Podcast appearances and mentions of mark wigglesworth

Katherine Wiles has been a full-time member of the Opera Australia Chorus since 2007. An essential and vital ensemble of players who contribute enormously to the world of the narrative being sung on stage. A stimulating position that sees the ensemble represent community in a breadth of operatic repertoire - as nuns, soldiers, townsfolk, mourners, socialites and sisters. But whether it's dressing up or dressing down, the chorus is an exulted position that completes the Opera aesthetic and sound.Katherine delivers an honest, raw, and hilarious insight into the life of an Opera Chorister. …. in a recently penned autobiography detailing a most splendid vocation. NO AUTOGRAPHS PLEASE! - LIFE IN AN OPERA CHORUS. It is filled with backstage antics, onstage disasters, personal anecdotes, and shines a light on a section of the opera industry people know very little about. New Zealand-born Katherine lives in Sydney, after being based in the UK where she studied with Patricia Hay. She holds an F.T.C.L. Voice from Trinity College, London, England, a Masters in Opera from Royal Scottish Academy of Music and Drama in Glasgow, Scotland and a Bachelor of Music (Honours) from Auckland University, New Zealand. From 1996-1999 Katherine was a Young Artist and Chorus Member of New Zealand Opera. In 2016/2017 Katherine performed the roles of Lady Boxington/Ensemble in the Opera Australia/John Frost 60th Anniversary Production of My Fair Lady directed by Dame Julie Andrews, touring Australia. In 2015 Katherine continued performing with Opera Australia as Papagena (The Magic Flute), Kate Pinkerton (Madama Butterfly) in the Melbourne season, and Handmaiden (Turandot). During 2014 Katherine's performances with Opera Australia included Papagena in The Magic Flute and Giannetta in The Elixir of Love. In 2013 Katherine performed the role of Cupid in Orpheus in the Underworld and Donna Elvira in Don Giovanni on tour for OzOpera in Victoria, South Australia, Queensland, Northern Territory, Western Australia and New South Wales, as well as covering Oscar (Un ballo in maschera), Eurydice (Orpheus in the Underworld) and Ortlinde (Die Walküre) for Opera Australia's Ring Cycle. In 2012 Katherine performed Valencienne (The Merry Widow), Papagena (The Magic Flute) and Handmaiden Two (Turandot) for Opera Australia and Donna Elvira (Don Giovanni) for OzOpera on tour in New South Wales, South Australia and Victoria. Other recent performances include the roles of a Musician (Manon Lescaut), Mrs. Nordstrom (A Little Night Music) and First Bridesmaid (The Marriage of Figaro) for Opera Australia; Adina (L'elisir d'amore) for State Opera of South Australia; Serenade to Music with the Sydney Symphony conducted by Mark Wigglesworth; High Tea concerts at the Sydney Opera House; a series of concerts with Opus Orchestra on tour in New Zealand; Messiah for Sydney Philharmonia Choirs at Sydney Opera House as well as for Auckland Choral Society and Christchurch City Choir in New Zealand and the New Zealand Premiere of Bach St. Luke Passion for Bach Musica. She also covered the role of Betty in Bliss for Opera Australia at the Edinburgh Festival and was a guest soloist on board the Royal Yacht Britannia for an Opera Australia/Edinburgh Festival Event. Other operatic roles include Giannetta/Adina cover The Elixir of Love (NZO/NZ International Arts Festival); Adina The Elixir of Love (Grange Park Opera/Pimlico Opera UK Tour); Susanna Le Nozze di Figaro (London Opera Players, UK); Despina Cosi fan tutte, Rosina Il barbiere di Siviglia, Elvira Italian Girl in Algiers, Barbarina/Susanna cover Le Nozze di Figaro (NZO); Rosina The Barber of Seville (Swansea City Opera, UK); Adele Die Fledermaus (Sevenoaks Philharmonic, UK); Olympia Les Contes D'Hoffmann (Guildford Opera, UK).

I'm delighted to be welcoming on this podcast Guy Johnston. Guy is one of Britain's leading cellists who was the winner of the BBC's Young Musician of the Year back in 2000 which set him on a glittering international career as a soloist, chamber musician, orchestral player and teacher. This podcast was recorded after Guy had given two performances of Elgar's Cello Concerto at very short notice with the Bournemouth Symphony Orchestra, having come for a short trip from the States to England. And we managed to cover a number of different topics over the short time we had including: performing last-minute concerts, being a musical parent, growing up in a musical household, training in the States, Guy's new YouTube series Creative Cello Chats, playing on a Stradivarius and interpreting Bach, which Guy has been a real exponent of. Interview recorded 27 January 2023; podcast published 18 February 2023. Edited Joe Eftihiou at Clarion; additional edits Annabelle Lee. Guy's bio: https://guy-johnston.com/biography Creative Cello Chats: https://www.youtube.com/watch?v=6ziGbwPHIR4 / https://www.youtube.com/watch?v=p8KqYRfsnIA Live stream of Guy's performance of the Elgar Cello Concerto with the Bournemouth Symphony Orchestra conducted by Mark Wigglesworth (available till 24 February): https://bsolive.com/book-online/106202 --- Send in a voice message: https://podcasters.spotify.com/pod/show/talking-classical-podcast/message

Mark was in Manchester conducting the BBC Young Musician of the Year and both Robert and Mark found time to sit down and talk all things conducting! Psychology, personality, self development, connection and the never ending search for balance!

