Podcasts about madame butterfly

Drama on a SundayFirst, a look at the events of the day.Then, Lux Radio Theater,  originally broadcast March 8, 1937, 89 years ago, Madame Butterfly starring Cary Grant and Grace Moore.   Beautiful Cio-cio-San is betrayed by Lieutenant Pinkerton in a drama that uses only two arias by Puccini. Robert Cobb, the president of the Brown Derby (owned by Cecil B. DeMille) tells about the famous restaurant. Followed by Suspense,  originally broadcast March 8, 1955, 71 years ago, Nobody Ever Quits starring Tom McKee.  It's a snowy night atop a mountain, and the leader of the old gang is coming to get the guy who went straight. Then, Dragnet starring Jack Webb originally broadcast March 8, 1953, 73 years ago, The Big Laugh.  A thoroughly rotten louse cheats lonely women by promising to marry them. Finally, Claudia, originally broadcast March 8, 1948, 78 years ago, Three Alarm Fire.   The fire buffs. Kathryn Bard and Paul Crabtree star. Thanks to Debbie B. for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCheck out Professor Bees Digestive Aid at profbees.com and use my promo code WYATT to save 10% when you order! If you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day

Recognised as one of the most dynamic and internationally acclaimed conductors of his generation, Andrea Battistoni has conducted in many of the world's leading opera houses, including Covent Garden and Deutsche Oper Berlin. He's currently music director with Teatro Regio di Torino, chief conductor of the Tokyo Philharmonic Orchestra, and has just commenced another role – as Music Director of Opera Australia.In this wide-ranging conversation, Andrea reflects on this appointment and the artistic vision he hopes to bring to a company he feels a great connection with, as well as a deep affection for the Australian way of working. While Italian opera remains central to his musical DNA, he speaks candidly about his desire to broaden his repertoire in Australia, exploring German, Slavic and contemporary works. He also offers fascinating insights into the role of a music director, from shaping orchestral sound and casting decisions to supporting singers in the unpredictable reality of live performance.Andrea traces his own journey from a childhood in Verona inspired by summer nights at the arena and a fiercely determined mother who insisted on his musical training, to becoming the youngest conductor ever to appear at La Scala. He speaks openly about the challenges of authority, leadership and learning to manage the people as much as the music, as well as the instinct that's needed on the podium. Alongside his conducting career, composition is playing an increasingly important role in his life, with a new opera and major works premiering in Europe later this year. With lovely honesty and humour, he reflects on family life on the road, his enduring love of Puccini, and even gently compares coffee in Australia to Italy.Andrea Battistoni conducts Turandot and Madame Butterfly for Opera Australia until March 14.

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Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

durée : 00:20:01 - Disques de légende du vendredi 29 août 2025 - Avec Lorin Maazel à tête du Philharmonia Orchestra et Placido Domingo en partenaire idéal, la soprano Renata Scotto livre, en 1978, une "Madame Butterfly" inoubliable, une version de référence où éclat vocal et intensité dramatique se rejoignent pour un duo d'anthologie. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:20:01 - Disques de légende du vendredi 29 août 2025 - Avec Lorin Maazel à tête du Philharmonia Orchestra et Placido Domingo en partenaire idéal, la soprano Renata Scotto livre, en 1978, une "Madame Butterfly" inoubliable, une version de référence où éclat vocal et intensité dramatique se rejoignent pour un duo d'anthologie. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

All'interno del programma radiofonico "Buongiorno PNR", il Maestro Umberto Battegazzore, ci ha invitato allo spettacolo che andrà in scena sabato 26 luglio nella meravigliosa cornice della terrazza di Montemarzino.

Join Kari and Joe for a journey through the March 16, 1985 issue of Billboard. You opera fans who've been waiting 272 episodes for a mention of Madame Butterfly are in luck! Then, get ready to hear about wild 80s personalities like Doctor G and Lee Abrams, before partying out of bounds with WLIR and getting an invitation to dance with a chart triple threat.We're also going just a bit outside with entries from Welsh rockers that would later become electronic superstars, California bros who were still cruisin well past their curfew, and a teen star that wanted to grow up fast.Send us a text

Giacomo Puccini komponierte viele der beliebtesten Opern. Seine eigene Lebensgeschichte war nicht weniger dramatisch.

