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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.

Join Nathan Oliver as he delves into John chapter 4the story of Jesus and the woman at the wellto explore a faith that truly impacts our daily lives. Discover how faith is thinking, deeply personal, and actively lived out. If you're seeking a faith that goes beyond Sunday and meets you where you are, this message offers refreshing insights. To catch up on the latest sermons from Deep Creek, go to iTunes, Spotify ordeepcreekanglican.comand check out the website for more info about whats happening. We are a welcoming and growing multigenerational church in Doncaster East in Melbourne with refreshing faith in Jesus Christ. We think that looks like being life-giving to the believer, surprising to the world, and strengthening to the weary and doubting. Transcription Bible Reading: John 4:4-45 This morning's reading is taken from the Gospel of John, beginning at verse chapter four, verse four. Now he had to go through Samaria. So he came to a town in Samaria called Saco, near the plot of ground Jacob had given to his son Joseph. Jacob's well was there. And Jesus, tired as he was from the journey, sat down by the well. It was about noon when a Samaritan woman came to draw water. Jesus said to her, Will you give me a drink? His disciples had gone into the town to buy food. The Samaritan woman said to him, you are a Jew and I am a Samaritan woman. How can you ask me for a drink? For Jews do not associate with Samaritans. Jesus answered her, if you knew the gift of God and who it is that asked you for a drink, you would have asked him, and he would have given you living water. Sir, the woman said, you have nothing to draw with, and the well is deep. Where can you get this living water? Are you greater than our father Jacob, who gave us the well and drank from it himself, as did also his sons and his livestock? Jesus answered, everyone who drinks this water will be thirsty again, but whoever drinks the water I give them will never thirst. Indeed, the water I give them will become in them a spring of water welling up to eternal life. The woman said to him, sir, give me this water, so that I won't get thirsty, and have to keep coming here to draw water. He told her, go call your husband and come back. I have no husband, she replied. Jesus said to her, you are right when you say you have no husband. The fact is, you have had five husbands and the man you now have is not your husband. What you have just said is quite true. Sir, the woman said, I can see you are a prophet. Our ancestors worshiped on this mountain. But the Jews claim that the place where we must worship is in Jerusalem. Woman Jesus replied, believe me, a time is coming when you will worship the father neither on this mountain nor in Jerusalem. You Samaritans worship what you do not know. We worship what we do know, for salvation is from the Jews. Yet a time is coming and has now come when the true worshipers will worship the father in the spirit and in truth, for they are the kind of worshipers the father seeks. God is spirit, and his worshipers must worship in the spirit and in truth. The woman said, I know that the Messiah called Christ is coming. When he comes, we will explain everything to us. Then Jesus said, I, the one speaking to you, I am he. Just then his disciples returned and were surprised to find him talking with a woman. But no one asked, what do you want? Or why are you talking with her? When leaving her water jar, the woman went back to the town and said to the people, come see a man who told me everything I ever did. Could this be the Messiah? They came out of the town and made their way toward him. Meanwhile, his disciples urged him, Rabbi, eat something. But he said to them, I have food to eat that you know nothing about. Then his disciples said to each other, could someone have brought him food? My food, said Jesus, is to do the will of him who sent me and to finish his work. Don't you have a saying? It's still four months until harvest, I tell you. Open your eyes and look at the fields. They are ripe for the harvest. Even now, the one who reaps draws a wage and harvests a crop for eternal life. So that the sower and the reaper may be glad together. Thus the saying one sows and another reaps is true. I sent you to reap what you have not worked for. Others have done the hard work and you have reaped the benefits of their labor. Many of the Samaritans from that town believed in him because of the woman's testimony. He told me everything I ever did. So when the Samaritans came to him, they urged him to stay with them. And he stayed two days. And because of this words, many more became believers. They said to the woman, we no longer believe just because of what you said. Now we have heard for ourselves, and we know that this man really is the Savior of the world. This is the Word of God. Opening Remarks Happy Mother's Day, I suppose. I don't know if that's a good introduction. It's too much of me. That's the first thing. But, And I'm here again. You know, Amy said a quiet life, not on a stage. I'm sorry about that. Thank you. That was. Pedram, you made us look way better than we are. That was good. I'm proud of Amy. and I love hearing her share her heart, too. So it's good. And, you know, before I begin, I'm going to pray. Father, thank you for your Grace. And free love. I love that line. That, you are greater. then, then our failures. So, God, I pray now that we would see your goodness