Podcasts about massenet

durée : 01:29:04 - Relax ! du vendredi 09 mai 2025 - par : Aude Giger - L'humeur du jour nous mènera du début du 18ème de Lotti, Caladara et Vivaldi au 20ème d'Honneger et Dutilleux en passant par le 19ème de Massenet et Schumann...

durée : 01:29:04 - Relax ! du vendredi 09 mai 2025 - par : Aude Giger - L'humeur du jour nous mènera du début du 18ème de Lotti, Caladara et Vivaldi au 20ème d'Honneger et Dutilleux en passant par le 19ème de Massenet et Schumann...

Krazy Kat by Carpenter, the Rhapsody! by Rachmanioff, Le Cid Dances by Massenet, 1812 Overture by Tchaikovsky Saturday, April 26, 2025, VISD Fine Arts Center 7:30 pm

durée : 00:28:04 - Facettes françaises I (1/4) - par : Christian Merlin - Notre série sur la symphonie française a négligé quantité d'œuvres orchestrales qui échappent au moule de la symphonie : revoici donc Saint-Saëns, Franck, Chausson, Roussel, rejoints par Fauré, Chabrier, Florent Schmitt, Paul Ladmirault, sans oublier Augusta Holmès, Rita Strohl ou Lili Boulanger. - réalisé par : Adrien Roch

De Paris à Rome, des salons aristocratiques à l'opéra, retour sur la jeunesse du compositeur Jules Massenet, considéré comme l'héritier de Charles Gounod. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Jules Massenet (1842-1912) – Suite per orchestra n. 1 op. 131.       Pastorale et fugue 0:002.       Variations 5:453.       Nocturne 10:554.       Marche et strette 16:40New Zealand Symphony Orchestra Jean-Yves Ossonce, conductor

Comment trouver sa voie ? Comment être fidèle à soi ?Le parcours exceptionnel de Marina Viotti, même s'il peut sembler loin des questionnements du commun des mortels, est en réalité une inspiration pour chacun d'entre nous. Marina chante dans Werther de Massenet au Théatre des Champs Élysées du 22 mars au 6 avril : https://www.theatrechampselysees.fr/saison-2024-2025/opera-mis-en-scene/werther-2 Le livre de Marina : https://www.fnac.com/a18268057/Gabrielle-Halpern-Et-si-le-monde-etait-un-opera Mon site : https://www.fabricemidal.comFacebook Fabrice Midal : https://www.facebook.com/FabriceMidalFacebook du podcast Dialogues : https://www.facebook.com/dialogues.fmInstagram Fabrice Midal : https://www.instagram.com/fabricemidalInstagram du podcast Dialogues : https://www.instagram.com/fabricemidal_dialogues/Tiktok : https://www.tiktok.com/@fabricemidal´ Reso, mon école de méditation :https://www.reso.cohttps://www.facebook.com/reso.meditationhttps://www.instagram.com/reso_meditation Mots clé : Et si l'opéra était un reflet du monde plus fidèle qu'il n'y paraît?? Qu'est-ce que l'opéra a à nous dire de notre société, de nos failles, de nos angoisses, de nos désirs, de nos lâchetés et de nos grandeurs?? N'est-il pas une invitation à transgresser les frontières, les rôles et les idées reçues?? Art jugé élitiste par beaucoup, il est bien plus ancré dans la réalité qu'on ne le croit, et même visionnaire dans les questions qu'il nous pose sur notre rapport aux autres, au courage, à la liberté et à soi, comme l'expliquent la philosophe Gabrielle Halpern et la mezzo-soprano Marina Viotti. Cette conversation entre deux jeunes femmes bouillonnantes d'énergie, d'inventivité et de générosité nous permet de mieux comprendre le monde et la manière dont chacun d'entre nous pourrait le transformer.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:04:54 - Classic & Co - par : Anna Sigalevitch - "Werther" de Jules Massenet par Chrisof Loy et Marc Leroy-Calatayud et dans le rôle titre Benjamin Bernheim, c'est à partir de ce soir et jusqu'au 6 avril au Théâtre des Champs Elysées.

