Podcasts about madam butterfly

What's an Arts District without any art? Mostly condo buildings named after composers, restaurants with a $200 seafood tower, and Madam Butterfly as muzak. And what's a literary community without any literature? It's spending tens of thousands of dollars on an MFA so you can teach creativity workshops online. Jessa and Nico assess the wreckage left by Philadelphia's shocking University of the Arts closure, the rise of the creativity coach, and the monoculture of elite overproduction. This week's sponsor: http://betterhelp.com/culturewedeserve For shownotes and related materials: http://theculturewedeserve.substack.com  

Antoinette Halloran (Wagner's The Ring Cycle, Madam Butterfly) stars as Mrs Lovett in the Victorian Opera's production of Stephen Sondheim's 'Sweeney Todd, the Demon Barber of Fleet Street'. Currently on tour, playing at the Sydney Opera House. Antoinette's been playing Mrs Lovett for 9 years, so this is a special short sit-down. The video podcast has Antoinette in costume. Tickets: Sydney Opera House  Watch performances: ~ First look at rehearsals ~ Sweeney Todd (Sweeney) with cast ~ 'My Friends' Sweeney Todd ~  'God that's good' Sweeney Todd ~ opening night curtain call, Sydney Opera House ~ watch full video interview (with performances) Follow: Antoinette Halloran Let Me Entertain You - Instagram | Twitter | Facebook | TikTok | Youtube

This was a really fun episode! I invited writer, Armaan Babu to discuss the similarities and differences between the White Lotus compared to Madame Butterfly! Full transparency: I have not seen season 2 of The White Lotus, and he had not seen the opera, Madame Butterly. So I thought it would be fun to merge notes! Armaan Babu is a freelance writer and nerdy pop culture critic, who writes about video games, comics, movies, and television shows. He also has a background in theater, having worked for nine years as a production manager for Quiver Productions. More recently, recently begun his own fledgling attempts at game design, and you can find his writing work at ko-fi.com/armaanbabu.  You can read the inspiration for today's podcast in Collider Magazine by Armaan Babu  White Lotus Season 2: Will Tanya Meet a Tragic Fate Like Madame Butterfly? (collider.com) Thanks to our sponsor for this episode Wow Skin Science. Up to 75% OFF. Give an additional 10% Off USE CODE BriCooperMezzo Connect with Armaan Babu  on Ko-fiConnect with Armaan Babu on Twitter Harbour for the Arts FacebookBri Cooper on Tik TokBri Cooper on FacebookNEW! 728 Media Productions 

Luttsy held court in front of the Dominos Execs Susie is trying to lower her carbon footprint  Andy Murray defeats the Kokk in the 2nd longest Aus Open match ever  Mitch explains what happens next in Alec Bladwin's manslaughter case  Susie's bestie Elyse Perry regales being accosted by Madam Butterfly on the boundary  How to sneak into Elton John's Concert A tribute to the Ginger Prince of Bel Air  See omnystudio.com/listener for privacy information.

Our politicians and progressives think they are building a Brave New World....this episode looks at how that is going.   Including abortion, Joe Biden on conversion therapies; children indoctrinated; Ricky Gervais; a drag queen gardener; Tickle v. Grover; removing women from government publications in Scotland; Sharron Davies on trans and swimming; Peter Fitzsimmons v. Steve McAlpine; Kate Bush; Peter Tatchell on getting rid of family;  Australian politician complains about abusive teaching in primary schools; fertility and freezing eggs; Blinken and LGBT rights; Coal returns to Germany and powers Australian governments; Parkinson not acceptable;  Madam Butterfly;  Sadio Mane; Maverick, Lightyear and Operation Mincemeat; Dvorak. 