this morning by your Holy Spirit. Would you make that clear to us? In your name we pray. Amen. So, Yeah. Like, I don't know how many people, would have known us before the video on the screen just now. we have been part of Deep Creek for about 12 months or so. you might know us. You might know us as, the family with the noisiest baby. Or you might know us as the family that's always late. which is fair. I didn't know there was music at the start until today. So this is the earliest we've turned up on a Sunday, so it was a good habit for us to begin. It's good. it's really good to be here and a good opportunity. Thank you for having me share with you this morning. My background is in church leadership, and, but it's been a couple of years since I've preached the until 8:00 this morning, and it was okay. so, you know, appreciate you, Grace and me having lots of nerves. I'm more nervous after the video than I was before. but I'm also nervous just just through the week. Thinking about this passage. I appreciate the Bible reading this morning. That was a long one. I'm sorry. and we're not going to go through it verse by verse if you wanted, though. open a Bible or have it in front of you. The text is going to jump around a little bit. but I'm nervous because, thinking about this passage and just actually applying it to my own heart. It's a big thing. there's a lot. There's a lot for us to think about. We're talking about everyday faith and how our faith makes a difference for us on the daily. Right. That's a big thing. And I think in my reflections this week, I'm feeling that very personally. And there's a there's a bunch that we can take out from this interaction that Jesus has, with the woman at the well. And so, what I want to look at, are three things about, I think, what this lady learned and definitely what we can learn about faith in everyday life. I want to look at how, our faith is a thinking faith, a personal faith and an act of faith. Just also want to clarify that when I. When I say faith, I mean faith in God. We're going to shorthand that today. we often in today's day and age, we talk about faith quite broad and quite generally, faith can mean that I just have general hope. have faith in myself. I have faith that we can get through. But definitely what we're talking about this morning is faith in everyday life is faith in God. The difference that he makes when we put our hope and trust in him? Okay, so thinking faith, personal faith and living faith. Faith in God is a Thinking Faith So the first one. Faith in God is a thinking faith. Okay, now, we read the passage, and one of the things that you'll notice at the start, or maybe I'll give words to you for that is there's six verses of context, six, six verses, just to set the story up. Now, the reason that's interesting to me is because you don't get that in every passage. I wish we did, but we don't. Often you'll get maybe one line, maybe one word, maybe just a really brief intro to what's happening. Maybe sometimes there's none. But here we get six whole verses on context, and so we need to learn from that and take well, the setting actually must be quite important. And it is. We need to know that the setting is significant to the people of Samaria. This is a Samaritan woman at the well. The setting where they are in Samaria is important. I like the way that the the passage was read this morning for us. It said Jesus had to go through this place, and it's sort of like, well, why else would he if he didn't have to? He probably wouldn't. And that's the case. Jews and Samaritans were not the best of friends. This was a time where where you came from determined significantly. What you believed today might not be that different, but it was very much the case in this time. Judea and sorry, Judea and Samaria were at this stage politically the same. They were both under the same Roman rule, technically within the same sort of like, country, I suppose. But historically, Samaria stood out. If you go back to one Kings, you'll see that there was a point in Israel's history where Samaria was made the capital of the northern Kingdom. Why that's significant is because when the Assyrian empire came in and took over Israel, they went for Samaria. They went for that city. It was strategically the smartest thing to do. And one of the ways that they defeated that city was to take all of the prominent Israelites out of it and put their own people in. Right. And so the people who influenced culture the most were now gone, and it was mixed in with the new Assyrian flavor. It became this sort of dual culture. And they changed. They mingled everything. They, they, they, they shared each other. They learned new recipes from each other and their background and their cultures. They they whatever. They watched each other's movies. I don't know how you learn someone else's culture, but they they sort of mixed everything up, including intermarrying and including borrowing from each other's religious perspective. So much so that Samaria kind of adapted this alt alt alternative version of the Hebrew faith. It's it's alt Jew Judaism, that's what it is. And, They sort of during this phase, they sort of like only focused in on the first five books of the Bible of the law. That's how they interpreted everything in Samaria. And so, the Jews actually had a further breadth to draw from, to understand God's Word, but it was just reduced. And because it was reduced to those five chapters or, sorry, five books of the Bible, the literal