As a follow-up to my Mezzos on the Verge series, which seemed to resonate with so many of you, today I present the first in a new ongoing series, Over-the-Top Sopranos. As I first began exploring this repertoire, my first thoughts were focused on Italian repertoire. But then I gave myself the challenge of focusing on the French style instead, thinking that I would not have as easy a time of it. Was I ever wrong! There is such a profusion French (and non-French) singers going to the brink with life or death performances of French music that thrills one to the core. Naturally I focus on familiar composers of both French grand opera (Meyerbeer, Halévy, Gounod) and opéra-comique (Massenet, Bizet) but, as always with Countermelody, there are repertoire surprises along the way, including operas by Ernest Reyer and Sylvio Lazzari. And the wealth of sopranos heard here boggles the mind: again ranging from favorites such as Ninon Vallin, Rosa Ponselle, Mariella Devia, Germaine Lubin, Elisabeth Rethberg, and Carol Neblett, to such lesser-known lights as Andrée Esposito, Françoise Pollet, Madeleine Sibille, Mattiwilda Dobbs, Charlotte Tirard, and Margarete Teschemacher, alongside many others. This is the kind of episode I absolutely love to produce, one rich in both discoveries and old favorites, performed by old and new favorites. Goûtez-vous-en! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

A cura di Paolo PellegriniJules Massenet, WertherWerther, Alain Vanzo            Charlotte, Francine Arrauzau                      Sophie, Danièle Chlostowa              Albert, Albert Bisson             Le Bailli, Jean-Louis Soumagnas                  Schmidt, Jacques Coreau                 Yohann, Fernand Dumont                Bruhlmann, Georges Scamps            Kathchen, Denise Braucker              Orchestra dell'Opera di ParigiPierre Dervaux, direttore

Jaume Segalés y su equipo hablan de expresiones, de The Silence of Sound y de la lección de política de Colmenar Viejo. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: 'The Silence of Sound' Una propuesta muy especial en la que confluyen música, humor, circo, luz y color. 'The Silence of Sound' (El Silencio del Sonido) expone la historia de la vida contada como un sueño. Un sorprendente y original proyecto multidisciplinar en el que la prestigiosa directora mejicana Alondra de la Parra, la Orquesta y Coro de la Comunidad de Madrid y la artista circense, también mejicana, Gabriela Muñoz, conocida como Chula The Clown, nos ofrecen tres conciertos escenificados. Un montaje de Teatro musical con un fascinante despliegue visual y sonoro que nos brinda una profunda reflexión sobre la naturaleza humana. Los conciertos van a tener lugar este fin de semana (28 de febrero y 1 y 2 de marzo) en la Sala Roja de los Teatros del Canal (c/ Cea Bermúdez, 1) , dentro del programa Canal Hispanidad, con una puesta en escena que surge del deseo de mostrar los diferentes rostros y emociones de la música y de la vida, a través de piezas de grandes compositores como Debussy, Bartók, Rimsky-Kósakov, von Weber, Massenet, Sibelius, Prokofiev y Brahms, entre otros. Entrevistamos a la directora de orquesta y co-creadora del espectáculo, Alondra de le Parra. Colmenar Viejo da una lección de política Por segundo año consecutivo, este municipio madrileño ha conseguido aprobar por mayoría los presupuestos contando con los votos a favor de los grupos que forman el gobierno, PP y Vox, pero también con los votos del Psoe, actualmente en la oposición. No es la primera vez que ocurre, ya que es algo que posibilita el buen entenidmiento entre las diferentes formaciones que, en este caso, buscan de forma conjunta el bien de los ciudadanos y del municipio por encima de la tristemente habitual contienda partidista. Entrevistamos al concejal de Hacienda y Presupuestos, Alfredo Martín. Sección lingüística "Dicho Queda" Carlota Izquierdo explica la expresión "salvado por la campana".