️ La Teoría de la Mente – Episodio: ¿Estamos condenados a no entendernos? El amor romántico bajo la lupa ❤️‍ ¿Y si el amor que nos enseñaron no fuera más que una hermosa trampa? En este episodio de La Teoría de la Mente, nos adentramos en el alma del amor romántico y sus consecuencias, explorando por qué muchas veces amar duele, esperar desespera y desear nos deja vacíos. Desde la desgarradora historia de Madame Butterfly de Puccini hasta la leyenda urbana de Rebeca en el muelle de San Blas , descubrimos cómo la cultura ha alimentado modelos de relaciones basados en la ausencia, la espera eterna y la dependencia emocional. Esas narrativas en las que las mujeres esperan y los hombres deciden; donde el sufrimiento se vuelve sinónimo de amor. ¿Por qué seguimos atrapados en estos roles, incluso en un mundo que ha cambiado tanto? ¿Es la pasión trágica el único camino hacia el “amor verdadero”? Este episodio nos invita a cuestionar mitos, desafiar arquetipos y construir un amor más auténtico, más humano y menos idealizado. Reflexionamos sobre: El mito del amor que espera vs. el amor que elige. Cómo la cultura y la biología se entrelazan en nuestras relaciones. La figura femenina como sujeto pasivo del deseo. El peso de las historias infantiles en nuestras elecciones adultas. La trampa emocional de los finales trágicos que tanto nos conmueven. Con Madame Butterfly como símbolo, hablamos de lo que significa amar desde la presencia y no desde la carencia. Porque el amor no debería doler, ni exigir sacrificios eternos para ser real. Este episodio es una llamada a dejar de esperar y empezar a descubrirnos. Porque, como dijo Butterfly, “un bello día veremos”… pero quizás ese día no llegue solo, hay que construirlo. Recursos y enlaces recomendados: Nuestra escuela de ansiedad: www.escuelaansiedad.com Nuestro nuevo libro: www.elmapadelaansiedad.com Página oficial: www.amadag.com Facebook: facebook.com/Asociacion.Agorafobia Instagram: instagram.com/amadag.psico ▶️ Youtube AMADAG TV: youtube.com/AMADAGTV Palabras clave para SEO: amor romántico,Madame Butterfly,Puccini,ideal romántico,insatisfacción amorosa,Rebeca muelle San Blas,relaciones de pareja,dependencia emocional,mitos del amor,amor verdadero,vínculos auténticos,ausencia en el amor,carencia emocional,historias románticas,literatura clásica,cultura del amor,relaciones humanas,amor y biología,amor cultural,parejas infelices,fantasías de amor,el hombre desea,la mujer es deseada,arias de ópera,Madame Butterfly análisis #️⃣ Hashtags: #AmorRomántico #MadameButterfly #RelacionesDePareja #ReflexionesSobreElAmor #MitosDelAmor #TeoríaDeLaMente Títulos alternativos sugeridos: Madame Butterfly y el Mito del Amor que Espera ¿Por Qué el Ideal Romántico Nos Hace Infelices? ❤️ Amor, Ausencia y Fantasías: ¿Estamos Condenados a Repetirlo? De Cuentos a Realidades: Cómo Romper con los Mitos del Amor Romántico Esperar o Descubrir: El Dilema del Amor en el Siglo XXI ¿Quieres que te prepare una versión reducida para redes sociales o un clip con frase destacada del episodio? También puedo ayudarte con eso

Cyndi Lauper is a multi-award winning singer and songwriter. She has sold more than fifty million records, won an Emmy for acting and her musical Kinky Boots earned her a Tony and an Oliver award. Born in 1953, Cyndi grew up in a blue collar neighbourhood in New York. Her mother loved music and art and took her children to free exhibitions in New York which inspired Cyndi. As a very young girl, Cyndi listened to her mother's extensive record collection and mimicked the voices she heard from musicals and operas.After a difficult family home life due to her mother's turbulent marriages, Cyndi found solace in music and began writing songs when she was ten. She left home at seventeen determined to make it in the music industry. She started out as a singer in bands, whilst supporting herself doing a series of jobs. Early in her career, she lost her voice for almost a year after trying to make herself heard over amps which were too loud. Success eventually came when she released her debut solo album She's So Unusual in 1983 – the first album by a female artist to spawn four consecutive US Top 5 singles.Cyndi lives in New York with her husband, David who is an actor. They met on a set of a film and rock legend Little Richard officiated their wedding.DISC ONE: Prelude to the Afternoon of a Faun. Composed by Claude Debussy and performed by The Orchestre National de Lyon DISC TWO: All That Meat and No Potatoes - Louis Armstrong And His All-Stars DISC THREE: Puccini, “Un bel di, vedremo” (“One fine day, we shall see”) from Act II of Madame Butterfly. Performed by Maria Callas with Orchestra del Teatro alla Scala di Milano, conducted by Herbert von Karajan DISC FOUR: Getting to Know You - Marni Nixon DISC FIVE: I Want Hold Your Hand - The Beatles DISC SIX: A Sailboat in the Moonlight - Billie Holiday And Her Orchestra DISC SEVEN: One Way or Another - Blondie DISC EIGHT: Hound Dog - Big Mama ThorntonBOOK CHOICE: Me Talk Pretty One Day by David Sedaris LUXURY ITEM: A luxury hotel CASTAWAY'S FAVOURITE: Puccini, “Un bel di, vedremo” (“One fine day, we shall see”) from Act II of Madame Butterfly. Performed by Maria Callas with Orchestra del Teatro alla Scala di Milano, conducted by Herbert von KarajanPresenter: Lauren Laverne Producer: Sarah Taylor

Bernard Boursicot était un diplomate français, amoureux d'une fragile chanteuse d'opéra chinoise appelée Shi Pei Pu. Un amour des plus aveugles puisque cette Madame Butterfly était en fait un Monsieur Butterfly, et que l'artiste lyrique était un espion. Pendant une dizaine d'années, l'employé d'ambassade va succomber aux charmes de celle qu'il croyait être devenue la femme de sa vie. Piégé au point de livrer à la Chine des documents confidentiels, les échos de conversations entendues dans les bureaux, des informations piochées dans la valise diplomatique.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Madame Butterfly 5 MarzoSee omnystudio.com/listener for privacy information.