implications of that meant that they thought that the place where you worshiped God was in this specific setting on Mount Gerizim. And it was so important to them that they actually built a rival temple there. And that's. Does that make sense? Now, as you think about the conversation Jesus was having with this woman. And and he's saying, you believe this. And she's saying, well, we believe this. And you. And what about where you worship, right? That's why it's because of this, this background. And it was such a rivalry that was built between the two 200 years after that temple was built. There was an uprising by certain, Jewish people, and they destroyed their temple, the Samaritan temple. And that was 200 years before this story took place. This is a rivalry that is both historical and religious, and it's centered at the location where we're reading this story. Add something to the text. It adds something. Jacob's well was there, and Jesus finds himself there, and there's no one else there except this one lady, the Samaritan woman. And here we have a Jew and a Samaritan, and they begin to talk. If you need further confirmation of the rivalry, just look at verse nine where it says, the Samaritan woman said to him, You're a Jew. I'm a Samaritan woman. How can you ask me for a drink? And here it is, just there for you. For Jews do not associate with Samaritans. Clear as day. And yet they did associate. And it doesn't seem heated either. There is a reasonable exchange. And in the end, the woman Jesus is speaking with seemingly expresses faith in God the way that Jesus was talking about it. And by the end of the passage, we see she's a believer. Through this conversation. This is a powerful conversation. A reasonable exchange of thoughts and ideas took place, and it led to something very significant happening. It's not a normal conversation because Jesus uses all sorts of vivid imagery about water and, you know, water that doesn't run out. It's very metaphorical, right? I don't know. I don't know if you would if you would find that frustrating or not. Talking with someone who's speaking in metaphors and hey, the wind is a bit of, I don't know, I don't even want to pretend like I can do that. But she doesn't know what Jesus means. But that's kind of the point. He says something, she clarifies. Jesus doubles down on his claims. She questions, how does that fit with my beliefs? Even the part Jesus miraculously knows her family history. She changes the topic and Jesus lets her, doesn't pull it back and say no, no, no, no. It's a very even conversation. Jesus gives room for the penny to drop. Because, you know, she needs to think this through. Even when the location question is brought up in verse 20, she says, but what about where you worship and where we worship? It's different. Jesus says, believe me. A time is coming when you will worship the father, neither on this mountain or in Jerusalem. A time is coming and has now come when the true worshipers will worship the father in spirit and in truth, for they are the kind of worshipers the father seeks. God is spirit, and his worshipers must worship in the spirit and in truth. In other words, Jesus says to her, where? Think about it. Think about it. Think about who God is and what he's like. Maybe think about how big he is, how great he is. Do you really think he cares which side of the hill you worship on? There is a coming time where none of that will matter. Not from your side or from my side. No, no, no. He cares about your heart. And you might say, well, why bother with all of that, right? We saw in the passage there was a moment he pulled the husband trick out, and he. And like, that was pretty impressive. Like like he pulled out the thing. He had no knowledge of that beforehand. He just says it like, why bother with all the interaction? Just do that again. She was on the ropes. Get her over the line now. Right. You could even say, why are we even reading this at all? If Jesus is like this, that people like do the the miracle trick on me, you know, and I'll believe 100% no gaps at all. Right? And the reason why he doesn't just zap us into faith is because faith requires thinking. I don't think you can have faith without thinking. Is that good news for you this morning? You can't have faith without thinking. Which I think that's good news, because I think there is a perception out there that Christians are people who have switched their brains off, and the people who think would never believe what we believe or what a Christian believes. But I don't think it can work like that to have faith in God who we can't see. We have to acknowledge that you can't prove God's existence, and at the same time, you can't disprove his existence either. So that puts the whole thing in a bit of a dilemma. Either side of that equation, you are going to have to stand on faith one way or the other. I do believe it or I don't believe it. Both are faith standpoints. You can't prove it either way. So the question becomes you have to what? What can you live with from that position of faith that you take? Whichever one is what has the least issues for you? And so you have to think about that. What am I content to live with? One person says God can't be real because there's so much pain and suffering. Another person says the pain and suffering led me to God. Do you see what I'm saying? This week, as I was hanging out with a friend at the pub, we were talking about politics because I'm a boring person now and have grown up conversations. We