durée : 00:12:55 - Le Disque classique du jour du mercredi 12 février 2025 - Pour son premier récital, la soprano Vannina Santoni rend hommage à l'amour : de Franco Alfano à Massenet en passant par Gounod, Verdi et Puccini, elle interprète de grands airs qui lui sont chers avec l'Orchestre national de Lille et le chef Jean-Marie Zeitouni

durée : 00:12:55 - Le Disque classique du jour du mercredi 12 février 2025 - Pour son premier récital, la soprano Vannina Santoni rend hommage à l'amour : de Franco Alfano à Massenet en passant par Gounod, Verdi et Puccini, elle interprète de grands airs qui lui sont chers avec l'Orchestre national de Lille et le chef Jean-Marie Zeitouni

Pour sa première émission, Ariane Massenet s'est confrontée à Isabelle Mergault, toujours présente pour accueillir les petits nouveaux... Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL.

À la fin de chaque émission, retrouvez en exclusivité sur les plateformes de podcast le débrief des 2h30 d'antenne qui viennent de s'écouler, en compagnie d'une des Grosses Têtes du jour... Ce 22 janvier 2025, Ariane Massenet s'est confiée au micro de Rachel Azria. Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL.

durée : 01:27:30 - En pistes ! du jeudi 16 janvier 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Des Concertos pour piano ou pour violon de Mozart par de jeunes musiciens ce matin ! Mais aussi Grisélidis, un opéra peu connu de Massenet, ou des sonates de Prokofiev par le pianiste Sergei Redkin

durée : 01:27:30 - En pistes ! du jeudi 16 janvier 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Des Concertos pour piano ou pour violon de Mozart par de jeunes musiciens ce matin ! Mais aussi Grisélidis, un opéra peu connu de Massenet, ou des sonates de Prokofiev par le pianiste Sergei Redkin

Très bonne année à toutes et à tous ! Pour commencer cette nouvelle année, je suis avec Aliénor Massenet, créatrice de parfums chez Symrise, une entreprise dont les clients sont les grandes marques du luxe. Depuis ses débuts, Aliénor a créé plus de 230 parfums, entre autres pour Lancôme, Rabanne, Chloé, Rochas, Karl Lagerfeld, Chopard ou Giorgio Armani. « Cosmétique » a la même racine grecque que le terme « cosmos ». Elle s'oppose au chaos et signifie à la fois « l'ordre » et « l'ornement ». La cosmétique du parfum, c'est cet effort humain pour transformer le chaos des odeurs de la vie quotidienne, en cosmos, c'est-à-dire en un ordre harmonieux pour littéralement, sentir bon et se sentir bien. Pour Aliénor, la création d'un parfum commence par une intuition, puis se poursuit par la quête d'une architecture pour composer et agencer ces essences odorantes qui se trouvent à la fois dans son laboratoire et dans sa mémoire. Avec le parfum, la peau devient le lieu d'une recherche d'harmonie. S'agit-il avant tout de recouvrir des odeurs nauséabondes, comme en atteste l'histoire du parfum dans les siècles passés, ou bien de souligner l'élégance de la personne qui porte le parfum ? S'agit-il de maquiller une laideur ou de surligner une présence ? Le parfum incarne toujours cette tension. Qu'est-ce qu'un nez ? C'est la question de la semaine.

Avec une nouvelle direction, les Pirates tchèques se veulent plus libéraux et centristes que jamais - Soirée française au Rudolfinum, avec Massenet, Bizet et Duparc pour un programme inédit - « Mes étudiants à Dijon sont curieux, car l'Europe centrale est négligée dans les cours d'histoire en France »

Avec une nouvelle direction, les Pirates tchèques se veulent plus libéraux et centristes que jamais - Soirée française au Rudolfinum, avec Massenet, Bizet et Duparc pour un programme inédit - « Mes étudiants à Dijon sont curieux, car l'Europe centrale est négligée dans les cours d'histoire en France »

