, alongside lesser-remembered names such as Arthur Loosli, Irene Gubrud, and Colette Herzog. Conductors include Kurt Sanderling, Antal Doráti, Herbert Kegel, Bohumil Gregor, Hermann Scherchen, and Lorin Maazel. I “guarantee” that your ears will be enchanted and your musical horizons will be expanded by this episode. 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.

Franz von Suppè (1819-1895) - Ouvertures1.       Leichte Kavallerie 2.       Ein Morgen, ein Mittag und ein Abend in Wien (Emanuel Brabec, solo cello) 3.       Pique Dame 4.       Dichter und Bauer (Emanuel Brabec, solo cello)Wiener Philharmoniker – direttore Sir Georg Solti 5.       Banditenstreiche (Jolly Robbers) Berlin Staatskapelle – direttore Otmar Suitner6.       Die schöne GalathéeWiener Philharmoniker – direttore Lorin Maazel

Donald Macleod journeys into the varied musical landscape of Adolphus Hailstork, in conversation with the composer himself. American composer Adolphus Hailstork has written in many genres ranging from orchestral and chamber, to choral, song cycles and operatic scenes. Of African-American heritage and now in his eighties, Hailstork's works have been performed by major orchestras in Chicago, New York and Philadelphia, and leading conductors have championed his music including Kurt Masur, Daniel Barenboim and Lorin Maazel. Born in 1941, his early instrumental studies included the organ, piano, violin and the voice, but it was his experience both in the Anglican Cathedral tradition, and hearing and singing spirituals, that have had a significant impact upon the development of his own musical language. For many years he's been a Professor of Music at the Old Dominion University in Norfolk, and he resides in the state of Virginia, USA. His own list of teachers is impressive, not least of all Nadia Boulanger at the American Institute at Fontainebleau. Hailstork's own reputation has been significant, and he's been called the Dean of African-American composers. Music Featured: Symphony No 3 (Vivace) The Lamb String Quartet No 3 (Moderato) Piano Sonata No 2 Symphony No 3 (Scherzo) Fanfare on Amazing Grace Three Spirituals for Orchestra Symphony No 2 (Adagio) Three Spirituals for String Trio Symphony No 1 I Will Sing of Life (Songs of Life and Love) Eight Variations on Shalom Chaverim Arabesques Whitman's Journey: I launch out on the endless seas Presented by Donald Macleod Produced by Luke Whitlock 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 Adolphus Hailstork (1941) https://www.bbc.co.uk/programmes/m001cgkd 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

Synopsis On today's date in 2002, just a little over one year after two passenger jetliners had crashed into the twin towers of the World Trade Center in New York City, the New York Philharmonic gave the premiere performance of a new work by the American composer John Adams. Entitled “On the Transmigration of Souls,” this high-profile commission sought to address a nation still in shock and grief at the terrorist attack of September 11, 2001. "I realized right up front that the public didn't need any more reiteration of the narrative of that day,” Adams said in an interview. “Certainly it didn't need some tasteless dramatization of the events… If I was going to do something meaningful, I was going to have to go in the opposite direction." Adams chose to set some of the words scribbled on posters plastered around Ground Zero by families searching for their loved ones. "They were a mixture of hope and a slowly dimming acceptance of reality," Adams said. “When people are deeply in shock… they don't express themselves in fancy language… they speak in the most simple of terms." Adams said he hoped his new piece would provide "memory space,” a musical work that could be at once a platform for either communal or personal reflection. Music Played in Today's Program John Adams (b. 1947): On the Transmigration of Souls –New York Philharmonic; Lorin Maazel, cond. (Nonesuch CD 79816)