Terence Clarke was the guest of STAGES in series 3. A jack of all theatrical trades, our conversation found a focus on his career as a Composer of such vibrant Australian Musical theatre works as Summer Rain, Variations and The Venetian twins. However, there is much more to Clarke's contribution to the arts in Australia. It is vast and passionate. Clarke's work as Actor and Director are also ripe for the record.He has acted in English repertory, for Nimrod (Horatio/Rosencrantz to John Bell's Hamlet), and for the National Theatre Company, Perth, where he was for over two years Aarne Neeme's Associate Director. He was foundation Artistic Director of the first regional professional theatre company in Australia, the Hunter Valley Theatre Company in Newcastle, and has been the Artistic Director of the Playwrights Conference and Head of Directing at NIDA.Terence has directed the premieres of a number of Australian plays, most notably John O'Donoghue's A Happy and Holy Occasion (HVTC) and Janis Balodis' Backyard (Nimrod). He has directed over 140 productions and workshopped some dozen: the companies include the Melbourne and Queensland Theatre Companies, Nimrod, and Playbox; the music theatre works include Madam Butterfly (for State Opera of SA, twice), Annie, Anything Goes, The Pirates of Penzance (with Reg Livermore, Canberra), HMS Pinafore, and The Yeomen of the Guard. Other work for the STC: The Venetian Twins (composer/pianist/MD); Summer Rain (composer); The Sunny South (composer/arranger); A Happy and Holy Occasion (director).Terence is a member of the Order of Australia (AM) for services to the performing arts as a director, actor, writer, composer and educator. Terence has directed many productions at NIDA.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

This week we chat with Mezzo-Soprano Kezia Bienek! Kezia is making a name for herself on stages all across the UK. Right now in Madam Butterfly with WNO, you can also catch her in the title role of Carmen this summer at Opera Holland Park and with Opera North later this year... an exciting career alongside being a parent and a trained Birth & Postnatal Doula - say what?!?! Yes - an amazing lady. We admire Kezia so much! It's such a joy to share this episode! Kezia's Links: Website | Instagram | Carmen Tickets Help Ukraine

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjarding MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio audio described theatre reviews. This week Vidar was reviewing the audio described performance of Welsh National Opera's production of Puccini's Madam Butterfly at the Birmingham Hippodrome on Saturday 23 April 2022 with audio description by professional Describers Julia Grundy and Jonathan Nash. Madam Butterfly is a powerful story of unrequited love, human pain and suffering which is intensified by Puccini's glorious music, promising a night of drama and emotion. Inspired by Puccini's fantasy landscape of exotic pleasures, Lindy Hume's new production interprets Butterfly's famous story through a dystopian prism. On the surface a dream-like wedding for a groom and his young, beautiful bride – but behind the façade is a cruel reality. Abandoned and betrayed, Butterfly finds her world crashing around her as her one chance for freedom becomes her prison. Her desperation and pain escalate as she fights for survival with devastating consequences. Vidar began by telling Toby that the audio described performance of WNO's Madam Butterfly was certainly an evening of drama and emotion for him. Vidar has seen a number of productions of Madam Butterfly but the WNO production was the best that he has seen so fa and it was for him almost like seeing Madam Butterfly for the first time. The beautiful singing and really good acting too that came through so well from Julia and Jonathan's description. This was the first AD performance that Vidar has seen with a touch tour since the beginning of the Covid pandemic and although not a full touch tour on stage but the opportunity to explore some of the costumes and props including the marriage certificate and adoption certificate. As Vidar is a big Puccini fan, with La Bohem being his favourite Puccini opera, Toby asked Vidar how Madam Butterfly compared to La Bohem. Then Vidar and Toby talked about how some people might think that Opera is a bit elitist but that is certainly not the case with many companies such as WNO and of course with great audio description, introductory notes, touch tours and live audio description, a trip to the opera can make for a great, enjoyable theatrical experience. To find out more about Welsh National Opera and their productions with audio description do visit the access pages of their website - https://wno.org.uk/access (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