NCH's Robert Read, audience data specialist, Katy Raines, conductor Mark Wigglesworth and Yale School of Music's Astrid Baumgardner on what's happening to audiences in the “post” COVID world.

Si en 17 minutos pudiera mostrarte cómo mejorar la velocidad (y calidad) de tu articulación en los próximos 30 días o menos... ¿te interesaría saber cómo? Entonces Regístrate aquí y Accede Ahora a esta Clase Gratuita para descubrir cómo mejorar tu articulación Hoy tenemos como invitada a Beatriz López, Clarinete Solista de la Real Filharmonía de Galicia. Tras estudiar el Superior en el Conservatorio de Valencia con José Vicente Herrera, Bea decidió seguir formándose en la Universidad Mozarteum de Salzburgo con el profesor Alois Brandhofer, antiguo clarinete solista de la Filarmónica de Berlín, y Cornelia Höfer-Teusch en música de cámara. Ha realizado también cursos y Master Class con R. Wieser, K. Thunemann, R. Vlatkovic, J. Zoon, H. Schellenberger, entre otros. Ha ganado varios concursos en la especialidad de clarinete y música de cámara en España, Italia y Austria y en el año 2004 fundó el Pamina Trío, con el que realizó varias giras por Europa y Japón. Dos años después hicieron su primera grabación con el sello discográfico La má de Guido. Bea ha colaborado con otras orquestas como Mozarteum Orchester Salzburg, Orquesta de Valencia, Orquesta de la RTVE, Oviedo Filarmonía y Sinfónica de Galicia, bajo la batuta de directores como Ivor Bolton, Mark Wigglesworth, Dennis Runnicles o Hans Graf. En la actualidad, compagina su trabajo en la Orquesta con la docencia en la Escuela de Altos Estudios Musicales de Galicia y es miembro del Airas Ensemble. En este episodio hablaremos de: Cómo se inició con el clarinete y el momento en el que decidió que quería tocar en una Orquesta De sus profesores principales y de su experiencia viviendo en Austria y estudiando en el Mozarteum en Salzburgo De sus clarinetes, los Reform Boehm y en qué se diferencian del sistema francés y alemán De grupos de cámara, giras y concursos De pruebas a orquesta, de la importancia de preparar todas las rondas por igual y de su periodo de trial en la Real Filharmonía de Galicia La importancia de estudiar con metrónomo en los movimientos lentos y por qué si no tienes en cuenta esto el tribunal lo notará Por qué es necesario estudiar con cañas malas de vez en cuando y practicar en frío para tener una mejor preparación Hablaremos de la relación entre el deporte de competición y la actividad musical a nivel profesional De preparación física y mental, yoga y de lesiones en los músicos De actualidad en el panorama musical y muchas cosas más... Y ahora déjame preguntarte algo: Si en 17 minutos pudiera mostrarte cómo mejorar la velocidad (y calidad) de tu articulación en los próximos 30 días o menos... ¿te interesaría saber cómo? Entonces Regístrate aquí y Accede Ahora a esta Clase Gratuita para descubrir cómo mejorar tu articulación

Devin speaks with award winning, internationally renowned, and in-demand conductor of symphonic and operatic repertoire, and writer Mark Wigglesworth. Mark’s conducting skills and passions take him equally formidably from the music of Mozart all the way to the present day.  Maestro Wigglesworth has some incredible recordings featuring all fifteen Shostakovich Symphonies, Mahler’s Sixth Symphonies, Britten’s opera Peter Grimes, and many more. Mark has recently released an incredible book titled the Silent Musician: Why Conducting Matters. This is of interest to conductors, beginning or seasoned, musicians, music lovers, and leaders in any field who want to be more connected to their ensembles and more influential.During the show, Mark speaks about the influence and art of gesture, and the road to discovering you own. He discusses the history of how to decide on tempo, or speed at which music is played, and how it’s all about the character of the music. Mark covers why silence matters, and the effects of COVID on how rehearsals and performances are executed. Thank you to all the incredible record labels and performers who made this episode possible. All selections were conducted by our guest, Mark Wigglesworth. The excerpts from the 5th and 10th Symphonies of Dmitri Shostakovich were performed by the BBC National Orchestra of Whales on the BIS Records label.  The Piano Concertos of Johannes Brahms were performed by pianist Stephen Hough and the Mozarteumorchester Salzburg.  The 13th Symphony Excerpt of Dmitri Shostakovich features bass soloist Jan-Hendrick Rootering and the Netherlands Radio Philharmonic OrchestraYou can find Mark’s book, The Silent Musician: Why Conducting Matters, published by University of Chicago Press wherever you buy books!Thank you for joining us. you can always find more info at OneSymphony.org. You can find Mark at MarkWigglesworth.com. Please feel free to rate review or share the show! Until next time, thank you for being part of the music!