Today I talked to Julia Caterina Hartley about Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France (Bloomsbury. 2023). New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments.  This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject. Julia Hartley is a Lecturer in Comparative Literature at the University of Glasgow. She was previously Laming Fellow at the Queen's College Oxford and Edward W. Said Visiting Fellow at Columbia University. She is the author of Reading Dante and Proust by Analogy (2019) and peer-reviewed articles in Iranian Studies and Nineteenth-Century French Studies. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I talked to Julia Caterina Hartley about Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France (Bloomsbury. 2023). New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments.  This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject. Julia Hartley is a Lecturer in Comparative Literature at the University of Glasgow. She was previously Laming Fellow at the Queen's College Oxford and Edward W. Said Visiting Fellow at Columbia University. She is the author of Reading Dante and Proust by Analogy (2019) and peer-reviewed articles in Iranian Studies and Nineteenth-Century French Studies. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Today I talked to Julia Caterina Hartley about Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France (Bloomsbury. 2023). New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments.  This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject. Julia Hartley is a Lecturer in Comparative Literature at the University of Glasgow. She was previously Laming Fellow at the Queen's College Oxford and Edward W. Said Visiting Fellow at Columbia University. She is the author of Reading Dante and Proust by Analogy (2019) and peer-reviewed articles in Iranian Studies and Nineteenth-Century French Studies. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Today I talked to Julia Caterina Hartley about Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France (Bloomsbury. 2023). New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments.  This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject. Julia Hartley is a Lecturer in Comparative Literature at the University of Glasgow. She was previously Laming Fellow at the Queen's College Oxford and Edward W. Said Visiting Fellow at Columbia University. She is the author of Reading Dante and Proust by Analogy (2019) and peer-reviewed articles in Iranian Studies and Nineteenth-Century French Studies. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Today I talked to Julia Caterina Hartley about Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France (Bloomsbury. 2023). New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments.  This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject. Julia Hartley is a Lecturer in Comparative Literature at the University of Glasgow. She was previously Laming Fellow at the Queen's College Oxford and Edward W. Said Visiting Fellow at Columbia University. She is the author of Reading Dante and Proust by Analogy (2019) and peer-reviewed articles in Iranian Studies and Nineteenth-Century French Studies. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Today I talked to Julia Caterina Hartley about Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France (Bloomsbury. 2023). New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments.  This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject. Julia Hartley is a Lecturer in Comparative Literature at the University of Glasgow. She was previously Laming Fellow at the Queen's College Oxford and Edward W. Said Visiting Fellow at Columbia University. She is the author of Reading Dante and Proust by Analogy (2019) and peer-reviewed articles in Iranian Studies and Nineteenth-Century French Studies. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Today I talked to Julia Caterina Hartley about Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France (Bloomsbury. 2023). New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments.  This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject. Julia Hartley is a Lecturer in Comparative Literature at the University of Glasgow. She was previously Laming Fellow at the Queen's College Oxford and Edward W. Said Visiting Fellow at Columbia University. She is the author of Reading Dante and Proust by Analogy (2019) and peer-reviewed articles in Iranian Studies and Nineteenth-Century French Studies. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Sie wurde in Paris geboren, ist 33 Jahre alt und spielt seit ihrem vierten Lebensjahr Klavier. Die französische Pianistin Eloïse Bella Kohn interessiert sich für Tanz und Literatur, spricht fließend Deutsch, hat neben Englisch Altgriechisch, Latein und Russisch gelernt und arbeitet fleißig an ihrem Hebräisch, sie scheint also ähnlich sprachbegabt wie musikbegeistert zu sein. Bachs "Kunst der Fuge" und Debussys "Préludes" hat sie in hoch gelobten Aufnahmen beim Label hänssler classic vorgelegt, und dort ist Ende August unter dem Titel "Parisienne" auch ihr jüngstes Album erschienen, mit einem sehr populären Werk, nämlich dem G-Dur- Klavierkonzert von Ravel, und einem nahezu unbekannten von Jules Massenet. Mit von der Partie: das Rundfunk-Sinfonieorchester Berlin unter Christoph Koncz. Oswald Beaujean hat es gehört.