were talking about politics and everything that's wrong in the world. And he got really agitated about one specific thing. I'm not going to say it's too divisive. Don't even ask me about it. but, it was. Are you Team Naga or Brookie? Which one? And we said, I'm not going to go into it. No no, no. Three people are on social media. Okay, okay. No no, no, it was something else more global than that. And, and he he was super agitated. Right. And I was thinking to myself, how do I even help my friend? What's my role here? And so I had this strange idea to ask him a question. Okay, that's fair enough. I agree with you. It's bad. But where do you get peace from now? But what will bring you peace? How are you going to live with that? And what I really want to say was, because if you intellectualize issues and push them aside because they're too much, then you have to acknowledge that the only way to do that by is by faith that nothing matters ultimately. If if you intellectualize it and then say, well, I can't deal with it, I just have to push it aside. Well, then the only way to do that, really is the faith that nothing really matters in the end. But it does matter to my friend. It does, obviously it does. See, faith comes from thinking, and thinking leads to faith. Don't just leave it there. Think. Be a thoughtful person. Think. Think about what? Why is it that when you see a beautiful sunset, it does something in you? But why? Why so much art based on the things around the world that we would describe as beautiful? Why do photographers take pictures of things that's done? Why? Why do we like it when we see it? Think about these things. What is it? And then what's the next question after that? You got to think. Remember Jesus on the road to Emmaus talking with the disciples. And he said, guys, remember, this is what the Bible said, this and this and this. Put it together. Think about it. Remember Jesus when he taught on worry and he's lying to the people he was speaking to. He was you of little faith. Why? Because. Just think about it. Look at the lilies of the field. Look at the sparrows. They eat their feel right. Don't worry. Think about that. Think this faith is a thinking faith. Faith in God requires thinking. Faith in God is also Personal Faith in God is also personal. We need to accept faith in God, which means we need to let it in. Sometimes that's hard because the personal stuff we feel can run pretty deep and it's real stuff. And actually, that's what I want to talk about, the real stuff, where it is personal. It was very personal for this lady, at least in three ways. She had three. She she had she had hurdles to get over. Firstly, she was a Samaritan. Secondly, she was female. And thirdly, she had a personal history that was difficult. The fact that she's a Samaritan, I've already covered a bunch of that. It wasn't just a racial division, it was a religious division. Certain associations with the Samaritan would have made a Jew ritually unclean. In fact, the verse is in so verse nine where it says, For Jews don't associate with Samaritans. The Greek is a bit dubious there, and is often used to sort of like translate a different way, which would say for Jews and Samaritans don't share, don't share the same dish. Right. And yet Jesus pursues her. He jumps that hurdle. Secondly, she's female. Everything of note in regard to a Samaritan background of the woman would be intensified by the fact of her being female. There's a bit of a pause in the story when the disciples catch up with Jesus and see him chatting with a woman, right? Remember that bit at the end? And I think it says they were surprised. Huh? What are you doing? Jesus is you at a lady? And it says. But no one said anything. The implication being, normally they might write. She wasn't supposed to be chatting with him. In fact, there was a traditional law created in the oral tradition that declared all Samaritan women were unclean from birth. It just really shouldn't have been doing this. And yet, if you flick back just one chapter to John three, you know, for God so loved the world that he gave. Right? That and this chapter are eerily similar. It's Jesus speaking with one person, having a deep and meaningful about all the big things of life. Except in that instance, it was a man, a powerful, educated, religious Jewish man. And he treats what's what. What is so stark about the two passages is he treats them both identically. Jesus shows this lady the same dignity and respect as anyone else. He jumps that hurdle. And then it's the private life that Jesus is talking about needs. Using water as a metaphor, anyone who would drink the water that I could offer them, they'll never be thirsty again. And she hasn't really got it right. And so Jesus changes the topic and addresses something in her life. Go tell your husband. Go tell your husband. Which she says, well, I don't have a husband. Jesus knew that. But what she said wasn't entirely true. Jesus clarifies that he knew that too. Now, it's not the whole picture. You've had five husbands. The man you're with now currently is not your husband. And yet, here's the key. Jesus doesn't rub it in her face. He commends her honest answer. And then he reveals the full story. There's no doubt this woman would have experienced stigma in her day. And at no point does Jesus embarrass her. Tease her. Mock her. Look down on her. And neither does he condone her situation. But he doesn't treat her unfairly. Instead, the offer to her is the same to you. And I