Mark Wigglesworth is a conductor who thinks hard about what he does, either as a conductor or as a writer. We discussed the subject of agents and managers, whether early teachers had a positive or negative influence and what orchestral musicians "expect" of conductors!

British conductor Mark Wigglesworth speaks about Brexit, the challenges of a career in the music industry, and the qualities that make a good leader.

I disse fire podcastene får du blant annet høre hva operasjef og regissør Annilese Miskimmon og dirigent Mark Wigglesworth tenker om Benjamin Brittens opera, og hvordan verkstedene har jobbet med ubåten på scenen.

I disse fire podcastene får du blant annet høre hva operasjef og regissør Annilese Miskimmon og dirigent Mark Wigglesworth tenker om Benjamin Brittens opera, og hvordan verkstedene har jobbet med ubåten på scenen.

I disse fire podcastene får du blant annet høre hva operasjef og regissør Annilese Miskimmon og dirigent Mark Wigglesworth tenker om Benjamin Brittens opera, og hvordan verkstedene har jobbet med ubåten på scenen.

I disse fire podcastene får du blant annet høre hva operasjef og regissør Annilese Miskimmon og dirigent Mark Wigglesworth tenker om Benjamin Brittens opera, og hvordan verkstedene har jobbet med ubåten på scenen.

So, what comes next for the Minnesota Orchestra in the wake of the contract agreement that ended the bitter 15-month lockout and returns the musicians to Orchestra Hall in Minneapolis on Feb. 7? Short answer: a considerable amount of work. Settling the lockout is only the first mountain in a series of precarious peaks that the Minnesota Orchestra has to climb on its way to a healthy future, says Graydon Royce, classical music critic of the Minneapolis Star-Tribune. “Somehow the social fabric between the management and musicians has to be repaired and that’s a big, big question here of whether that can happen,” Royce tells Naomi Lewin. “There are still people who write letters to the editor who say, 'We'll come and see the players because I like the players but I’m not donating to the orchestra anymore,’” added Royce, who has chronicled the labor dispute since it began in October 2012. Relations between players, management, donors and audiences are such that “you have an orchestra that is still mad at itself.” At the heart of the lockout was a dispute over the size of pay cuts aimed at reversing a multi-million-dollar deficit that had peaked at $6 million in 2012. After musicians refused to accept pay cuts of up to 40 percent, and the two sides failed to agree on on new contract terms, management locked the musicians out on Oct. 1, 2012. The new contract cuts base pay by 15 percent. Minnesota announced its 2014 season on Friday, one that includes 39 classical concerts, plus educational and family programming. A series of guest conductors are to take the podium including Yan Pascal Tortelier, Mark Wigglesworth and Eric Whitacre. Osmo Vänska, who resigned as music director in October, will return to conduct an all-Sibelius program in March, followed by a single performance with soloist Joshua Bell in April. Despite the new season plans, the lockout has taken an enormous toll, said Royce. Not only did the orchestra lose millions in ticket income with more than a season cancelled, but each musician lost over a year's salary. Whether Vänska will return full-time is a long shot. “There are certainly board members who feel that Vänska was not a perfect soldier – that he should not have made a public ruckus that he would quit if there was not a deal by October 1,” said Royce. "At the same time, I think that he felt really personally hurt by that, and felt he was a put in that position where he felt he had to stand up and say something.” It could take a long time to woo back alienated audiences and donors; other orchestras that have lived through debilitating strikes have found that recovery can be frustratingly slow. Yet there is a model to be found: in the Detroit Symphony. Three years after its six-month strike, it has been on a roll, performing at Carnegie Hall last season, streaming its concerts online, and balancing its budget for the first time in six years. Last week, the musicians ratified a three-year contract. "I think Detroit is actually really instructive,” said Royce. “They got out into the communities and did a lot of concerts basically intended to repair the personal capital."

A guide to Wagner's opera Parsifal featuring the voices of Wagner expert Nicholas Baragwaneth, conductor Mark Wigglesworth and singers Stuart Skelton and John Tomlinson