durée : 01:29:18 - En pistes ! du mardi 17 septembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Aujourd'hui, au programme d'En pistes, les pièces pour piano de Beethoven, Liszt, Mendelssohn et Fauré, entre les mains des pianistes Lang Lang, Théo Foucheneret et du trio Joshua Bell, Steven Isserlis, Jeremy Denk. Puis, un peu d'opéra avec Massenet, l'occasion de retrouver Roberto Alagna.

durée : 01:29:18 - En pistes ! du mardi 17 septembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Aujourd'hui, au programme d'En pistes, les pièces pour piano de Beethoven, Liszt, Mendelssohn et Fauré, entre les mains des pianistes Lang Lang, Théo Foucheneret et du trio Joshua Bell, Steven Isserlis, Jeremy Denk. Puis, un peu d'opéra avec Massenet, l'occasion de retrouver Roberto Alagna.

durée : 00:13:14 - Le Disque classique du jour du vendredi 13 septembre 2024 - Premier album de Aigul Akhmetshina, la jeune mezzo fougueuse qui prend d'assaut le monde de l'opéra. Elle interprète des airs célèbres de Carmen, de Werther de Massenet, de La Cenerentola et du Barbier de Séville.

durée : 00:13:14 - Le Disque classique du jour du vendredi 13 septembre 2024 - Premier album de Aigul Akhmetshina, la jeune mezzo fougueuse qui prend d'assaut le monde de l'opéra. Elle interprète des airs célèbres de Carmen, de Werther de Massenet, de La Cenerentola et du Barbier de Séville.

Today I revisit the life, career, and sumptuous voice of the great Polish soprano Teresa Żylis-Gara, who died three years ago on 28 August 2021 at the age of 91. The soprano was for the most part shockingly under-recorded, so I have scoured the internet for examples of her live in performance, and unearthed examples of her singing Wagner, Massenet, Puccini, Verdi, Strauss, Giordano, Mozart, and Berlioz with some divine tenorial counterparts including Franco Bonisolli, José Carreras, Luciano Pavarotti, John Alexander, Alfredo Kraus, Wiesław Ochman, Peter Lindroos, and Piero Visconti. I know I am not the only one who revels in the rich velvety timbre of Mme. Żylis-Gara, and each of the tenors heard alongside her presents her versatile voice in a different facet of its beauty. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

durée : 00:13:26 - Disques de légende du mardi 10 septembre 2024 - Pour ce nouvel opus des Disques de légende, une version de 1931 de "Werther" de Jules Massenet, par le chef d'orchestre Elie Cohen et l'Orchestre de l'Opéra-Comique de Paris, avec Georges Thill dans le rôle-titre.

Charlotte: Rita Gorr Sophie: Anne Elgar Werther: Nicolai Gedda Albert: Theodor Uppman Schmidt: Charles May Johann: Daniel Ferro Conductor: Robert Lawrence Friends of French Opera, Carnegie Hall 14 November 1965 In-house recording

“You can travel anywhere in the world with a fantastic fragrance,” says John Molloy, who co-founded Memo Paris in 2007 with his wife, Clara Molloy. The duo has since captured over 92 unique global destinations into a range of irresistible scents. They've pioneered leather fragrances, creating 15 unique scents that capture the richness and complexity of this classic note. All in all, their brand is about helping you find your place of grace, creating a world of beauty that treats the journey as the destination.In this episode, John sits down with Benny Campa, who runs product design at Scentbird. They take you on a tour around the world: Kenya, India, Texas, Costa Rica, and Portugal, and explore each of the scents inspired by these places. John shares stories from his travels, how scent can deepen your memories throughout life, and ways to “give your nose a chance” as you explore various perfumes.Highlights:• Traveling to 100+ countries and living in Geneva• Finding your place of grace• Introducing Clara Molloy, Memo's Creative Director• Travel to Kenya with African Leather• Working with Aliénor Massenet, the brand's nose• Love leather? Memo has 15 leather scents for you to choose from• The magic behind Memo's signature illustrations• Travel to India with Madurai• What's the best way to wear fragrance?• Travel to Texas with Marfa• Bottling the smell of cactus• Travel to Costa Rica with Tamarindo• A peek into Memo's creative process• Travel to Portugal with Sintra• A blend of musk, vanilla, and gourmand• How to treat good perfume like a stylist• What makes Irish and French leather so specialFeatured Fragrances:African Leather by Memo ParisMadurai by Memo ParisMarfa by Memo ParisTamarindo by Memo ParisSintra by Memo ParisExplore the Memo Paris collection at https://www.scentbird.com/brand/memo-paris.Soak in all of our audio and video content at https://podcast.scentbird.com.