Met vandaag: Wat is op de top in Londen bereikt? | Trump en fascisme: overdrijving of waarheid? | Waarom eist Madame Butterfly haar eigen verhaal op? | Waarom kijken we massaal naar vogels via de webcam? | Presentatie: Mieke van der Weij. 

Loki chats with Cheryl Warfield about her career as a singer, her beginnings outside of the music industry, and her upcoming collaboration with The Discovery Orchestra for their presentation of "Discover Angelitos Negros" in celebration of Black History Month. Loki offers continued thoughts on the takeover of the Kennedy Center. The Discovery OrchestraCheryl WarfieldMORE OperaAve Maria (feat. Cheryl Warfield)Excerpt from "Madame Butterfly" (feat. Cheryl Warfield)The Kennedy Center Takeover  ★ Support this podcast ★

DescriptionThe Plot of Madame Butterfly in 60 Seconds. Take a minute to get the scoop!Fun FactThe most famous aria from Madame Butterfly is "Un bel dì, vedremo" ("One Fine Day, We'll See"). Sung by Cio-Cio-San (Madame Butterfly), it expresses her unwavering hope for her husband's return. This poignant aria is a masterpiece of longing and optimism, beautifully showcasing Puccini's emotional depth and melodic genius.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Giacomo Puccini war vermutlich der letzte komponierende Weltstar der Oper. Noch heute locken La bohème, Madame Butterfly oder Tosca auch solches Publikum in die Opernhäuser, das sich dorthin gewöhnlich nicht verirrt, und erinnern darin an ein mit Puccini zu Ende gegangenes Zeitalter, in dem die Oper für eine kurze Zeit ihrer Geschichte (vor allem in Italien) eine tatsächlich populäre Kunstform war. Der 1858 im soeben toskanisch gewordenen Lucca geborene Puccini war am 29. November 1924 in Brüssel einer Krebserkrankung erlegen. Viele daraufhin erschienene Nachrufe betonten die schon damals absehbare enorme musiktheaterhistorische Bedeutung des Verstorbenen. Der Hamburgische Correspondent hält es in seinem kurzen Nekrolog am 3. Dezember eher persönlich-anekdotisch – und kommt dem, wie wir auch hier erfahren, eher schüchternen, gerne so titulierten Meister der ‘piccole cose‘ Puccini damit womöglich deutlich näher. Anlässlich seines 100. Todestages erinnert für uns an ihn Rosa Leu.

Andrés Amorós sigue con su ciclo dedicado a Puccini a través de su ópera Madame Butterfly, ¿qué tiene esta pieza para ser una de las más reconocibles?

Descripción para el podcast: La Teoría de la Mente ️ ¿Estamos condenados a no entendernos? ¿El ideal del amor romántico nos ha dejado atrapados en roles de insatisfacción perpetua? Hoy, en este nuevo episodio de La Teoría de la Mente, nos sumergimos en las historias de amor y desamor que han marcado nuestra cultura, desde la desgarradora trama de Madame Butterfly de Puccini hasta la conmovedora leyenda de Rebeca en el muelle de San Blas. A través de estos relatos, exploramos cómo los ideales románticos han perpetuado esquemas de relaciones marcados por la ausencia, el sufrimiento y la dependencia emocional. Analizamos por qué estos modelos siguen vigentes, a pesar de los cambios sociales y generacionales, y reflexionamos sobre cómo afectan a nuestra manera de vivir el amor hoy. Desde las grandes fantasías románticas —donde los hombres desean y las mujeres son deseadas— hasta las expectativas irreales que se gestan desde la infancia, cuestionamos los mitos que alimentan nuestras ideas de pareja. ¿Cuánto de este ideal viene de nuestra biología y cuánto es pura construcción cultural? ¿Es posible romper con estos roles sin sentir el vértigo de lo desconocido? Con Madame Butterfly como guía, abordamos las preguntas más profundas sobre el amor, la pérdida y el significado de las relaciones humanas. Este episodio invita a reflexionar sobre cómo construir vínculos más auténticos y equilibrados, lejos de las narrativas de carencia y dependencia que nos han vendido como "amor verdadero". Descubre cómo dejar de esperar y empezar a descubrirte a ti mismo. Porque, como dice Butterfly, "un bello día veremos"... pero ese día empieza con nosotros. Propuesta de títulos atractivos: Madame Butterfly y el Mito del Amor que Espera ¿Por Qué el Ideal Romántico Nos Hace Infelices? ❤️ Amor, Ausencia y Fantasías: ¿Estamos Condenados a Repetirlo? De Cuentos a Realidades: Cómo Romper con los Mitos del Amor Romántico Esperar o Descubrir: El Dilema del Amor en el Siglo XXI Keywords para optimización (SEO): amor romántico, Madame Butterfly, Puccini, ideal romántico, insatisfacción amorosa, Rebeca muelle San Blas, relaciones de pareja, dependencia emocional, mitos del amor, amor verdadero, vínculos auténticos, ausencia en el amor, carencia emocional, historias románticas, literatura clásica, cultura del amor, relaciones humanas, amor y biología, amor cultural, parejas infelices, fantasías de amor, el hombre desea, la mujer es deseada, arias de ópera, Madame Butterfly análisis. Hashtags sugeridos: #AmorRomántico #MadameButterfly #RelacionesDePareja #ReflexionesSobreElAmor #MitosDelAmor #TeoríaDeLaMente Links para incluir en la descripción: Nuestra escuela de ansiedad: www.escuelaansiedad.com Nuestro nuevo libro: www.elmapadelaansiedad.com Visita nuestra página web: http://www.amadag.com Facebook: https://www.facebook.com/Asociacion.Agorafobia/ Instagram: https://www.instagram.com/amadag.psico/ ▶️ Youtube AMADAG TV: https://www.youtube.com/channel/UC22fPGPhEhgiXCM7PGl68rw

