Podcasts about Mazeppa

This podcast hit paid subscribers' inboxes on Jan. 23. It dropped for free subscribers on Jan. 30. To receive future episodes as soon as they're live, and to support independent ski journalism, please consider an upgrade to a paid subscription. You can also subscribe to the free tier below:WhoJustin Steck, owner of Steeplechase ski area, MinnesotaRecorded onJanuary 7, 2025About SteeplechaseOwned by: Justin SteckLocated in: Mazeppa, MinnesotaYear founded: 1999, by Kevin Kastler; closed around 2007; re-opened Feb. 4, 2023 by SteckPass affiliations: Freedom Pass, which offers three days for Steeplechase season passholders at each of these ski areas:Reciprocal partnersClosest neighboring ski areas: Coffee Mill (:45), Welch Village (:41)Base elevation: 902 feetSummit elevation: 1,115 feetVertical drop: 213 feetSkiable acres: 45 acresAverage annual snowfall: N/ATrail count: 21 (9 easy, 7 intermediate, 5 advanced)Lift count: 4 (2 triples, 2 doubles – view Lift Blog's inventory of Steeplechase's lift fleet)Why I interviewed himThey seem to be everywhere, once you know where to look. Abandoned ski areas, rusting, fading. Time capsules. Hoses coiled and stacked. Chairs spaced and numbered along the liftline. Paperwork scattered on desks. Doors unlocked. No explanation. No note. As though the world stopped in apocalypse.America has lost more ski areas than it has kept. Most will stay lost. Many are stripped, almost immediately, of the things that made them commercially viable, of lifts and snowguns and groomers, things purchased at past prices and sold at who-cares discounts and irreplaceable at future rates. But a few ski areas idle as museums, isolated from vandals, forgotten by others, waiting, like ancient crypts, for a great unearthing.Who knew that Steeplechase stood intact? Who knew, really, that the complex existed in the first place, those four motley cobbled-together chairlifts spinning, as they did, for just eight years in the Minnesota wilderness? As though someone pried open a backlot shed on a house they'd purchased years before and found, whole and rebuilt, a Corvette of antique vintage. Pop in a new battery, change the sparkplugs, inflate the tires, and it's roaring once again.Sometimes in the summer I'll wander around one of these lost ski areas, imagining what it was, what it could be again. There's one a bit over an hour north of me, Tuxedo Ridge, its four double chairs stilled, its snowguns pointed skyward, holes in the roof and skis scattered about the lodge. To restore a ski area, I sometimes think, is harder than to build one whole from the earth. Most operators I speak with recoil at the very idea.Which is why, I think, most lost ski area rebuilding or revitalization stories are led by outsiders: Norway Mountain, Holiday Mountain, Tenney, Teton Pass, Paul Bunyan. By the time they realize they're doing an impossible thing, they've done too much to surrender. When Steck acquired the Steeplechase property around 2016, he didn't really know what he'd do with it. He wanted land, and here was some land. Except the land happened to hold a forgotten-but-intact ski area.Bit by bit, he rebuilt the business: restoring the chapel for weddings, then the tubing lanes, then the chairlifts. He didn't ask permission. He didn't make any big proclamation. Suddenly, one winter day in 2023, a ski area that everyone had forgotten was a ski area reappeared in the world. And isn't that interesting?What we talked aboutA much stronger start to the 2024-25 Midwestern winter; big expansion potential and when that could happen; the mental march through the rough 2023-24 winter; considering future non-holiday midweek operations; snowmobile racing; how a house-flipping career led Steck to Steeplechase; a snapshot of the ski area lost in time in 2016; rebuilding a ski hill is “a big logistical nightmare on a regular basis,” especially during Covid; the fuzzy origins of Steeplechase's four chairlifts; Midwest tough; Steeplechase's founding; Freedom Pass; why Steeplechase isn't on Indy Pass even though a spring announcement indicated that the ski area would be; and potentially America's first 2025-26 season pass sale.What I got wrongMy ski-areas-that-double-as-snowmobile-areas breakdown was not quite right. Cockaigne was, as far as I know, the only New York ski area to explicitly turn a portion of its trails over to snowmobiles, and only during the ski area's short-lived resurgence (2020 to 2022-ish). Check out the circa 2020 trailmap - all the green-laced trails have been set aside as a snowmobile fun park:That whole section was once ski trails, and the Hall double that served them is, as far as I know, still standing (lift E below):Cockaigne is not currently an active ski area.I also mentioned Snow Ridge, New York as being a snowmobile-friendly ski area, but