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Ayako Ohtake, a Sydney-based Japanese soprano singer, hosts monthly music segment called VIVA! Opera for SBS Japanese. - 明日開会式のパリ五輪にちなみ、フランスオペラから紹介する一曲。マスネの代表作「マノン」より、騎士デグリューの歌うロマンチックなアリアをお届けします。甘いメロディとフランス語の響きが溶け合う世界をお楽しみください。

The history of classical music is littered with the stories of great composers who tragically died young. The composer I've been talking about for the last two episodes, Franz Schubert, died at 31. Mozart died at 36, Mendelssohn at 38, Bizet at 37, Gershwin at 38, Gideon Klein at 25, Purcell at 36. The composer I will tell you about today is part of this sad list. Lili Boulanger, one of the most talented and promising composers of her era, died at the age of just 24, and her entire life since the age of 2 was marked by illness and poor health. In her short life she wrote around 24 works, many of which show extraordinary prowess for such a young composer. Boulanger was the first woman to win the famous Prix de Rome, a French composition prize won by past luminairies such as Berlioz, Gounod, Debussy, Faure, Massenet, and many other greats of French composition. It was also won by Boulanger's father, a story we'll get to as we go through Boulanger's life. Her music was marked by the influences of impressionism, but also by the influence of her perhaps more well known sister, Nadia, who became a legendary composition teacher throughout the 20th century. Today I'll take you through some of the key moments in Boulanger's life, and we'll also take a look at 3 of her pieces: Les Sirenes, Faust Et Helene, the piece that won Boulanger the Prix de Rome, written when she was just 18, and we'll finish with an orchestral piece that might be the most frequent way you might encounter Boulanger's music in the concert hall these days entiled D'un Matin de Printemps. Boulanger, despite her short life, is one of hte most fascinating and underrated musical figures in classical music history, so if you aren't already familiar with her music, I can't wait to introduce you to her this week. Join us! A big thank you to Thomas Goss for his research on Lili Boulanger - his fantastic article on her is available here: https://orchestrationonline.com/lili-boulanger-in-her-own-right/ Performances: Les Sirenes: Chorus: Philharmonia Chor Stuttgart with Helene Schneiderman, mezzo-soprano and Émile Naoumoff, piano Faust Et Helene: Ann Murray (mezzo-soprano), Bonaventura Bottone (tenor), Jason Howard (baritone), BBC Philharmonic, Yan Pascal Tortelier, Conductor D'un Matin de Printemps: BBC Philharmonic, Yan Pascal Tortelier, Conductor

A cura di Paolo PellegriniJules Massenet – ManonManon – Beverly SillsLe Chevalier De Grieux, Henry PriceLescaut, Richard FredricksLe Comte de Grieux, Samuel RemeyGuillot de Morfontaine, Nico CastelNY City Opera OrchestraJulius Rudel, direttore

durée : 00:17:02 - Disques de légende du jeudi 16 mai 2024 - Cette soirée captée au Met à New York le 28 octobre 1959, dirigé par ce chef oublié, Jean Morel, fut absolument exceptionnelle.