For Matthew Shilvock, general director of San Francisco Opera, being a part of last year's reemergence of the Opera onstage at the War Memorial Building, was to "experience the world in hyperreality" and reclaim the magic of nightly "emotional synergy with 3,000 strangers." He will present the newly announced centennial roster; 2022 is "a celebratory season full of bold possibility, of new productions, new operas"—including Asian artists' reimagining of Madam Butterfly's notorious stereotypes that "honors the culture it represents and challenges its shortcomings." We will be, Shilvock believes, "part of something quite extraordinary" as we turn the page on a second century and reclaim the bold ideals on which San Francisco Opera was founded.'" MLF ORGANIZER Dr. Anne W. Smith NOTES MLF: Arts SPEAKERS Matthew Shilvock General Director, San Francisco Opera Anne W. Smith Co-Chair, Arts Member-Led Forum, The Commonwealth Club of California—Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on March 2nd, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Schlieper has designed lighting for all of the major performing companies in Australia and works regularly in Europe and the U.S.Recent engagements include Nick's debut at, and return to, the prestigious Salzburg Festival, designing the lighting for Aribert Reiman's Lear in the Felsen Reitschule, and for Cherubini's Medeé; as well as Mosquitos, Cat on a Hot Tin Roof, The Real Thing, Still Point Turning, Harp in the South, A Cheery Soul, The Resistable Rise of Arturo UI, Chimerica, Three Sisters, All My Sons, Speed the Plow, A Flea in Her Ear and Switzerland for Sydney Theatre Company; Macbeth, Twelfth Night and Photograph 51 (also set design) for Melbourne Theatre Company; Packer and Sons, Ghosts and Twelfth Nightfor Company B Belvoir.Nick also returned to the National Theatre of Norway for Private Confessions, directed by Liv Ullman, and to New Zealand Opera for The Elixir of Love. He also lit Sydney Theatre Company's revival of The Present with Cate Blanchett on Broadway, and The Space Between the Notes (Emma Matthews' one woman show).Nick's work in Music Theatre includes First Wives Club The Musical at the Oriental Theatre, Chicago, Priscilla Queen of the Desert, The Musical in Australia, New York, Toronto, London, Sao Paolo and throughout Europe; Love Never Dies in Hamburg, Tokyo, Sydney and Melbourne for The Really Useful Company.His extensive work in opera in Australia includes Don Giovanni, Nabucco, Tannhäuser, Il Trovatore, L'elisir d'amore, Andrea Chenier, Freischütz, Falstaff and Seraglio for Opera Australia; Salome (and set design) and Parsifal for State Opera of South Australia; Flying Dutchman, Don Giovanni, and Ken Russell's Madam Butterfly for Victorian State Opera; Macbeth (and set design) for Opera New Zealand and Don Giovanni (and set design) for Opera Queensland. He was also lighting and associate set designer of the first Australian production of Wagner's Ring Cycle in Adelaide in 2004.Nick has also designed lighting for Scheherazade for the Australian Ballet, the acclaimed Cinderella for Royal New Zealand Ballet, and several pieces for Bangarra Dance Company, including Bush, Bennelong and Patyegarang.The year commences for Nick with lighting designs for productions of Wudjang: Not the Past (Bangarra Dance), North By Northwest (Kay & McLean Productions) and The Phantom of the Opera (Opera Australia) on Sydney Harbour. With such a full schedule it was a treat for STAGES to examine the art of Lighting Design with one of the country's most prolific and eloquent artists; Nick Schlieper.