what I meant by that was that snowmobilers often use the ski area's parking lot to access trails that happen to connect there. The same dynamic seems to play out at Royal Mountain, which sits a bit farther south in the Adirondacks.Why now was a good time for this interviewThe typical ski area re-opening story is public, incremental, tortuous, and laced with doubt. See: Saddleback, Hatley Pointe, Cuchara, Granite Gorge, Norway. Will they or won't they? Haters and doubters commandeer the narrative. “Never gonna happen.” Then it happens and I'm all like phew. High fives and headlines.But Steeplechase just… reappeared. It was the damnedest thing. Like a Japanese ghost ship bumping onto the Oregon shoreline years after its dislodge-by-tsunami. Oh that thing? We'd forgotten all about it. One day Steck just turned two lifts on and said come ski here and people did.When I spoke to Steck a couple of months after that February 2023 soft opening, he underscored his long-term intention to fully re-open the bump. The following ski season – last winter – was the worst in the recorded history of Midwest skiing. Steck somehow punched his way through the high temps and rain that challenged even the most seasoned operators. He'd restored all the lifts, amped up the snowmaking, cleared the old trails. Steeplechase, a ski area that was barely a ski area to begin with, had, improbably, returned. Permanently, it seemed.The story doesn't make a lot of sense in a 2025 U.S. ski world dominated by national ski passes, consolidation, and the exploding cost of everything. But it happened: a guy who'd never worked in skiing and didn't know much about skiing bought and restored a Midwest ski area with little fuss and fanfare. And now it exists. And there's a lot we can learn from that.Why you should ski SteeplechaseConsider the ski-area-as-artwork. One person's interpretation of wilderness bent in service of ordered recreation, with the caprice of winds and weather intact. Run a lift up one face, hack a trail down another. A twitch and a bend, re-ordered by machines. Trees left over there. Go ahead and ski between them if there's snow. A logic to it, but bewildering too, the manifestation of a human mind carved into an incline.Context is important here. Crazy old Merls were hacking trails all over the country in the decades after World War II, stringing inexpensive lifts from valley to summit with little concern for whether the snow would fall. But it's incredible that Steeplechase opened in 1999, near the end of the Ski Area Extinction Event that began in the mid-70s, with four cobbled-together chairlifts and a surprisingly broad and varied trail network.Imagine someone doing that today? It's hard to. At least in North America. That makes Steeplechase one of the last of its kind, the handmade ski area willed into being by good ole' boys nailing s**t together. That is failed once is unsurprising. That it returned as a second-generation, second-hand relic is a kind of miracle. There aren't a lot of ski areas left like Steeplechase – unfussy, unfrenzied, improvisational works-in-progress that you can pull up to and ski without planning two election cycles in advance. You're unlikely to have the best ski day of your life here, but it's pretty cool that you can ski here at all. And so why not go do it?Podcast notesOn expansion potentialThe Google Earth view of Steeplechase hides the little ski area's big expansion potential, as it's hard to tell where the earth rises and dips. Looking at the topo map side-by-side, however, and you can see the ridgelines rising off what may be an ancient riverbed, leaving plenty of hills to build into:On Midwest toughI grew up in the Midwest and moved away a couple of decades ago. Transplanted onto the East Coast, I can appreciate some inherent Midwestern character traits that are less prevalent outside the region, including an ability to absorb foul weather. One of the best articulations of this that I've read was in this 2006 New York Times piece, on Wyoming industry recruiting workers from Michigan:Wyoming recruiters say there is another element to their admiration for Michigan. Not only are the people there akin to Wyomingites in the ways and wiles of work, but they also have an inner toughness, they say, that can only come from surviving harsh northern winters.The state tried a job campaign in the South last fall after Hurricane Katrina, hoping to draw displaced oil industry workers. But the effort largely flopped when people who were used to working on the balmy Gulf Coast got wind of what life can be like in Wyoming in January.On Steeplechase's season passSteeplechase may have launched America's first 2025-26 ski season pass: for $300, ski the rest of this winter and next. Get full access to The Storm Skiing Journal and Podcast at www.stormskiing.com/subscribe