Beautiful Fans and Followers, I love a good meditation as it helps me be centered and calm - something we all need prior to a pageant, an interview, or LIFE! Join me today for an amazing gratitude meditation with Megan Gillespie. About Megan:Megan has two degrees from Manhattan School of Music, a Bachelor of Music and a Masters in Opera Performance. Megan's opera career has taken her to the Royal Opera House of Oman, the Palacio de la Opera de La Coruna in Spain, the Castleton Opera Festival, Central City Opera, Carnegie Hall, the Beverly Hills Sundays at Two Recital Series, One World Symphony, and to venues in Greve, Italy, and Salzburg, Austria.Her roles include: Maddalena in Rigoletto, Petra in A Little Night Music, Amelia in Ottelo, Wowkle in La fanciulla del West, Hyppolita in A Midsummer Night's Dream, Lyubasha in The Tsar's Bride, Barbara in One Penny Opera, Annina in La Traviata, Carmen in Carmen, Dorabella in Cosi Fan Tutte, to name a few. Some Oratorios she has performed are Rossinis' Stabat Matter, The Bach Christmas Oratorio, Alexander's Feast, and each year she performs Messiah with St. Cross Episcopal Church in Hermosa Beach.Megan has been a Young Artist at programs such as Central City Opera in Colorado and The Castelton Festival in Virginia under the baton of Lorin Maazel.She directed over 30 youth musicals, also performing as the music director. Most recently, she directed The Tsar's Bride for The Independent Opera Company.During the pandemic she has sung session work and voice overs from her home studio including commercials, podcasts, operas, and stories.Some of the awards Megan has won include: Regional MET National Council Auditions, Fe Bland Vocal Competition, Beverly Hills Music at the Mansion, LACMA Sundays Live, Opera Florham, AMTL Recitals in Carnegie Hall, Birgit Nilsson Scholarship, YoungArts Finalist, and the Palm Springs Opera Guild, Classical Singer CompetitionHow to connect with Megan:www.MeganGillespieMezzo.comTikTok: @Megnificent_LessonsIG: @Megnificent_LessonsFB: @MeganGillespiesStudioSupport the show

Soprano, musician, performer, and singing teacher https://www.vannordstrandvoice.com/ (Shelby VanNordstrand) shares her love for singing and her passion for expressing stories through music. As well as her classical background, VanNordstrand also creates and performs avant garde music, including r u ok (created with Seth Shafer) which they performed at the 2022 https://www.undertheradaromaha.com/ (Omaha Under the Radar Festival). You can watch a video of that performance via https://www.youtube.com/watch?v=rFNnGY1l0Y0 (this link here). https://www.unomaha.edu/college-of-communication-fine-arts-and-media/about-us/faculty/music/shelby-vannordstrand.php (Shelby VanNordstrand) has appeared as a soloist with a wide range of ensembles and companies; including Lorin Maazel's Castleton Festival, New York Lyric Opera Theatre, Opera Omaha, Omaha Symphony, Cedar Rapids Opera Theatre, and the Simon Estes Young Artist Program.  VanNordstrand is passionate about connecting song and opera repertoire to today's audience. Her recital project “The Giving Voice Project: Ophelia” examines the gendered oppression of Hamlet's Ophelia from a twenty-first century view point through song, opera, and dance. She continues to share her love of song across the globe at many locations including Indonesia, Japan, China, Hawaii, and Lithuania. She is an alumnus of the SongFest program and is Associate Professor of Voice, Vocal Area Coordinator, and Director of Opera at the University of Nebraska at Omaha.

Jess's guest this week is folk artist Sam Amidon. His songs reimagine and breathe new life into old songs and ballads, but his musical life also encompasses any number of collaborations with classical composers, experimental producers as well as the jazz world which he finds so inspiring. Sam and Jess settle in for a listening party of the music they love, including Ornette Coleman and friends having a street party, Ennio Morricone in full blown cinematic mode, Sam shares a revelatory recording by the Georgian voices in The Rustavi Choir and Jess continues her bid to be reincarnated in the 1960s with a Dusty Springfield classic. Playlist: TRAD GEORGIAN: Shen Khar venakhi – Kartli Kakhetia (The Rustavi Choir) MORRICONE: Cinema Paradiso – Theme ORNETTE COLEMAN: Friends and Neighbours (Vocal version) [Live] PROKOFIEV: Romeo and Juliet – Dance of the Knights (Cleveland Orchestra, Lorin Maazel (conductor)) SAILEOG NÍ CHEANNABHÁIN: Bean a' Leanna EDMUND ANDERSON/TED GROUYA: Flamingo (Duke Ellington & Billy Strayhorn (piano)) JANACEK: Kreutzer Sonata arr. for Strings – 1st mvt Adagio (Australian Chamber Orchestra, Richard Tognetti (violin/director)) DUSTY SPRINGFIELD: Anyone Who Had a Heart

durée : 01:58:12 - Relax ! du jeudi 09 juin 2022 - par : Lionel Esparza - Aujourd'hui dans Relax, portrait du chef d'orchestre américain Lorin Maazel. Et en disque de légende, nous écouterons la 9e symphonie de Gustav Mahler par Bruno Walter. - réalisé par : Antoine Courtin

Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russian masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. As Music Director of Chicago Opera Theater, Ms. Yankovskaya has led the Chicago premieres of Jake Heggie's Moby-Dick, Rachmaninov's Aleko, Joby Talbot's Everest, Tchaikovsky's Iolanta, and the world premiere of Dan Shore's Freedom Ride. Her daring performances before and amid the pandemic earned recognition from the Chicago Tribune, which praised her as “the very model of how to survive adversity, and also how to thrive in it,” while naming her 2020 Chicagoan of the Year. In the 2021/22 season, Ms. Yankovskaya makes a trio of Texan debuts, leading performances of Carmen at Houston Grand Opera, a tribute to Ruth Bader Ginsburg at Dallas Symphony Orchestra, and concerts featuring works by Gershwin and Dawson at Fort Worth Symphony. Elsewhere, she debuts with Chicago Symphony Orchestra in Prokofiev's Peter and the Wolf, leads a program of Brahms and Wagner at Elgin Symphony, conducts Boulanger, Debussy, and Ravel at Omaha Symphony, and makes her Pasadena Symphony debut conducting works by Tchaikovsky, Rimsky-Korsakov, and Gabriela Lena Frank. At Chicago Opera Theater, she conducts the Chicago premiere of Mark Adamo's Becoming Santa Claus and a concert version of Carmen, starring Jamie Barton opposite Stephanie Blythe. Ms. Yankovskaya has recently conducted Don Giovanni at Seattle Opera, Pia de' Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York's Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera. On the concert stage, she has been recently engaged with Chicago Philharmonic, Rhode Island Philharmonic, and the symphony orchestras of Hawaii and Oviedo, Spain. Ms. Yankovskaya is Founder and Artistic Director of the Refugee Orchestra Project, which proclaims the cultural and societal relevance of refugees through music, and has brought that message to hundreds of thousands of listeners around the world. In addition to a National Sawdust residency in Brooklyn, ROP has performed in London, Boston, Washington, D.C., and the United Nations. She has also served as Artistic Director of the Boston New Music Festival and Juventas New Music Ensemble, which was the recipient of multiple NEA grants and National Opera Association Awards under her leadership. As Music Director of Harvard's Lowell House Opera, Ms. Yankovskaya conducted sold-out performances of repertoire rarely heard in Boston, including Tchaikovsky's The Queen of Spades, Britten's A Midsummer Night's Dream, and the U.S. Russian-language premiere of Rimsky-Korsakov's The Snow Maiden. Her commitment to exploring the breadth of symphonic and operatic repertoire has also been demonstrated in performances of Rachmaninoff's Aleko and the American premieres of Donizetti's Pia de' Tolomei, Rubinshteyn's The Demon, and Rimsky-Korsakov's Kashchej The Immortal and Symphony No. 1. An alumna of the Dallas Opera's Hart Institute for Women Conductors and the Taki Alsop Conducting Fellowship, Ms. Yankovskaya has also served as assistant conductor to Lorin Maazel, chorus master of Boston Symphony Orchestra, and conductor of Boston Youth Symphony Orchestra. She has been featured in the League of American Orchestras Bruno Walter National Conductor Preview and Cabrillo Festival for Contemporary Music, and assisted Vladimir Jurowski via a London Philharmonic fellowship. Ms. Yankovskaya holds a B.A. in Music and Philosophy from Vassar College, with a focus on piano, voice, and conducting, and earned an M.M. in Conducting from Boston University. Her conducting teachers and mentors have included Lorin Maazel, Marin Alsop, Kenneth Kiesler, and Ann Howard Jones. Ms. Yankovskaya's belief in the importance of mentorship has fueled the establishment of Chicago Opera Theater's Vanguard Initiative, an investment in new opera that includes a two-year residency for emerging opera composers. Committed to developing the next generation of artistic leaders, she also volunteers with Turn The Spotlight, a foundation dedicated to identifying, nurturing, and empowering leaders – and in turn, to illuminating the path to a more equitable future in the arts. Recipient of Solti Foundation U.S. Career Assistance Awards in 2018 and 2021, Ms. Yankovskaya has been a featured speaker at the League of American Orchestras and Opera America conferences, and served as U.S. Representative to the 2018 World Opera Forum in Madrid.