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Donald Macleod delves into the operas of Giacomo Puccini Giacomo Puccini was man of the theatre to his fingertips. Born in Lucca in 1858, into a distinguished family of church musicians, Puccini was never destined to follow in his forebears' footsteps. His fate was sealed when as a teenager he walked thirty miles to hear Verdi's Aida. He knew immediately that theatre was his calling and from that point on he wrote almost exclusively for the stage. A perfectionist and an often unreasonable taskmaster, Puccini agonised over each of his operas. Beginning with Manon Lescaut, the opera that launched Puccini internationally, this week Donald Macleod follows the off and the on-stage dramas of La Boheme, Tosca, Madam Butterfly, La fanciulla del West, Suor Angelica, Gianni Schicchi, Il tabarro and the opera he left incomplete at his death in 1924, his final masterpiece, Turandot. The stories on stage are interleaved with events in his personal life, from an early scandal over his affair with a married woman and some very dodgy skulduggery in his business dealings, to the suicide of one of his servants, a tragedy of such proportion, he was plunged in to a deep depression, haunted by the events for the rest of his life. This week, Donald Macleod celebrates a composer whose music expresses every human emotion, there's a host of landmark recordings, including the voices of Jonas Kaufmann, Angela Gheorghiu, Anna Netrebko and Roberto Alagna. We'll hear Mimì's touching calling card from La Boheme, in the classic Victoria de los Angeles version, while Renato Scotto pours all Madam Butterfly's hopes into the heart-breaking Un bel dì. There's the raw pain of Sister Angelica mourning her dead son, and the dark desperation of a jealous husband in Il tabarro. On Wednesday Callas and Gobbi's anguished, sadistic torture scene in Tosca still has the power to shock us as much as it did on its first night in 1900. It's high stakes and nail-biting tension in La fanciulla del West as Minnie trades the life of her outlaw lover on the outcome of a card game. Joan Sutherland's icy Princess Turandot, a magnificent pairing with Luciano Pavarotti's Prince Calaf comes on Friday along with a certain aria made famous by the 1990 world cup, heard here in the hands of another Puccini specialist, Jussi Björling. Music Featured: Manon Lescaut, Act 1: Donna non vidi mai Le Villi, Act 1: Preghiera: Angiol di dio Messa di Gloria (Credo) Crisantemi Manon Lescaut, Act 2: Dispettosetto questo Riccio!; In quelle trine morbide Manon Lescaut, Act 4: Sola, perduta, abbandonata; Fra le tue bracce amore La Bohème, Act 1: Mi chiamano Mimì La Bohème, Act 1: Pensier profondo!; Legna!; Si può Capriccio sinfonico La Bohème, Act 3: Donde lieta uscì; Dunque è proprio finita….Addio, dolce svegliare Tosca, Act 1 (excerpt) Tosca, Act 1: Ah! Finalmente (excerpt) Vissi d'arte, Act 2 (excerpt) Tosca, Act 2 (excerpt) Tosca, Act 3 (excerpt) Madama Butterfly, Act 1 (excerpt) Madama Butterfly, Act 1: Viene la sera; Vogliatemi bene Gianni Schicchi (O mio babbino caro) Gianni Schicchi (excerpt) Il tabarro (Nulla silenzio!) La fanciulla del West, Act 1 (excerpt) La fanciulla del West, Act 2: Una partita a poker! Suor Angelica (excerpt) Turandot (Nessun Dorma) Madam Butterfly, Act 2: Un bel dì vedremo Madam Butterfly, Act 2: Una nave da guerra; Scuoti quella fronda di ciliegio; Or vieni ad adornar Turandot, Act 1: In Questa Reggia; Ascolta straniera; Gloria o vincitore! La Boheme, Act 4: Fingevo dormire Presented by Donald Macleod Produced by Johannah Smith 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 Giacomo Puccini (1858-1924) https://www.bbc.co.uk/programmes/m0012rn4 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