Emotiva despedida anoche en la cancha del Martín Carpena a Rafa Nadal, un homenaje que se tuvo que realizar antes de lo deseado al caer eliminada España ante Países Bajos. El Consorcio de Compensación ha recibido, hasta ahora, 1.900 reclamaciones por daños causados por las dos últimas DANAS en la provincia de Málaga. Málaga y Baleares son las provincias españolas donde las familias tienen que dedicar más parte de su salario para alquilar una vivienda. Continúa adelante la trigésimo sexta Temporada Lírica del Teatro Cervantes con la puesta en escena este viernes y domingo de Madame Butterfly, la celebérrima ópera de Giacomo Puccini, hemos hablado en nuestro informativo con Emilio López, director de escena de esta ópera.Escuchar audio

Bernard Boursicot était un diplomate français, amoureux d'une fragile chanteuse d'opéra chinoise appelée Shi Pei Pu. Un amour des plus aveugles puisque cette Madame Butterfly était en fait un Monsieur Butterfly, et que l'artiste lyrique était un espion. Pendant une dizaine d'années, l'employé d'ambassade va succomber aux charmes de celle qu'il croyait être devenue la femme de sa vie. Piégé au point de livrer à la Chine des documents confidentiels, les échos de conversations entendues dans les bureaux, des informations piochées dans la valise diplomatique.

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.

Anna berättar om den franska diplomaten Bernard Boursicot som inledde en relation med den kinesiska medborgaren Shi Pei Pu – en relation som skulle få ödesdigra konsekvenser för Bernard och kanske för hela Frankrike.Karin berättar om Mamie Stuart som försvann efter många desperata brev till släktingar om hur hemsk hennes man George Shotton var. Det skulle ta nästan 42 års tid innan hon hittades – i en grotttunnel, 15 meter under marken.

David Belasco -- playwright, producer, impresario, theatre manager, and theatrical visionary -- was one of the most important names in the world of the Gilded Age stage.Beginning his life and career in San Francisco following the Gold Rush years, Belasco moved to New York to revolutionize how theatre was seen and produced in the last years of the 19th and into the 20th century. In addition to writing such hits as plays "Madame Butterfly" and "The Girl of the Golden West" which went on to become even more popular ad Puccini operas, he was responsible for launching the careers of Maude Adams (the first Peter Pan), Mary Pickford and Barbara Stanwyck. He was known for often wearing the robes and clerical collar of a Catholic priest, despite his Jewish heritage and thus began to call himself  "The Bishop of Broadway". Belasco owned and operated today's Belasco Theatre on 44th St which continues to bear his name. The theatre, built in 1907, is home to current Broadway hits and still contains the once lavish apartment now abandoned in which he lived on the theatre's top floor.   It's said that perhaps Belasco has never quite left his eponymous theatre and reports have persisted over the years of sightings and strange occurrences that indicate his possible presence even today. 