Long time Boston Symphony librarian John Perkel tells Jim Cunningham about his presentation in concert of a new piece of music for strings written by Leonard Bernstein as a student at Harvard at age 18. It was recorded for broadcast on Boston's WCRB in April of 2022 and will be heard in streaming audio on May 22. John Perkel retired in 2017 after more than two decades with the orchestra. John has many ties to Pittsburgh including the Pittsburgh Symphony's former CEO Gideon Toeplitz and Michael Bielski COO and Senior Vice President who he has known since childhood. Michael now serves as chair of the Community Advisory Board for WQED. John remembers visits by Mariss Jansons and Lorin Maazel to Tanglewood and Symphony Hall with great pleasure. He also recalls the work of  Pittsburgh Symphony Music Director William Steinberg in Boston and the contribution of former Pittsburgh cellist Owen Young.

Synopsis In 1987, Telarc Records asked the late conductor Lorin Maazel if he would make a purely orchestral distillation of the four operas that make up Richard Wagner's “The Ring of the Nibelung.” Telarc wanted it all to fit on just one CD. Now, with these four Wagner operas clocking in at about 15 hours, that's a slimming-down assignment worthy of The Biggest Loser. Maazel crafted a 75-minute sequence, played without pause, beginning with the opening pages of the first opera and ending with the closing pages of the last, with all the music appearing in the same order as it does in Wagner's four operas. For the Telarc CD release, Maazel recorded his “Ring without Words” with the Berlin Philharmonic. But what had started as a purely studio affair proved an attractive orchestral showcase for other ensembles, so on today's date in 1990, Maazel led the Pittsburgh Symphony in the debut of his “Ring without Words” as a concert hall work. Since then, he has performed it with orchestras ranging from the New York to the Vienna Philharmonic. Maazel confessed he resisted the idea at first. "I said… it would be desecrating a unique masterpiece. But they kept after me.” In the end, Maazel capitulated, but insisted there couldn't be one note by Lorin Maazel. When one instrumentalist shuddered at a particularly abrupt transition, Maazel told him, "Sorry! That's the composer." Music Played in Today's Program Richard Wagner (1813 - 1883) arr. Lorin Maazel (1930 -2014) — Ring without Words (Berlin Philharmonic; Lorin Maazel, cond.) Telarc 80154.

The Carnegie Museum of Art film series, presented in connection to the "Working Thought" exhibition, brings Braddock native Tony Buba to the Museum theater May 21st at 1:30pm in a free screening of "Lightning over Braddock" - his groundbreaking documentary which has been released on DVD with his short films and proven influential for Michael Moore and the Daily Show and countless documentarians. He will be introduced by Edith Abeyta, installation artist and Carnegie Museum regular who has worked with Tony to stop fracking environmental destruction and bring art to library users in Hazelwood and elsewhere.  Tony talks about his film, his brother Pat, his association with German film legend Werner Herzog, working with George Romero, the movie Martin which starred Lorin Maazel's Dad Lincoln, the Zombie phenomenon, his WQED start and the state of Braddock today in this wide ranging discussion with Jim Cunningham.  After the screening, there will be a reception to celebrate Tony's 50th year as a filmmaker in the museum's outdoor Sculpture Court.  All are welcome.  More information is available here - https://cmoa.org/event/lightning-over-braddock        

Franz von Suppè (1819-1895) - Ouvertures1.       Leichte Kavallerie 2.       Ein Morgen, ein Mittag und ein Abend in Wien (Emanuel Brabec, solo cello) 3.       Pique Dame 4.       Dichter und Bauer (Emanuel Brabec, solo cello) Wiener Philharmoniker – direttore Sir Georg Solti 5.       Banditenstreiche (Jolly Robbers)  Berlin Staatskapelle – direttore Otmar Suitner 6.       Die schöne GalathéeWiener Philharmoniker – direttore Lorin Maazel

durée : 00:25:12 - REGIS PASQUIER 4 - En 1977, Régis Pasquier est nommé violon solo de l'Orchestre National de France. Retour sur son expérience au sein de l'orchestre avec les souvenirs de quelques grands chefs tels que Alain Lombard, Michel Plasson ou encore Lorin Maazel