have faith in God from exactly where you are, exactly where you are. I don't know about you, but like, so often I think I'm like, in order to even have faith in God, I'm supposed to be at a certain standard, even when I pray. I'm not honest all the time because I'm. And I pretend like like God. Like I could schmooze him over to think that I'm actually worthy. You know what I'm saying? Do you relate to that at all? But it's it's the gaps in our life that are that show us where we need God. It's personal, it's deep, it's real. But it has to come from those gaps. I've been getting into, becoming cultured in the last couple of years and learning about art history. I'm grown up now, and I can have conversations with other grown ups, too. And so I'm just I just want to impress people that I know stuff about art. That's all it really is. No, but I find it fascinating. I've loved this guy's writing called Russ Ramsey. he tells the most beautiful stories about famous, art, events throughout history. Right. And as I was reading the passage this week, it made me think of one particular story about Van Gogh. van Gogh. here he is. Vincent van Gogh. People would know him mainly for two things. The starry night painting. And let me test the second thing. How else? What's famous about Van Gogh? It's not. He cut his ear off. All right. There you go. It's exactly what I thought. So that's true, except the lead up to the event where he cut his ear off. Lots of people don't know that. And it's pretty, pretty powerful, actually. maybe you be the judge. Anyway. so the reason that came to be. Let me tell you the story. Right? It's a true story. Van Gogh was desperate as an artist to be in community with other people. he was he was a very, passionate guy, I suppose is a good way of saying it. And he was desperate to be in a community of artists and, always wanted to, like, do art and better himself, become the greatest artist he could ever be. Right? never really had it. Never really found that community. his brother was an art dealer. And so through the work that he did, he connected with some other artists, including, Paul Gauguin, who was like someone that Van Gogh looked up to. Right. And so, through that connection with his brother, they actually got to know each other a little bit, and he slipped the invitation and say, would you ever consider coming and living in France with me? Go again? After some deliberation, said I will on a trial period. Right. But we won't know each other. We don't know each other. How are we going to get to know each other? We can't find each other on Facebook yet, so I don't even know what you look like, right? So through their letter exchanges, they said, well, let's paint a self-portrait of ourselves as a way of introduction and mail it in the mail. I like this better than social media. And and then they said, how about we also attach like, like a literary thing, like a, like expression to it so that we can get each other where we're at. Right? And so they did. and so can we have the next slide up. This is Gauguin painted a picture of himself. He painted himself in the image like he presented himself as Jean Valjean from, Les Mis. Which I think is pretty bold. so he's a hero. He's what he's saying, right? And this is what he wrote in the letter. It is the face of an outlaw, ill clad and powerful, like Jean Valjean. That's fun to say. With an inner nobility and gentleness. The faces flush, the eyes accented, and the surrounding colors of a furnace fire. This is to represent the volcanic flames that animate the soul of the artist. The girlish background, with its childlike flowers, is there to attest to our artistic purity. As for this Jean Valjean, whom society has oppressed, cast out, is he not equally the symbol of contemporary Impressionist painters and endowing him with my features? I offer you as well an image of myself, a portrait of all the wretched victims of society. So he writes and says, I'm a hero. I'm representing all the all the outcasts out there and. And that's that's why I do what I do. Van Gogh presented himself in the sort of like nature of a Japanese monk. Right. He was really influenced by Japanese culture. He loved that. You'veseen some of his famous paintings. You can see that. and, so he got his idea from the, you know, the book that became Madame Butterfly, right? The opera, which is about French soldiers stationed off the coast of Japan. He was, you know, sort of like that. He was into that. And this is what he wrote in his letter. If we study Japanese art, we see a man who's undoubtedly wise, philosophic and intelligent, who spends his time doing what he studies a single blade of grass, but the blade of grass leads him to draw every plant. And then the seasons, the wide aspects of the countryside, then animals, then the human figure. Come now. Isn't it almost a true religion which these simple Japanese people teach us, who live in nature as though they themselves were flowers? Now, here's the thing. Like, he's he's like none of these. Neither of the guys were like, what? They said they were right. They weren't. Came from a super broken. He'd just been kicked out by his family. He couldn't make any money. He was a failed stockbroker, and he really just needed a place to live. And he cast himself as his hero. And then, like, sorry, it's troubling history of Van Gogh, but he was he was a troubled man. He was deeply anxious. Deeply. He struggled with self-doubt significantly. And yet they present each other as like, hey, this