Working with narcissistic leaders in dance and experiencing dehumanization as a dancer are sad realities that many dancers face, especially in the professional ballet world. In today's episode, we are talking about how dancers can reclaim a sense of agency over themselves and their journeys even in the midst of this broken system. Melody Mennite Principal ballerina formerly with Houston Ballet and currently dancing with Vitacca Ballet. She has toured internationally to perform the classics as well as contemporary work in dance. Some of her classical Principal roles include Odette/Odile, Aurora, Kitri, Sugar Plum Fairy and Clara in The Nutcracker, Cinderella, Manon, Juliet, The Sylph in Bournanville's La Sylphide, Nikya in La Bayadere, Ciao Ciao San in Madame Butterfly, Marie in the ballet Marie, Tatiana and Olga in Onegin, Stephanie and Mary Vetsera in Meyerling, Swanhilda in Coppelia, Valencienne in The Merry Widow, and Lise in La Fille mal Gardee. Melody's most recent international appearance was in the role of Juliet for the Houston Ballet's Romeo and Juliet tour to Melbourne, Australia. During Melody's professional career she has also originated roles in new classical and contemporary productions by choreographers Christopher Wheeldon, Justin Peck, Stanton Welch, Ben Stevenson, Christopher Bruce, Jorma Elo, Cathy Marston, Paul Taylor, Aszure Barton, Nicole Fonte, Annabelle Lopez Ochoa, Olivier Wevers, Oliver Halkowich, Jane Weiner, and Garret Smith as well as in her dual role as dancer/choreographer for several films. Melody enjoys all forms of dance and has extensive training and experience with styles rooted in classical ballet, contemporary, jazz, and hip hop. She is passionate about both learning and teaching what she has learned with others. Ms. Mennite has graced the cover of both Dance Magazine and Dance Europe and is celebrated as the Audrey Hepburn of ballet due to her dynamic acting and a predisposition for comedic roles. As an actor Melody has achieved two award winning performances in film and continues to build this part of her resume. To read the rest of Melody's impressive resume, visit the description of our other recent episode together. Watch this episode on Youtube: https://youtu.be/Xa0Mno0uWlk To learn more about my mindset coaching and speaking services, visit kirstenkemp.com To stay up to date on the latest announcements and blog posts at The Confident Dancer, sign up to be a part of my email newsletter community here: http://eepurl.com/gDmjtz To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer _______________________________________________ WORK WITH ME 1:1! THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to master the mental side of dance so you can confidently perform to your fullest potential. Perfect for pre-professional, professional, or recreational dancers wanting overcome mental blocks like self-doubt, performance anxiety, perfectionism, comparison, insecurities, etc., and build a truly confident mindset that allows you to perform your personal best with joy. Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer _________________________________________________ SPEAKING & WORKSHOPS: I offer mindset seminars to equip dancers with the inspiration and practical tools to thrive in their well-being and ability to perform their personal best. These 60-90 minute seminars can be a valuable addition to the holistic support and education of your dancers at your next intensive, year-round program, or professional development opportunity for your company dancers. Learn more and inquire here: https://kirstenkemp.com/speaking-and-workshops#speaking-and-workshops

Blueboys Café Face Radio show this week comes to you from the magical White Isle of Ibiza! Ride the waves with Balearic bliss, starting with a bit of heaven followed by an unforgettable journey through the best of Balearic beats with some 'unfinished symphony', Peter Green's Albatross, Madame Butterfly and some other Ace toons. Enjoy the waves.For more info and tracklisting, visit: https://thefaceradio.com/blueboys-cafe-balearic-beats/Tune into new broadcasts of Blueboy's Cafe Balearic Beats, Wednesdays from 4 - 6 PM EST / 9 - 11 PM GMT//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:25:15 - Ermonela Jaho, soprano (1/5) - par : Judith Chaine - L'été dernier, la soprano albanaise Ermonela Jaho faisait sensation au Festival d'Aix-en-Provence dans Madame Butterfly. Nous avons eu la chance de la rencontrer. Elle s'est confiée avec une sincérité désarmante, disant comme personne à quel point la scène peut être cathartique. - réalisé par : Françoise Cordey

durée : 00:25:11 - Ermonela Jaho, soprano (2/5) - par : Judith Chaine - L'été dernier, la soprano albanaise Ermonela Jaho faisait sensation au Festival d'Aix-en-Provence dans Madame Butterfly. Nous avons eu la chance de la rencontrer. Elle s'est confiée avec une sincérité désarmante, disant comme personne à quel point la scène peut être cathartique. - réalisé par : Françoise Cordey

durée : 00:25:12 - Les Grands entretiens - par : Judith Chaine - L'été dernier, la soprano albanaise Ermonela Jaho faisait sensation au Festival d'Aix-en-Provence dans Madame Butterfly. Nous avons eu la chance de la rencontrer. Elle s'est confiée avec une sincérité désarmante, disant comme personne à quel point la scène peut être cathartique.

durée : 00:25:15 - Les Grands entretiens - par : Judith Chaine - L'été dernier, la soprano albanaise Ermonela Jaho faisait sensation au Festival d'Aix-en-Provence en Madame Butterfly. Nous avons eu à cette occasion la chance de la rencontrer. Elle se raconte avec une sincérité désarmante, disant comme personne à quel point la scène peut être cathartique.

durée : 00:25:23 - Les Grands entretiens - par : Judith Chaine - L'été dernier, la soprano albanaise Ermonela Jaho faisait sensation au Festival d'Aix-en-Provence en Madame Butterfly. Nous avons eu à cette occasion la chance de la rencontrer. Elle se raconte avec une sincérité désarmante, disant comme personne à quel point la scène peut être cathartique.

In this episode Dr. Rebecca Corbett, USC's Director of Special Projects and Japanese Studies Librarian in the East Asian Library provides additional context for Madame Butterfly, through her research on Japanese tea practices. This conversation was recorded as part of Connects' professional development series, Opera for Educators.

In this episode, Executive Director of the Asian Opera Alliance, Melody Chang sits down with Madame Butterfly cast members, Rodel Rosel and Yuntong Han discussing their experiences in Madame Butterfly, how their identities influence their performances, and the work being done by LA Opera in collaboration with AOA to mitigate potential harm. Tickets to Madame Butterfly are on sale now.

In this episode, Dr. Kristi Brown-Montesano provides additional context for Madame Butterfly in this pre-recorded lecture a part of Connects professional development series for teachers, Opera for Educators. Tickets for Madame Butterfly are available now at LAOpera.org.

In this episode, Richard Seaver Music Director James Conlon walks us through the history, the plot and, of course, the music of Madame Butterfly by Puccini. Don't miss this unforgettable masterpiece, tickets are on sale now at LAOpera.org.