Olga Scheps was born in Moscow in 1986, the daughter of two pianists, and discovered the instrument for herself at the age of four. She began studying the piano more intensively after her family moved to Germany in 1992. At an early age she had already developed her own unique style of keyboard playing, which combines intense emotiveness and powerful expressivity with extraordinary pianistic technique. Among those who discovered these talents was Alfred Brendel, who has encouraged the young pianist. A holder of scholarships from the Deutsche Stiftung Musikleben and Studienstiftung des deutschen Volkes, she completed her studies with Professor Pavel Gililov in her adopted home of Cologne in 2013, passing her Concert Examination with Distinction. She rounded out her training with Professor Arie Vardi and Professor Dmitri Bashkirov.Besides the well-known works for piano Olga Scheps's repertory consists of compositions that are seldom heard in the concert hall, including the posthumous Études of Frédéric Chopin, Franz Liszt's Malédiction, Olivier Messiaen's Les Oiseaux exotiques, Antonín Dvořák's Piano Concerto, Arvo Pärt's „Lamentate“, and Mieczysław Weinberg's Piano Quintet. Her solo recitals are as popular with audiences all over the world as her acclaimed appearances as soloist with orchestra and her chamber projects.Such noted conductors as Thomas Dausgaard, Lorin Maazel, José Serebrier, Marcus Bosch, Ralf Weikert, Michel Tabachnik, Antoni Wit, Ivor Bolton, Cristian Mandeal, Christoph Altstaedt, Tugan Sokhiev, Simone Young, Markus Poschner and Pablo Heras-Casado have invited Olga Scheps to collaborate with them.Among the leading orchestras with which she has appeared in concert are the Orchestre Philharmonique de Monte-Carlo, the Warsaw Philharmonic Orchestra, the Mozarteum Orchester Salzburg, the Munich Symphony Orchestra, the Royal Scottish National Orchestra, the State Symphony Cappella of Russia (Moscow), the Staatskapelle Weimar, the Zurich Chamber Orchestra, the NDR Radiophilharmonie, the Orchestre National du Capitole de Toulouse, the Prague Philharmonia, the Israel Philharmonic Orchestra and the New Japan Philharmonic Orchestra.Olga Scheps now performs with great success in world-famous concert halls such as the Elbphilharmonie, the Berlin and Cologne Philharmonie, the Vienna Konzerthaus, the Cadogan Hall London, the Zurich Tonhalle, and the Suntory Hall Tokyo. She is a sought-after guest at festivals like the Rheingau Musik Festival, Festspiele Mecklenburg-Vorpommern, Kissinger Sommer, Heidelberger Frühling, Klavier-Festival Ruhr, Schleswig-Holstein Musik Festival, MDR Musiksommer, Lucerne Festival am Piano, ACHTBRÜCKEN Festival in Cologne, Mozart Festival Würzburg, Mersin Festival in Turkey, and Menuhin Festival Gstaad.A passionate chamber musician, she plays regularly with such artists as Alban Gerhardt, Daniel Hope, Adrian Brendel, Jan Vogler, Nils Mönkemeyer, the Danish String Quartet, the Danel Quartet and the Kuss Quartet, with which she recorded Mieczysław Weinberg's Piano Quintet.Since 2009 Olga Scheps has been an exclusive Sony Classical artist. Her debut album ‘Chopin' immediately won an ECHO Klassik award. The two recordings that followed, ‘Russian Album' (2010) and ‘Schubert' (2012), were also highly praised by the press. Her fourth Sony Classical CD was released early in 2014 and features Chopin's Piano Concertos nos. 1 and 2 with the Stuttgart Chamber Orchestra. The success of her solo-album ‘Vocalise', published in 2015, was surpassed by her latest album ‘Satie' which Olga Scheps has recorded on the occasion of the French composer's 150th birthday: It reached top 1 of the German classical music charts at first go. Her CD "Tchaikovsky" was released in October 2017 and she broke new ground with the album "100 % Scooter - Piano Only", on which she recorded arrangements of the most famous Scooter hits by Sven Helbig. In March 2019 Olga Scheps' album “Melody” was released, containing pieces spanning four centuries, from Bach to Aphex Twin. Her recording of the Weinberg Piano Quintet with the Kuss Quartet was released in late 2019. Olga Scheps is a Steinway Artist.FIND OLGA ON SOCIAL MEDIAFacebook | Instagram | Twitter | Twitch | YouTube================================PODCAST INFO:Podcast website: https://www.uhnwidata.com/podcastApple podcast: https://apple.co/3kqOA7QSpotify: https://spoti.fi/2UOtE1AGoogle podcast: https://bit.ly/3jmA7ulSUPPORT & CONNECT:Support on Patreon: https://www.patreon.com/denofrichTwitter: https://twitter.com/denofrichFacebook: https://www.facebook.com/denofrichYouTube: https://www.youtube.com/c/DenofRich