is this. It sounds like it's going to be a great community. And they did produce some good work, but they could only stick it out for 63 days. They argued bitterly every day. They were so like they had such different views. And so. And it actually ended in one boozy beef up one night when they were drinking in a cafe, discussing where art should come from in the artist's eyes. Right. And it says, the cafe owner said, like Van Gogh threw his absinthe across the room, and then he went up to his apartment. He got a razor to come back, and his intention was to kill Gauguin. He got a few steps away from him and then freaked out when Gauguin turned around and he just ran off and he ran up to his apartment, which is where the next thing he did was cut his ear off. What a tragic tale. What? What a tragic story. And the thing is about that Russ Ramsey, who I mentioned before, who writes about these things, what he says in this particular section is that to truly know someone. To truly know someone is to know their pain, is to know the gaps in their life, to know their area of need. That's how you know someone, not by their aspirational self, but by their actual self, when maybe even no one's looking. And then he points out that when you look at Jesus's ministry, that's in fact how you know anyone that Jesus related to. Think about all the people that Jesus ministered to. That we know them by their deficit. That's how we know them. Blind Bartimaeus. We know that the woman who was bleeding, we know the child who, like, was only sleeping like, you know what I'm saying? Like everyone that Jesus ministered to. It was at the point of need. It was the gaps in their life that actually made Jesus good news for them. And look at what Jesus is saying in this passage, verse 13 and 14. It says, everyone who drinks this water will be thirsty again, but whoever drinks the water I give them will never thirst. Indeed, the water I given will be coming them a spring of water welling up to eternal life. The gaps in your life, in other words, the things you ache for, the things that have hurt you, the things that make you broken, the things that put you at a distance from God do not preclude you from faith in God. In fact, it's the opposite. The prerequisite for faith is thirst. Jesus isn't saying it's bad to want things, or to desire things, or to to be broken or anything like that. He's saying that if you put your faith in those things, though, that if only my job was better, if only I had more money, if only I had if whatever. Your if only statement is that if you put your faith in those things, you will be left wanting. There is nothing big enough to contain the dreams of your heart, the daily lives that you live. There is nothing big enough to contain it other than the one who made you. That's what he's saying. Because he knows he's the only one he can hold us. Our hopes and dreams, our hearts hurts and our fears. He's the only one big enough who can handle that. He's the only one. Therefore, he's the only one who we could really, truly have faith in that can meet us where we're at. Do you see Jesus at the cross and what he's doing? He he goes to the cross for our sin, right? And he pays the penalty. He gets rid of the gap between us and God. The things that cause the hurt, the things that cause the act. He he deals with that. But do you notice what happens that kind of like the climactic moment, the moment where Jesus breathed his last, everything goes black. And then what happened in the temple? The holy place, the place where God resided. The place where he dwelt, the place that was the most special dwelling of him in earth at all, was protected by a thick curtain. And at the moment Jesus died and passed cross that thorn for us. It tore into, because nothing could keep his holiness away from our own holiness. Nothing could keep his love away from us. And so he says, no, it's not. You show me how good you are and then you earn it. I'm coming to you in love so that you can respond to me in faith. It's your thirst for all things is the prerequisite for faith in Jesus. And in doing these things, Jesus validates those aches. He validates the hurts. He validates the gaps in your life and says, yes, it was intended to be different. And one day all those things will be realized in him. If faith is not personal, I don't think it's worth it. So, friends, I ask you in love today. Where are the gaps in your life? These are the spaces where God wants to have wants us to have hope and trust and faith in him. This is what this is the conversation he's having at the well with this woman. And he is the very gift himself that he offers for it to happen. It's good news. So where are the gaps in your life? These are the spaces where our faith comes from, needs to come from, not the bits where you got to work out. Faith in God is a Living Faith The third thing leads from that, and it's that faith in God is a living faith. Once we have faith in God, then what? I'm going to be short here, so don't worry. So it's going along well. Let's look at the woman at the well. Can we read verse 28 to 30? It's like she hears and then she goes. She receives that. She leaves her jar there. People like talk symbolically like that. She's she's given up her mechanism to keep drawing from the physical water because she's received from Jesus. I don't know if that's what is actually going on or not. She just might have forgotten a jar, I don't know, but either way, like, she's gone and she's like, she's acting. She's