Atatürk Kültür Merkezi (AKM) yalnızca bir bina olsaydı La Traviata ile Carmen ile Madam Butterfly ile ya da Saray'dan Kız Kaçırma ile açılabilirdi... En kolayı bu olurdu, öyle değil mi?... Herkesin bildiği bir eser seçilir, böylece Batı'nın gururu okşanır, arka planda da “Türkler'de bunları sergileyebilecek altyapı var” mesajı verilip geçilebilirdi... Zaten bizde de Batı'ya yaranmanın hazzıyla müthiş tatmin olacak bir kesim kendini sanatın ve kültürün hamisi sandığı, en çok onların sesi çıktığı için bu iş pürüzsüz tamamlanırdı...

“People have been worried about opera's demise for about four centuries now,” says Dr Caitlin Vincent, Lecturer in Creative Industries at the School of Culture and Communication, University of Melbourne. “It's a very old art form. We first saw western opera emerge in the 1600s in Italy and in the 21st century we're coming across the issue that opera is really defined by its museum work - the greatest hits of the 17th, 18th and 19th centuries - that are still the mainstay of opera companies worldwide.” Dr Vincent explains that in order to maintain the tradition of these works, some companies are resorting to problematic and outdated practices like blackface or yellowface makeup. “This is where you start to get a rift between different kinds of audiences, between the really traditionalist audiences who say opera should be done exactly the way as it was first intended to be done and between more modern, progressive audiences that say, we love opera but it needs to be updated in order to reflect a modern-day society,” she says. So how can we interpret these works in a way that does not perpetuate harmful stereotypes or cultural appropriation? One of the popular and successful strategies is education, Dr Vincent says. “Companies program problematic works like Madam Butterfly or The Mikado alongside educational initiatives that are designed to contextualise the works, framing it as a historical artefact and giving you the history that you need.” “The other thing about cultural appropriation, is who are the people who have been hired to interpret these works on stage? Do they represent diverse viewpoints, do they have any connection to the culture that is being portrayed on stage? “What we really need is to try to embed support for emerging composers and mid-career librettists to promote talent in Australia, the United States and the UK to actually cultivate those voices of the next generation. “Otherwise, we will just continue to program Madam Butterfly and Turandot forever, until eventually we can't anymore because they're too problematic.” Episode recorded: June 1, 2021. Interviewer: Dr Andi Horvath. Producer, audio engineer and editor: Chris Hatzis. Co-producers: Silvi Vann-Wall and Dr Andi Horvath. Banner: In the Box by Mary Cassatt (Photo by Francis G. Mayer/Corbis/VCG via Getty Images).

“People have been worried about opera's demise for about four centuries now,” says Dr Caitlin Vincent, Lecturer in Creative Industries at the School of Culture and Communication, University of Melbourne. “It's a very old art form. We first saw western opera emerge in the 1600s in Italy and in the 21st century we're coming across the issue that opera is really defined by its museum work - the greatest hits of the 17th, 18th and 19th centuries - that are still the mainstay of opera companies worldwide.” Dr Vincent explains that in order to maintain the tradition of these works, some companies are resorting to problematic and outdated practices like blackface or yellowface makeup. “This is where you start to get a rift between different kinds of audiences, between the really traditionalist audiences who say opera should be done exactly the way as it was first intended to be done and between more modern, progressive audiences that say, we love opera but it needs to be updated in order to reflect a modern-day society,” she says. So how can we interpret these works in a way that does not perpetuate harmful stereotypes or cultural appropriation? One of the popular and successful strategies is education, Dr Vincent says. “Companies program problematic works like Madam Butterfly or The Mikado alongside educational initiatives that are designed to contextualise the works, framing it as a historical artefact and giving you the history that you need.” “The other thing about cultural appropriation, is who are the people who have been hired to interpret these works on stage? Do they represent diverse viewpoints, do they have any connection to the culture that is being portrayed on stage? “What we really need is to try to embed support for emerging composers and mid-career librettists to promote talent in Australia, the United States and the UK to actually cultivate those voices of the next generation. “Otherwise, we will just continue to program Madam Butterfly and Turandot forever, until eventually we can't anymore because they're too problematic.” Episode recorded: June 1, 2021. Interviewer: Dr Andi Horvath. Producer, audio engineer and editor: Chris Hatzis. Co-producers: Silvi Vann-Wall and Dr Andi Horvath. Banner: In the Box by Mary Cassatt (Photo by Francis G. Mayer/Corbis/VCG via Getty Images).