Synopsis Mountains can have unforeseen consequences on the imagination. For Philadelphia-native Melinda Wagner, serving as a composer-in-residence at a music festival in Vail, Colorado, this resulted in the composition of a new Trombone Concerto, a piece tailor-made for Joseph Alessi, the principal trombonist of the New York Philharmonic. “During my free moments in Vail,” said Wagner, “I found myself gazing – in disbelief really – at the jagged, youthful beauty of the Rockies. By comparison, ‘my' mountains – the old Endless, Allegheny, and Pocono ranges of Pennsylvania – seemed to be no more than a set of soft wrinkles in the skin of the earth! “Nobility and power, hallmarks of the trombone sound, are words that come to mind in the presence of mountains, old and new. And a truly great musician, as I learned while hearing Joseph Alessi play, can coax so much more out of the trombone: aching tenderness, sadness, lyricism, mirth.” Alessi gave the premiere performance of Wagner's new Concerto on today's date in 2007, with the New York Philharmonic conducted by Lorin Maazel.  She's also written three major orchestral works for the Chicago Symphony, including a piano concerto for Emanuel Ax entitled “Extremity of Sky.” Music Played in Today's Program Melinda Wagner (b. 1957) — Trombone Concerto (New York Philharmonic; Lorin Maazel, cond.) Bridge 9345

Jess swaps favourite tracks with singer, songwriter and cellist Laufey, from silky jazz piano from Bill Evans and virtuosic fireworks in Sibelius Violin Concerto to Joe Cocker covering The Beatles. Playlist: Bill Evans - Like Someone in Love Shara Worden - From the Invisible to the Visible Ravel - Pavane pour un enfant defunte (Louis Lortie (piano)) Joe Cocker - With a Little Help from my Friends Sibelius - Violin Concerto, 3rd mvt (Hilary Hahn (violin), Swedish Radio Symphony Orchestra, Esa‐Pekka Salonen (conductor)) Chet Baker - While My Lady Sleeps Shostakovich - Cello Concerto, 1st mvt (Sol Gabetta (cello), Munich Philharmonic, Lorin Maazel (conductor)) Tsegue Maryam Guebrou – Homesickness, pt 2

In June of 2021, Enrique Márquez arrived on the campus of the renowned Interlochen Center of the Arts in Interlochen, MI as its new Director of Music. Founded in 1928, Interlochen offers students from grades 3 through 12 a wealth of arts-education opportunities through several programs, including its boarding school, the Arts Academy, and its Summer Arts Camp.Before becoming an admired arts administrator and educator, Enrique was a professional violist who made his Carnegie Hall debut in 2005. He served as principal viola of The Orchestra of the Americas and the Jeunesses Musicales World Orchestra, performing in over 25 countries in the Americas, Asia and Europe with such conducting giants Kurt Masur, Lorin Maazel, Gustavo Dudamel and Valery Gergiev.  In his native Mexico, Enrique went on to become the youngest Director General of the Veracruz Cultural Institute. He also founded the Orquesta Filarmónica de Boca del Río, which quickly became treasured not only for its performances but also for its impact in the community as a cultural and educational hub. He also earned a Master's in Cultural Policy and Management from City University London and a master's in education at Harvard University Graduate School of Education. In this interview with Pier Carlo Talenti, Enrique describes how a fundamental belief in music's power to draw out every young person's most vibrant qualities has determined his career path.  https://www.interlochen.org/news/interlochen-center-for-arts-names-enrique-marquez-director-music?fbclid=IwAR2CKijIQEjWsce8Y_uo0432wBfIZpKYhDeVmB23vdB5nlygLL-xKY1j8X4https://www.filarmonicadeboca.org.mx/