durée : 00:59:04 - Une heure, un compositeur : Jules Massenet - par : Aurélie Moreau - Jules Massenet compte parmi les compositeurs lyriques les plus joués. Auteur de 25 opéras, d'ouvrages sacrés, de musique de scène, etc., il demeure cependant relativement méconnu du grand public. Son caractère naturellement réservé est probablement à l'origine de cette situation...

durée : 00:58:46 - Michael Spyres, souplesse vocale et virtuosité - par : Aurélie Moreau - Michael Spyres est le soliste de l'album « In the shadows », dédié à Wagner et aux compositeurs qui ont participé à l'éclosion du modèle vocal du ténor wagnérien (Erato). En plus de ce disque, aujourd'hui : des airs de Mozart, Massenet, Offenbach…

Con María Fernández Dobao | En los siglos XIX y XX fueron muchos los compositores extranjeros que se sintieron fascinados por España y su música. Algunos de ellos encontraron fuente de inspiración concretamente en Andalucía y a esas obras dedicamos el programa de hoy de Clásicos con Ñ. Satie, Sebussy, Ravel, Pessard, Pauline Viardot, Massenet, Lecuona y Gottschalk son los compositores que puedes disfrutar en este programa de Clásica con Ñ.

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This is an episode I have been planning for years now! This past August 15, the great French baritone Robert Massard turned 98 years old. As many of my listeners know, I have a thing for baritones in general, and I have devoted episodes to artists of the baritone persuasion from world-renowned to virtually unknown to somewhere in-between. Just think of it: Gérard Souzay, Jorma Hynninen, Eugene Holmes, Andrzej Hiolski, Gabriel Bacquier, Will Parker, Gilbert Price: these and many more have already been featured with more (Hugo Hasslo, Eric Sædén) on the horizon for next season. But I would be hard-pressed to think of a baritone who possessed a more beautiful natural voice, a more refined technique, or a more elegant artistry than did Robert Massard, who in his thirty-odd years of career chalked up approximately 2,500 performances, including 1,003 at the Paris Opéra alone (the same number, he himself points out, as Don Giovanni's conquests)! Massard also sang an incredibly varied (though primarily operatic) repertoire, and this episode presents highlights from both the standard to the more obscure repertoire, from Gluck, Gounod, Verdi, and Massenet; to Reyer, Milhaud, Lalo, and Diaz (who?). These recordings are supplemented by a number of excerpts from French operetta (Planquette, Varney, Messager, and Beydts) which provide unalloyed melodic delight, the Massard voice heard at its absolute peak. And the colleagues who appear opposite Massard are like a Who's Who of great opera singers (French and otherwise) of the era: Régine Crespin, Mady Mesplé, Denise Duval, Shirley Verrett (subject of next week's episode!), Andréa Guiot, Jean Giraudeau, André Turp, Marilyn Horne, Renée Doria, Jane Rhodes, Andrée Esposito, Rita Gorr, and the falcon Suzanne Sarroca, who died last month at the age of 96. And if you listen very closely, you will also catch fleeting glimpses of favorites Patricia Neway and George Shirley. I know I say this too often, but if you only listen to one episode of Countermelody, make it this one! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Through their investment firm, Imaginary Ventures, Nick Brown and Natalie Massenet have proven time and again the importance of their role in the consumer ecosystem. They understand better than most how difficult it can be to start a business from scratch, so they use their knowledge and resources to prop up promising young startups and get them moving in the right direction. And the status they've achieved as respected and influential stewards of growing businesses is well deserved. In her early career Natalie honed her skills predicting consumer trends as a journalist for Women's Wear Daily, eventually founding the massively successful high-fashion e-commerce platform NET-A-PORTER. Nick built his portfolio through a few really wise bets on some exciting up-and-coming brands like Warby Parker and Reformation, quickly garnering a reputation as the go-to-guy for fledgling founders. As self-described "generalist investors" Nick and Natalie's interest in potential partners is governed less by a specific genre—like fashion or beauty—and more by the character traits of the business leaders themselves, stating that founders need to have a well-balanced and open-minded approach to growing their business if they ever hope to be successful. There's a lot of really great insight here about the world of investment and retail in general, especially if you're an early-stage founder looking to make your mark. Thanks for tuning in to episode 41. We hope you enjoy it! Did you know that YOU can be on The Nordy Pod? This show isn't just a one-way conversation. We want to hear about what Nordstrom looks like through your eyes. Share your Nordstrom experience, good or bad, by giving us a call and leaving a voicemail at: 206.594.0526, or send an email to nordypodcast@nordstrom.com to be a part of the conversation!