Australians and saxophones and Madam Butterfly. First, here is the reddit threat about sax in italo disco tracks. And here is the Fantastic Planet video for ”Spacer Woman.” And here is the vide for ”Bop Girl” featuring a 15-year-old Nicole Kidman with her naturally curly hair. Track listing (and where to buy or stream these tracks):  0:00 Shannon, “Give Me Tonight” — Apple Music • Spotify 8:52 Eleven Pond, “Watching Trees” — Apple Music • Spotify • Amazon 14:03 Hugh Bullen, “Alisand” — Apple Music • Spotify • Amazon 19:33 Diux, “Comet” 25:33 Ministry, “Same Old Madness” — Apple Music • Spotify • Amazon 30:46 Alan Pink, “Three Cuts” 36:39 Stage, “Dreaming on the Top” — Apple Music 41:39 Risque, “Burn It Up” 50:16: Charlie, “Spacer Woman” — Apple Music • Spotify • Amazon 60:01 Eurogliders, “Heaven (Must Be There)” — Apple Music • Spotify • Amazon 63:37 Big Pig, “Breakaway” — Apple Music • Spotify • Amazon 67:11 Chantoozies, “Witch Queen” — Spotify • Amazon 73:54: Pat Wilson, “Bop Girl” — Apple Music • Spotify 81:04 Malcolm McLaren, “Madam Butterfly” — Apple Music • Spotify This whole thing is put together by me, Drew Mackie. Follow me on Twitter. I'm on Instagram too. Also listen to the Spotify playlist that inspired this podcast. If you have a recommendation for a song you think should be played on the show, hit me up on Twitter or leave me a voicemail by calling ‪(970) 823-4726 — or 970 82 DISCO. I may play your recommendation on a future show. Have a look at the official website for fancy people. The art for this podcast was designed by Sarah Wickham, who rocks. Check out her art and also buy her stuff. Subscribe: Mixcloud • iTunes • Stitcher • Libsyn • Google Podcasts  Listen to the Spotify playlist that spawned this podcast.

Her friends and family know her as Crystal but, to the charity she founded - Blue Dot Army she is known as Madam Butterfly. After surviving her own cancer journey Crystal was determined to advocate for positive service improvements for people undergoing cancer treatment. Blue Dot Army aims to support people through their cancer journey. Andy’s story touched Crystal and the Blue Dot Army were called into action. Andy while caring for a severely disabled loved one, found himself being confronted with a diagnosis of Prostate Cancer. And somehow he had to figure out how he could get from Cairns to Perth during COVID – 19 state border restrictions for greatly needed Cyberknife robotic radiotherapy for a 4+3 Glesson Score 7 tumor. Today on MediTalk we speak to Andy in the hope that by sharing his journey may help others. For more information about Blue Dot Army visit: bluedotarmy.com.au For more information about Cyberknife Robotic Radiosurgery: 5dclinics.com.au For information on Prostate Cancer: pcfa.org.au Thank you for taking the time to listen and support MeditalkPodcast an independent Australian podcast advocating & educating for patients. We can learn so much from listening to each other's health journey. Well wishes, D :-)

Wednesday 11 March Ruth Knight (Staff Director) Lesley Downer (Writer and Journalist) Mark Down (Blind Summit Artistic Director)

In episode 33 Luke talks to an old friend of his, the conductor John Wilson. John was born in Gateshead and studied composition and conducting at the Royal College of Music, where in 2011 he was made a Fellow. Back in 1994, he formed his own orchestra, the John Wilson Orchestra, dedicated to performing music from the golden age of Hollywood and Broadway, and with whom he has appeared regularly across the UK, including at the BBC Proms annually since 2009. In March 2019, John was awarded the prestigious ISM Distinguished Musician Award for his services to music. He is now in demand at the highest level all over the world, working with some of the finest orchestras and opera houses. In the UK, he performs regularly at festivals such as Aldeburgh, Glyndebourne and the BBC Proms with orchestras such as London Symphony, London Philharmonic, BBC Scottish Symphony and City of Birmingham Symphony. Elsewhere, he has conducted the Royal Concertgebouw, Budapest Festival, Swedish Radio Symphony, Oslo Philharmonic and Sydney Symphony orchestras amongst others. He made his opera debut in 2016 conducting Madam Butterfly at Glyndebourne Festival Opera on their autumn tour and has since conducted Gershwin’s Porgy and Bess at English National Opera and returned to Glyndebourne Summer Festival to conduct Massenet’s Cinderella. John has a large and varied discography which includes a series of discs with the BBC Scottish Symphony Orchestra exploring the works of Richard Rodney Bennett, with the BBC Philharmonic devoted to the symphonic works of Aaron Copland and numerous recordings with the John Wilson Orchestra. In 2019 Chandos released his first recording with the Sinfonia of London which features Korngold’s Symphony in F Sharp. In this conversation we discuss John’s earliest musical experiences, then explore some big topics, such as the idea of artistic perfection, why songs are central to John’s musical world, the importance to him of community music making, and whether you can listen to Ewartung while brushing your teeth (Boulez thinks you can’t).