Synopsis One of the 20th century's most important – and most lurid – operas had its American premiere at the Metropolitan Opera on today's date in 1907. Richard Strauss's “Salome” is a faithful setting of Oscar Wilde's play about the decadent Biblical princess who, after her famous “dance of the seven veils,” demands the head of John the Baptist on a silver platter as a reward. She then confesses her love to the severed head and kisses it. This scene, accompanied by Strauss's graphic music, proved too much for early audiences to take. “A reviewer,” wrote The New York Tribune, ”should be an embodied conscience stung into righteous fury by the moral stench with which Salome fills the nostrils of humanity.” The Met cancelled the rest of the scheduled performances, and “Salome” was not staged there again until 1934. Closer to our time, the American composer Terry Riley put a more positive spin on the legend of Salome. In the 1980s, Riley wrote some string quartets collectively titled “Salome Dances for Peace.”  “I conceived my quartets as a kind of ballet scenario,” said Riley, “in which contemporary world leaders like Reagan and Gorbachev are seduced by a reincarnated Salome into realizing world peace.” Music Played in Today's Program Richard Strauss (1864-1949) — Dance of the Seven Veils, from Salome (New York Philharmonic, Lorin Maazel, cond.) DG 7890 Terry Riley (b. 1935) — Good Medicine, from Salome Dances for Peace (Kronos Quartet) Nonesuch 79217

Hoy tenemos como invitada a Inés Allué, Clarinete Principal en Oviedo Filarmonía.   Nacida en Madrid, realizó los estudios de clarinete en su ciudad con Andrés Zarzo, Miguel Espejo y Vicente Peñarrocha, estudiando en el R.C.S.M. de Madrid. Fue miembro de diversas agrupaciones instrumentales juveniles como la Joven Orquesta de la Comunidad de Madrid, Orquesta Juan Crisóstomo Arriaga, Grupo de Música Contemporánea del Real Conservatorio, etc. y realizó estudios de Postgraduado y Máster por la U. de A Coruña con José Luis Estellés, Antony Pay, Michel Lethiec, Fabrizio Meloni y Hans Dainzer. En 1999 empezó a formar parte de la Osco, la que hoy se conoce como Oviedo Filarmonía, formación de la que es clarinete principal desde el año 2000. Además, ha colaborado con la Orquesta Arturo Toscanini bajo la dirección de Lorin Maazel, ha realizado conciertos de música de cámara con diversas agrupaciones junto a cuerda, viento o piano. También ha sido profesora del Conservatorio Profesional de Gijón y de Oviedo y ha impartido cursos de formación orquestal en jóvenes orquestas como la Jospa, Vetusta y Joico. Inés es licenciada en Musicología por la Universidad de Oviedo. En este episodio hablaremos de: Sus inicios con la música y por qué eligió el clarinete. El momento en el que tuvo que elegir entre el clarinete o el deporte De los pasos que siguió para llegar a tocar en Oviedo Filarmonía, orquesta en la que lleva tocando desde el año 1.999. Hablaremos de sus profesores principales De carreras con más o menos salidas profesionales y de cómo labrarse una buena trayectoria en el mundo de la música Hablaremos de música, cine y zarzuela De preparación física y la importancia de cuidar nuestro cuerpo para una práctica musical saludable Lesiones y centros especializados en músicos, por qué podría ser mejor el asesoramiento y tratamiento en estos centros Y muchas cosas más… Recuerda que en academiadeclarinete.com tienes a tu disposición cientos de clases grabadas en vídeo con ejercicios, técnicas, partituras y todo lo que necesitas, para mejorar como clarinetista. También tienes disponible la sección de Masterclasses, donde grandes clarinetistas colaboran regularmente compartiendo todo lo que saben con los estudiantes de la academia, y de esta manera, hacer de esta plataforma un lugar de referencia y aprendizaje para toda la comunidad de clarinetistas de habla hispana. Muchas cosas están por llegar. No te lo pierdas. Descarga gratis la Guía de estudio del Clarinetista. (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//forms.aweber.com/form/75/1002537775.js"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "aweber-wjs-lxvwl76h6"));