An instant bestseller in 1774, The Sorrows of Young Werther was carried by Napoleon on his campaign in Egypt, it led to spin offs in fashion, porcelain and perfume and created Werther fever. A work of his Sturm und Drang years, Goethe's epistolary novel was published anonymously when he was aged 24. The story captures the intensity of unrequited love, frustrated ambition and mental suffering. It is also a novel that keys into the big philosophical arguments of its age and has given rise to a wide range of artistic responses in the two centuries since. With the Royal Opera House staging Massenet's operatic adaptation of the story, Anne McElvoy explores the ideas that fed into it. Professor Sarah Hibberd is Stanley Hugh Badock Chair of Music at the University of Bristol. Her research focuses on nineteenth century opera and music theatre in Paris and London. Dr Sean Williams is a BBC Radio 3 AHRC New Generation Thinker and Senior Lecturer in German and European Cultural History in the School of Languages and Cultures at the University of Sheffield and is a BBC Radio 3 AHRC New Generation Thinker. Dr Andrew Cooper is Assistant Professor of Philosophy at the University of Warwick and is a BBC Radio 3 AHRC New Generation Thinker. Dr Sabina Dosani is a doctoral researcher in Creative and Critical Writing at the University of East Anglia. She is a consultant psychiatrist and a BBC Radio 3 AHRC New Generation Thinker. Producer: Ruth Watts Werther: Antonio Pappano conducts Massenet's opera with a cast including Jonas Kaufmann and Aigul Akhmetshina. Performances at the Royal Opera House are from June 20th - July 4th You can find other discussions about artworks, literature, film and TV which are Landmarks of culture gathered into a collection on the Free Thinking programme website. They include episodes about Gunter Grass, ETA Hoffmann, Hannah Arendt, and Thomas Mann https://www.bbc.co.uk/programmes/p01jwn44

In the mid 19th century, the way to make yourself famous in France as a composer was to write operas. From Cherubini, to Meyerbeer, to Bizet, to Berlioz, to Gounod, to Massenet, to Offenbach, to Saint Saens, to foreign composers who wrote specifically for the Paris Opera like Rossini, Verdi and others, if you wanted to be somebody, especially as a French composer, you wrote operas, and you wrote a lot of them. But one composer in France bucked the trend, and her name was Louise Farrenc. Farrenc never wrote an opera - instead she focused on chamber music, works for solo piano, and three symphonies that were in a firmly Germanic style. Writing in a style that was not en vogue in her home country, along with the obvious gender imbalances of the time, meant that you might expect that Farrenc was completely ignored during her life. But that's not the case. She had a highly successful career as a pianist, a pedagogue, and yes, as a composer too. But after her death, her music was largely forgotten. Bu in the last 15-20 years there has been a concerted effort at bringing Farrenc's music back to life, part of a larger movement to rediscover the work of composers who were unfairly maligned or treated during their lifetimes and after. One of Farrenc's greatest works, and the one we're going to be talking about today, is her 3rd symphony in G Minor. On the surface this is a piece in the mid-to-late German Romantic symphonic tradition, with lots of echoes of Mendelssohn and Schumann, but there's a lot more to it than that. So today on this Patreon sponsored episode, we'll discuss how Farrenc's music fit into French musical life, how a symphony was a still expected to sound in 1847, and of course, this dramatic and powerful symphony that is only now beginning to find its rightful place on stage. Join us!