Inaugura la stagione lirica a Rovigo con Madam Butterfly, ne parliamo con l'assessore alla cultura Roberto Tovo Reporter Doc.. tutti i giorni alle 11 e in replica alle 16.00: inchieste, approfondimenti, curiosità, interviste, scoop e commenti sui fatti

After the Morning. Above the Stag. Madam Butterfly by ‪Opera Loki. ‬Upstairs at the Gatehouse. Mercy. ‪Bread and Roses Theatre. Clapham Fringe Festival. Writers & Anglers.‬

This week, we’re celebrating the end of another tiresome millennium: Brendan’s dressed as Madam Butterfly, Nathan’s mooching about in the morgue as usual, Todd’s going on about his boots for some reason, and Richard has made a terrible mess in the Console Room. It’s the 1996 TV Movie!

2015/16: Madam Butterfly Pre-Performance Talk by English National Opera

Tenor Noah Stewart joined Suzy Klein ahead of singing in Purcell's Indian Queen at English National Opera and then Pinkerton in Puccini's Madam Butterfly at the Royal Opera House, a role in which he feels he's done his job if he gets booed...

Kirsty Young's castaway this week is the tenor, Jonas Kaufmann. Frequently referred to as one of the greatest singers of his generation, both his parents fled East Germany for Munich between the end of the war and the Berlin wall being erected. Jonas was brought up singing in choirs, playing the piano and listening to a range of classical music. When he was seven, he was enthralled by seeing his first opera - Madam Butterfly. He studied Maths at university, but soon changed to music and quickly started getting professional singing work. Since then he has taken on many of the great roles for tenors, at opera houses around the world - Don Carlo, Don José (Carmen), Alfredo (La Traviata), and Cavaradossi (Tosca). He is also known as a singer of 'Lieder' & renowned not only for the beauty of his voice but for his musical range. Producer: Cathy Drysdale.

Madam Butterfly Giacomo Puccini’nin üç perdelik operasıdır. İlk olarak1904’te sahneye çıkmış, Puccini’nin en önemli operalarından biri olarak opera tarihinde yerini almıştır.… The post Müzikle Yolculuk 35 – Giacomo Puccini – Madam Butterfly appeared first on Radio Fehu.

We've all had moments when our mind has wandered during a Wagner opera, a Bruckner symphony or perhaps a long Mozart recitative. Some of us have even dozed off. But maybe we shouldn’t beat ourselves up when our thoughts drift to a grocery list or an e-mail we forgot to send earlier. Boredom in the concert hall may actually be a good thing, says John Crace, a features writer for the Guardian newspaper. In a recent article he argued that the slow, tedious moments in classical music make the exciting ones that much better. Among the works Crace cited is Wagner's six-hour Parsifal, which puts extremely high demands on modern listeners. "There's an hour-and-a-half of absolutely sublime music, which makes it all worthwhile," he told host Jeff Spurgeon. "And then there are bits, especially in the second act, when my mind starts to wander." It probably was the fault of Wagner – not the listener or the performer. "He expected his audiences to come along for the ride with him," Crace continued. "And I don’t think audiences are always prepared to do that." But other industry-watchers disagree that the blame rests with the composer. "Before I would go attacking the repertoire per se, I would first take a look at the performance," said Ben Finane, editor-in-chief of Listen magazine. "I think it’s incumbent upon the singers to establish good chemistry on stage for those [Mozart] recitatives. It’s incumbent upon the conductor to keep things moving, and when that happens, I’m not dosing off." In 2011, BBC Music Magazine asked 10 leading music critics to name the most boring masterpieces in classical music. Responses included Mahler's Eighth Symphony, Bruckner's Seventh Symphony, Vivaldi's Gloria and several operas: Wagner's Tristan und Isolde, Puccini's Madam Butterfly and Rossini's Cenerentola, among others. "There was no common thread, which shows that one man’s meat is another man’s poison," said Jeremy Pound, the magazine's deputy editor. Wagner has frequently come in for criticism, and some critics say it's a rare opera of his that couldn't be improved by taking 20 minutes (or more) off the running time. "That’s the trouble with Wagner is there’s so much good stuff in there but you have to sit through the dreary stuff in between," noted Pound. Crace believes that opera is a challenge because, unlike a play, it's difficult to cut in performance. "No one would dream of performing Hamlet at five hours," he said. "But there is a feeling in opera that somehow there’s an irreverence attached if every note of every bar is not included." Perhaps the media has unfairly hyped epic works and created unreasonable expectations in audiences, said Pound. But just as important to realize is that, with age, a listener's concept of time starts to change. "What was boring to me 20 years ago now I absolutely adore," Pound added. Listen to the segment above and tell us: Are there pieces that sometimes make your mind wander? Leave your comments below.