Mark interviews Dominician Gennari, a writer, storyteller, composer, and musician about his multimedia book and novella opus, The War for Ascension. Prior to the interview Mark shares comments from recent episodes, a personal update, a word from this episode's sponsor, as well as a word about a previous episode sponsor. One Hand Screaming: 20 Haunting Years - Kickstarter NEWS: Please note that the Feb/March 2025 Writers Retreat at Sea from Cruising Writers has been cancelled.   During their conversation Mark and Dominician talk about: How Dominician's creative and artistic voice started with music at about the age of 13/14 Discovering Tolkien about six or seven years later How, when writing, Dominician was imagining the accompanying soundtrack and the way the process became inseparable Learning from one of the most incredible music teachers Dominician's Italian heritage and how his family would gather in the kitchen and, while cooking together, would sing works like the music from Madame Butterfly and other classical sources How that learning is layered and added in to the other styles and genres of music that Dominician composes and plays The way that Richard Wagner would compose music with the elaborate use of leitmotifs (musical phrases associated with individual characters, places, ideas, or plot elements) Dominician picking ten of the key moments in his story to hit really hard with his own compositions The various members of the local musical community who participated in the recording About the 2nd track, "Light of the Hydroverse" Advice that David Farland, a mentor who worked with Dominician, offered in relation to this project Being told by Dave Farland that Dominician reminded him of Gene Wolfe Unpacking numerous languages in order to re-package them into the original language he created for this universe The Kenorian greeting in the language Dominician invented which says "may serenity follow you" Working with producers on a script adaptation of The War for Ascension but coming to irreconcilable differences that resulted in an end to that project How Dominician connected with Dave Farland via a course he took online from Writers of the Future Turning down what could have been millions of dollars on that cancelled Hollywood project How people can get ahold of the accompanying soundtrack The process that Dominician uses when writing the stories and composing the music  What's next for Dominician And more . . .   After the interview Mark reflects on the idea of creating in the kitchen and the power of that type of collaboration, as well as the integrity to say no to a huge opportunity if it crosses the line of what is deemed as acceptible.   Links of Interest: Dominician's Website Dominician on Instagram Mark's Kickstarter for ONE HAND SCREAMING: 20 Haunting Years EP 377 - Pivoting Your Publishing Dreams with Denise Massar Mark's Stark Reflections on Writing & Publishing Newsletter (Signup) Cruising Writers Buy Mark a Coffee Patreon for Stark Reflections How to Access Patreon RSS Feeds An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard   Dominician Gennari grew up in the rough western suburbs of Melbourne, Australia, in the 80's after his migrant parents fled war-torn Europe after WW2. As a young child, he would fantasise about imaginary creatures living in his backyard and he would dream of magical worlds. As the years unfolded, Dominician's creative spirit flourished, giving birth to his mythical world, Númaria. This world, meticulously crafted, boasts a rich history and a complex ecosystem, providing the perfect backdrop for the vast timeline of his unfolding story called The War for Ascension. Submerging himself in the fields of forbidden archaeology, esoteric wisdom, USAPs of the US government, and ancient warfare, a great awakening occurred as the veil of secrecy was lifted from his eyes. After learning humanity's obscured past was stranger than fiction, his desire to create a truthful and artistic message through fiction arose. This acquired knowledge segued into writing his epic fantasy series The War for Ascension and the sequential standalone series The Ascension Archive. Having spent 3 years working alongside renowned Hollywood producers, Dominician garnered invaluable knowledge of screen craft and storytelling. But due to unforeseen events, he chose an alternative path to pursue his dream of writing wholesome fantasy stories. Guided by fantasy author and genius, David Farland, Dominician is set to expand his grand mythology, The War for Ascension into a multimedia book and novella opus, along with accompanying soundtracks of epic music. Dominician is also the producer of the epic industrial metal band Ark of Light, and a Brazilian Jiu-Jitsu instructor and National Champion. He currently lives in Melbourne, Australia.     The introductory, end, and bumper music for this podcast (“Laser Groove”) was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0

In this episode, musicologist, Dr. Tiffany Kuo shares an annotated listening guide and synopsis for Puccini's Madame Butterfly. Playing September 21 - October 13, tickets are available now at LA Opera.org