En este episodio, los niños podrán conocer un poco sobre la vida de Giacomo Puccini y su música, en especial, de sus tres óperas más conocidas: La Bohème, Tosca y Madama Butterfly.  LO QUE VAN A ESCUCHAR EN ESTE EPISODIO   00:35 Sonata No. 10  in G Major interpretado por Liuwe Tamminga.  01:53 Marcia No. 45 in D Major interpretado por Liuwe Tamminga.  04:23 Aida, Act I. Se quel guerrier io fossi!...Celeste Aida de Giuseppe Verdi. Interpretado por Andrea Bocelli, Orchestra del Maggio Musicale Fiorentino & Zubin Mehta. 05:15 Turandot, Act II: Gravi, Enormi Ed Imponenti, interpretado por Alexander Rahbari & Malaga Philharmonic Orchestra. 06:45 Le villi, Act I: Se come voi piccina io fossi... Non ti scordar di me!. Interpreado por Lorin Maazel, National Philharmonic Orchestra, Plácido Domingo & Renata Scotto.  09:33 Tosca, Act III: Io De' Sospiri. Interpretado por David Pearl, Zubin Mehta & Philharmonia Orchestra.  11:18 La bohème, Act II: "Arranci, datteri!". Interpretado por Rolando Panerai, Herbert von Karajan, Schonberger Sangerknaben, Chor der Deutschen Oper Berlin, Gianni Maffeo, Luciano Pavarotti, Berlin Philharmonic & Mirella Freni. 13:04 Madama Butterfly, Act II: Un bel dì vedremo. Interpretado por Renata Scotto, Orchestra of the Rome Opera House & Sir John Barbirolli. 14:28 Tosca: "Tre sbirri. Una carozza. Presto" - Te Deum. Interpretado por National Philharmonic Orchestra, Nicola Rescigno & Sherrill Milnes.     Si te gusta el episodio, califícalo en tu app favorita (Podcasts iTunes, iVoox, Spotify) o puedes dejar tu review. :)  No te pierdas ningún episodio. Súscríbete al newsletter en allegromagico.com/suscribirme.  Síguenos en: Facebook, Twitter, Instagram y Pinterest.   

Franz von Suppè (1819-1895) - Ouvertures1.Leichte Kavallerie2.Ein Morgen, ein Mittag und ein Abend in Wien (Emanuel Brabec, solo cello)3.Pique Dame4.Dichter und Bauer (Emanuel Brabec, solo cello)Wiener Philharmoniker – direttore Sir Georg Solti5.Banditenstreiche (Jolly Robbers)Berlin Staatskapelle – direttore Otmar Suitner6.Die schöne GalathéeWiener Philharmoniker – direttore Lorin Maazel

Der langjährige Intendant des Bayerischen Rundfunks Prof. Albert Scharf starb im Alter von 86 Jahren. Scharf stand von 1990 bis 2002 an der Spitze des BR. Er war ein großer Kultur- und Klassikliebhaber, 1992 verpflichtete er Lorin Maazel als Chefdirigent des BRSO. Oswald Beaujean erinnert an Prof. Albert Scharf.

Neste episódio, os músicos de nossa Orquestra Marlon Humphreys (trompete) e Israel Muniz (oboé/corne inglês) falam sobre a Música Programática, forma musical que classifica obras que contam histórias através de melodia e ritmo. Você ouve trechos de: "Quiet City", de Aaron Copland, com a Filarmônica de Nova York sob regência de Leonard Bernstein. "O Campo de Wallenstein" de Smetana, com a Filarmônica Tcheca sob regência de Vaclav Neumann. "Mamãe Gansa" de Ravel, com a Filarmônica de Berlim sob regência de Sir Simon Rattle. "O Naufrágio de Kleônicos", de Villa-Lobos, com a Orquestra Sinfônica do Theatro Municipal do Rio de Janeiro sob regência de Sílvio Barbato. "As alegres travessuras de Till Eulenspiegel", de Richard Strauss, com a Orquestra Sinfônica da Rádio Bávara sob regência de Lorin Maazel. Esta temporada é realizada pelo Instituto Cultural Filarmônica, com oferecimento da Aliança Energia.

Marie talks with Franklin Cohen, Grammy award winning clarinetist and Principal Clarinet of the Cleveland Orchestra for 39 seasons. They chat about his experience auditioning (twice!) for the Cleveland Orchestra and Lorin Maazel, expressivity on an instrument, how to find your voice as an instrumentalist (or artist), performance anxiety and accepting yourself. We hear some samples of Frank's playing including the second movement of Peter Schickele's Quartet for clarinet, violin, cello, and piano, Messiaen's solo clarinet movement from The Quartet for the End of Time, "The Abyss of the Birds", and the third movement from Mozart's Clarinet Concerto KV 622. These are all live recordings made within the last few years. They can be found in their complete versions on YouTube or on Frank's website at: www.franklincohen.com