Rehearsals for the Wyvern Theatre's annual pantomime began on Monday 25 November. Keith Chegwin, who returns to Swindon's number one entertainment venue, will ensure giant laughs will be had by the entire audience from Saturday 7 December 2013 to Sunday 5 January 2014. As the cast continue to rehearse, Lighting Designer Wayne Dowdeswell is working on the show's lighting in the main auditorium. Wayne trained at Bristol Old Vic Theatre School. He spent several seasons at Contact Theatre, Manchester before joining the Royal Shakespeare Company where he lit many productions for The Other Place, The Pit and Barbican Theatres. He was Lighting Supervisor for the Swan Theatre where his designs include: The Fair Maid of the West, Every Man in his Humour, A Jovial Crew, Titus Andronicus, The Jew of Malta, The Duchess of Malfi, Edward II, The Seagull, Tamburlaine the Great, The Country Wife, The Roman Actor, Sejanus. RSC lighting designs in the West End include: The Shakespeare Revue (Vaudeville), The Cherry Orchard (Albery), The 'Jacobethan' Season (Gielgud), The Tamer Tamed (Gielgud), The 'Gunpowder' Season (Trafalgar Studios), Breakfast with Mugabe (Duchess), The Canterbury Tales (Gielgud). Wayne has always maintained a thriving freelance design career; productions include: The Vanek Plays (London & Prague), Medea (Wyndham’s and New York), The Birthday Party, Not the End of the World (Bristol Old Vic), The Prime of Miss Jean Brodie, The Life of Stuff, Whisky Galore!, Servant o’ Twa Maisters, (Pitlochry Festival), Dr Faustus, The School for Scandal, Volpone, The Duchess of Malfi (Stage on Screen, Greenwich Theatre), Peter Pan, Cinderella, Aladdin (Qdos), Private Peaceful (UK tour & Theatre Royal, Haymarket) Godiva Awakes! (Imagineer Productions), Rising Damp (UK tour) His designs for Opera include: The Cunning Little Vixen, A Midsummer Night’s Dream, Don Giovanni, Madam Butterfly, Falstaff, Katya Kabanova, La Boheme (Longborough Festival Opera), Eugene Onegin, Rinaldo, Madama Butterfly (Grange Park), The Mikado, (D'Oyly Carte, Savoy), Lucia di Lammermoor, (Scottish Opera and Mariinsky, St. Petersburg). Wayne received Olivier Award nominations for Edward II, Tamburlaine the Great and Medea.

Christopher Cook in conversation with Arman Schwartz, Puccini / Italian opera specialist plus ENO Wigs and Make-up team.

Bowing in at the London Coliseum for the latest revival of Anthony Minghella’s sumptuous staging of Puccini’s Madam Butterfly, conductor Gianluca Marciano is fast building a reputation as one of the most thoughtful and stylistically incisive of thoroughbred Italians on the circuit. In the UK his work at Grange Park Opera has garnered impressive … [Read More]

Christopher Cook and guests explore one of Puccini's greatest works. With opera historian Sarah Lenton, featuring musical performance from soprano Meeta Raval, accompanied by Andrew Smith.

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