Melody Mennite - Principal ballerina formerly with Houston Ballet and currently dancing with Vitacca Ballet. She has toured internationally to perform the classics as well as contemporary work in dance. Some of her classical Principal roles include Odette/Odile, Aurora, Kitri, Sugar Plum Fairy and Clara in The Nutcracker, Cinderella, Manon, Juliet, The Sylph in Bournanville's La Sylphide, Nikya in La Bayadere, Ciao Ciao San in Madame Butterfly, Marie in the ballet Marie, Tatiana and Olga in Onegin, Stephanie and Mary Vetsera in Meyerling, Swanhilda in Coppelia, Valencienne in The Merry Widow, and Lise in La Fille mal Gardee.Melody's most recent international appearance was in the role of Juliet for the Houston Ballet's Romeo and Juliet tour to Melbourne, Australia. During Melody's professional career she has also originated roles in new classical and contemporary productions by choreographers Christopher Wheeldon, Justin Peck, Stanton Welch, Ben Stevenson, Christopher Bruce, Jorma Elo, Cathy Marston, Paul Taylor, Aszure Barton, Nicole Fonte, Annabelle Lopez Ochoa, Olivier Wevers, Oliver Halkowich, Jane Weiner, and Garret Smith as well as in her dual role as dancer/choreographer for several films. Melody enjoys all forms of dance and has extensive training and experience with styles rooted in classical ballet, contemporary, jazz, and hip hop. She is passionate about both learning and teaching what she has learned with others. Ms. Mennite has graced the cover of both Dance Magazine and Dance Europe and is celebrated as the Audrey Hepburn of ballet due to her dynamic acting and a predisposition for comedic roles. As an actor Melody has achieved two award winning performances in film and continues to build this part of her resume. Also from a musical family Ms. Mennite was singing onstage before she ever started training in dance. She has been professionally recorded and released and has performed leading singing roles in regional productions of both West Side Story and Oklahoma. Melody's choreography has been featured on film, in music videos, and on ballet stages throughout the United States. In the last ten years she has been commissioned to create thirteen separate works nationally. Her hobbies include spending time in the outdoors, spending time with her son and two dogs, singing/making music, reading, writing, and practicing new ways to make art. Watch this episode on Youtube! https://youtu.be/9F17DkF13L0 To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer ________________________________________________ THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to master the mental side of dance so you can confidently perform to your fullest potential. Perfect for pre-professional, professional, or recreational dancers wanting overcome mental blocks like self-doubt, performance anxiety, perfectionism, comparison, insecurities, etc., and build a truly confident mindset that allows you to perform your personal best with joy. Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer ______________________________________________ ONLINE COURSES: My online course offerings are a wonderful way to learn the practical steps to retraining your mind so you can thrive and excel in your dancing, all at your own pace and for a more affordable price than individual coaching. Whether your goal is to break through fear and nervousness so you can show up confidently in your auditions or you want to release the self-criticism or self-doubt that's been draining all the joy out of dancing lately, The Confident Dancer Course and rotating mini-courses available are designed to help you do just that. Learn more and enroll here: https://kirstenkemp.com/online-course-offerings

This upcoming season, LA Opera presents 5 exciting works, Madame Butterfly, Romeo and Juliet, Cosi fan tutte, Ainadamar and Rigoletto. Listen in as Richard Seaver Music Director Maestro James Conlon shares his insights into these operatic treasures in this pre-recorded conversation, a part of Opera for Educators. Tickets are available now at LAOpera.org.

Stürz, Franziska www.deutschlandfunkkultur.de, Fazit

Pepe Müller está enfadada, las chicas no se han portado bien y van a recibir su castigo en forma de capítulo, de capítulo prohibido: Muerte en un chill a mediodía. Nuestro primer y último streaming vetado por ¡QuéInsólito! y LaSanti, ambas culpables de este desaguisado. Una viendo a Madame Butterfly y la otra... ¿de chillxxx? Si, de chillxxx. No aparecer para grabar tiene sus consecuencias, ¿y... por qué no habrá venido?, ¿habrá muerto alguna de nuestras colaboradoras? Menuda poca vergüenza

If you ever thought opera was a dead art, you have never talked to Nina Yoshida Nelsen, the new artistic director of the Boston Lyric Opera. Nina, who is Japanese-American, spent years feeling pigeon-holed playing Asian roles in Madame Butterfly but she says those feelings were just the start of an exciting conversation about the future of the art form. This week on Say More, Shirley talks to Nina about reimagining classics, exploring new stories, and singing in the shower. Email us at saymore@globe.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Laugh, cry, and be captivated by Madame Butterfly. One of Australia's most beloved sporting icons! We celebrate a special milestone, and the drive to continue achieving greatness. We also get an inside look at what it felt like to bring home gold for Australia and the lessons she's learned along the way - including how she feels now about that silver medal in her pet event at the Sydney Olympics. Susie also shares her passion for spreading joy and positivity, both in and out of the pool, and her success in the world of radio, bringing her unique energy and charisma to the airwaves. Whether you're a sports enthusiast, a fan of Susie O'Neill, or just looking for some inspiration, this episode is fun, engaging and full of laughter, insights, and a few surprises.  ***  Follow the Howie Games on Instagram: https://www.instagram.com/thehowiegamespod/  Follow the Howie Games on TikTok: https://www.tiktok.com/@thehowiegames See omnystudio.com/listener for privacy information.

Laugh, cry, and be captivated by Madame Butterfly. One of Australia's most beloved sporting icons! We celebrate a special milestone, and the drive to continue achieving greatness. We also get an inside look at what it felt like to bring home gold for Australia and the lessons she's learned along the way - including how she feels now about that silver medal in her pet event at the Sydney Olympics. Susie also shares her passion for spreading joy and positivity, both in and out of the pool, and her success in the world of radio, bringing her unique energy and charisma to the airwaves. Whether you're a sports enthusiast, a fan of Susie O'Neill, or just looking for some inspiration, this episode is fun, engaging and full of laughter, insights, and a few surprises.  ***  Follow the Howie Games on Instagram: https://www.instagram.com/thehowiegamespod/  Follow the Howie Games on TikTok: https://www.tiktok.com/@thehowiegames See omnystudio.com/listener for privacy information.