like and telling people, guys, you'll never believe I just spoke to this. Man. He knew everything. He's. He's got to be the one. He's got to be. She did something. She acted. I love it, I love it how it says at the end. We no longer believe just because of what you said. Now we have heard for ourselves. You see, they're going through the process. We're thinking. We're applying it to ourselves. And now we believe. And so now we are in response. Yeah. There's two ways you need to respond to God in faith. If you believe it's true. Faith. I've been thinking about what faith is and you can sum it up as belief. You can sum it up as just what you think. I don't know, but one thing I think the Bible describes faith as is responding to what you know is true about who God is. Right. Which then helps us identify how we need to have faith in him. What do you know is true about God? Do you know that God is the most generous being in all the universe? Well, then, what does that say about how you use your resources, your finances, your time, your energy, keeping to yourself? Like, how could you if you know what God's like? What about how God welcomes strangers? Well, then who gets to eat at your table? How many times? This is for me too. How many times do people get to sit at your table who don't share the same surname as you? What does it mean to make new friends? Isn't that what God's like? I'm not saying you have to do it that way. But what do you know about God to be true? And then how do you live? What about that? That he will return one day to judge the living and the dead? Okay, so where do you cut corners? What are the small gaps in your life that you can offer to him in faith and trust him in those spaces? The second thing that we can see here is that faith is for ourselves to to live out. But then it's for the benefit of others, too. That's what happened. A whole community of people came to faith in Jesus because one woman responded. In my role, I raised money for churches during the week. That's what I do. and it means I get to go and speak with lots of wonderful people. And I had a meeting not long ago with, with a big, foundation that is not from a Christian or any sort of religious background, and they'd never worked with an organization that was a faith organization. And I didn't know that until we met. And but I just approached it the same way I normally would. and so we just met for coffee and had a really good time, and it was just lovely. It was so, so much fun. And we kind of got carried away and just having a good time having coffee together. That's sort of my life. But, And then she sort of caught herself unnoticed. She caught herself and went, oh yeah, I've got to ask that question. And she, I could tell, like her face dropped a bit and she said it was like she had this important question that she needed to check before we passed the test, you know, and she said, but what do you say about the fact that, churches already have loads of money, that churches are rich? I said, you should see my church. No, I said, that joke worked better this morning. and I said, well, yeah, institutionally, I can see that's true. But the reality is, every church that I know, they're in it because they believe it and nothing else, that they're writing off their own steam. They're pushing as hard as they can with every resource that they've got. And I just had happened to have come from a meeting where I met with someone who was leading a church, and in their congregation, they told me that there's a number of instances, serious instances, and one of them was domestic violence. And so he had actually invited a woman to come live with his family. And that's what had happened. And so I relayed that to this person. I said he's not doing it because he has to. This is out of hours work. He believes this is what to do. This is how to live by faith, because this is the way that God has treated him. And then it looks like that. And she said, I need to figure out how I can tell this to the people at my work, because we need to figure out how to make that more common. And then she indicated that she wanted to just to talk more about how this was real. Do you see? Do you see how it works? Faith that you think through then becomes real for you personally and you live out is compelling. It's beautiful. It's just like the good news that Jesus shared with us. Would you consider what it might look like to be a person of faith in God? And what that would look like for your life? Think it through. Personalize it. Let it get in the gaps and then live it. Concluding Prayer Let me pray. Father God, thank you for your grace. May we live humbly in response to it. Amen.

️ 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.

Annemieke Bosman gaat met Char Li Chung in gesprek over de voorstelling Madame Butterfly. Puccini's opera Madama Butterfly uit 1904 vertelt het verhaal van de 15-jarige Japanse geisha Cio-Cio-San, bijgenaamd Butterfly. Ze wordt verliefd op de Amerikaanse marineofficier Pinkerton, die direct na hun huwelijk terugkeert naar zijn geboorteland. Butterfly blijft verlaten achter in verwachting van hun zoon. Na drie jaar keert haar geliefde terug, maar niet voor de hereniging waar Cio-Cio-San op heeft gewacht.

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.

Cáel's tombstone: For the love of women, women put him here.In 25 parts, edited from the works of FinalStand.Listen and subscribe to the ► Podcast at Connected..

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.