MADAME BUTTERFLY!  Time to get to know an Australian golden girl!  It's one of the best episodes yet. So, before we get into the wide ranging chat, let's get to know the one, the only, Susie 'Madame' Butterfly" O'Neill. She will not disappoint! * Follow the Howie Games on Instagram: https://www.instagram.com/thehowiegamespod/  Follow the Howie Games on TikTok: https://www.tiktok.com/@thehowiegames See omnystudio.com/listener for privacy information.

durée : 00:58:36 - "Tornerai" (J'attendrai) (Dino Olivieri / Nino Rastelli) (1936) - par : Laurent Valero - "La mélodie est inspirée par le chœur à bouche fermée, acte II, de l'opéra Madame Butterfly de Puccini. Son titre original italien "Tornerai" signifie "Tu reviendras" est l'attente du retour de l'être aimé. La première version, en 1937, connaîtra un grand succès international !" Laurent Valero

“If you ever come near my family again, I'll kill you. Do you understand?” Put on your Madame Butterfly records, buy your daughter a bunny, and move out to the suburbs as the Lady Killers kick off Bad Romance Month with Adrian Lyne's Fatal Attraction. We had a wonderful pod last night. We'd like to listen again. Is that so terrible? If you like the podcast, please rate, review, and subscribe! Follow us at @theladykpod on Twitter and @theladykillerspod on Instagram and Bluesky Connect with your co-hosts:  Jenn: @jennferatu on Twitter, Instagram, Threads, and Bluesky   Sammie: @srkdall on Twitter and Instagram, @srkdallreads Bookstagram Mae: @eversonpoe on all social media platforms, music at eversonpoe.bandcamp.com Rocco: @roccotthompson on Twitter, @rosemarys_gayby on Instagram Cover Art: David (@the_haunted_david, @the_haunted_david_art) Logo Art: Meg (@sludgework) Music: Mae (@eversonpoe)

We hear from food writer Grace Dent about her new book, Comfort Eating, inspired by her podcast of the same name. She'll explain why she's so fascinated by the foods to make us feel better behind closed doors. The Iranian visual artist Shirin Neshat's latest work is called The Fury. It is a short film and series of photographs which explore the sexual exploitation of female political prisoners in Iran. Shirin left Iran as a teenager to study in the US and has lived in exile there since the 1990s. Her art is known for posing questions about how the female body is perceived within Islam and Iranian culture. She talks to Anita Rani about bringing The Fury to London and why she has chosen to deviate from her usual style and include the nude form. Gloria Daniel is the descendant of John Isaac Daniel, who was a slave. After finding out more about her family history and the lives of her ancestor, as well as other slaves, she has started the organisation TTEACH (Transatlantic Trafficked Enslaved African Corrective Historical) Plaques. She joins Anita to tell us about the exhibition they are currently holding which includes the testimonies and artwork of women. Mei Mac is an Olivier award nominee who has taken on the lead role of Kim in the ‘untitled f*ck m*ss s**gon play' at the Young Vic. The play tackles over a century's worth of stereotypes about Asian women in drama, parodying Madame Butterfly, Miss Saigon and South Pacific. Mei tells Anita about confronting prejudice in theatre, 'the bamboo ceiling' and why she has set up a mentorship scheme for British East Asian and South East Asian actors. Presenter: Anita Rani Producer: Kirsty Starkey

Hanae Mori (c. 1926-2022), known in the fashion world as “Madame Butterfly,” broke barriers between East and West. She was the first Japanese designer to show a collection in New York City — and the first to officially become a part of the “haute couture” world. She helped paved the way for the many Japanese fashion houses and designers that have since achieved global acclaim.  Further Reading: Hanae Mori obituary | Fashion | The Guardian JAPAN'S MADAME COUTURIER - The Washington Post Remembering Hanae Mori, the First Asian Designer Invited to the Chambre Syndicale de la Couture | Vogue Hanae Mori, pioneering Japanese fashion designer, dies aged 96 | CNN “Women in Business” by David Evans  This month, we're talking about Trendsetters: Women whose vision, style and willingness to break barriers changed culture — from what we wear to how we behave. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.  Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, and Abbey Delk. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

Splotches, spills, and stains. They can evoke shapes, moods, energy, even music. Yet no one seemed to appreciate their very beauty with the same intuitive, delicate flair as Helen Frankenthaler, who created something fiercely new "between cocktails and dinner," or, more accurately, between the broad shoulders of a relentlessly masculine movement. Not bad for a saddle-shoed girl a year out of Bennington. See the images: https://bit.ly/3ChhuAE Music used: Django Reinhardt, “Django's Tiger” The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “Bedroll,” “A Common Pause,” “Palms Down,” “Desmontes,” “Delamine,” “Greylock,” “Angel Tooth,” “Dear Myrtle” Joe Dassin, “Les Champs-Elysees" Episode sponsor: The Art of Colour: The History of Art in 39 Pigments: https://bit.ly/43Qp1SJ Support the show! www.patreon.com/lonelypalette Register for our Hub & Spoke live show in Woodstock, VT on June 15: https://normanwilliams.org/events/podcasts-a-listening-event/