"Mazeppa" von Clémence de Grandval ist eine Oper, die viel zu lange im Schatten stand. Am 19. Januar wird sie vom Münchner Rundfunkorchester im Prinzregententheater aufgeführt. Johann Jahn hat mit dem Dirigenten Mihhail Gerts über die Oper gesprochen. Kannte er Clémence de Graval vorher überhaupt? Wie würde er ihre Musik beschreiben, und was macht die Komposition so einzigartig? Welche Emotionen und Geschichten stecken hinter den Noten?

We are joined by David D Perlmutter to discuss CAS' Immortals of Mercury. We chat editors, art vs commerce, Smith's vocabulary, alien morality, RPGs, dreams, creative writing and Ropey Kelp.Favourite words: Mazeppa, libration, rugate, noctilucent, salamandrineDownload MP3 Support the showContact us at innsmouthbookclub@outlook.comInnsmouth Literary FestivalNight Shade Books Facebook Youtube PatreonDragon's Teeth Gaming ChannelTim Mendees Innsmouth Gold Graveheart Designs

ATENÇÃO: A entrevista foi feita em francês. Para acessar o vídeo com legenda, recomendamos acesse o nosso canal no YouTube ( https://youtu.be/f8rr2Ny_UNE ) Nesse vídeo, Christopher Forey, fala sobre como sua carreira de iluminador, atuando em diversos países europeus, construiu uma perspectiva sobre diferentes núcleos de trabalho dentro da iluminação na Europa. Christophe Forey criou as luzes para inúmeras apresentações de teatro, ópera e dança. ‌ Ele trabalha regularmente com os diretores Moshe Leiser e Patrice Caurier: Carmen, Fidelio, Leonore, Traviata, Mazeppa no WNO; Hamlet, Der Rosenkavalier, Pelléas et Mélisande, O Anel de Nibelungo, Don Carlo no Grande Teatro de Genebra; La Cenerentola, Turco na Itália, Maria Stuarda na Royal Opera House em Londres; Clari de Halevy, Gesualdo de M-A Dalbavie, Mosè, Comte Ory, Otello de Rossini na Ópera de Zurique; Giulio Cesare de Handel, Norma de Bellini, Iphigénie en Tauride de Gluck, O italiano em Argel de Rossini no Festival de Salzburgo, Giovanna d'Arco de Verdi no Scala de Milão; Don Giovanni e Nozze di Figaro de Mozart, A Coroação de Poppea de Monteverdi para Angers-Nantes-Opéra, Teseo de Händel no Teatro de Viena, etc. ‌ Ele também trabalhou com Günther Krämer, Lucinda Childs (Orfeo, Canções de Antes, Œdipus-Rex, O Mandarim Maravilhoso de Bartok), Silviu Purcarete (Parsifal de Wagner), Robert Gironès (Argélia 54-62 de Jean Magnan), Bruno Boëglin (Roberto Zucco de BM Koltès), Jean-Marc Bourg (Uma frase para minha mãe de Christian Prigent), Benjamin Dupé, Jean-Claude Berutti, Sarath Amarasingam, Cédric Dorier (incluindo Danse Delhi de Ivan Viripaev), Vincent Huguet (Os Contos de Hoffmann em Bilbau).

Schweinfurt im Zeichen des Horrors: Die neue Ausstellung im Museum Georg Schäfer, zu sehen bis 20. Oktober. Von Wolfram Hanke / "Mazeppa", die selten gespielte Tschaikowski-Oper hatte Premiere bei den Tiroler Festspielen Erl - unbedingt sehenswert! Von Peter Jungblut / Ein Loblied auf die Lücke. Eine Glosse von Knut Cordsen

Fuchs, Jörn Florian www.deutschlandfunk.de, Kultur heute

Stehende Ovationen für eine so bluttriefende wie schonungslose Abrechnung mit Gewaltmenschen unserer Tage: Peter Tschaikowsky zeigt Aufstieg und Fall eines Karrieristen, der nur das Gesetz des Stärkeren kennt. Das ist in der Inszenierung des Südafrikaners Matthew Wild in Erl beklemmend aktuell und unbedingt sehenswert.

Welcome to the Instant Trivia podcast episode 1128, where we ask the best trivia on the Internet. Round 1. Category: The Quotable Einstein 1: "Life is like riding" one of these; "to keep your balance you must keep moving". a bicycle. 2: This "is more important than knowledge". imagination. 3: "I never think of" this period of time. "It comes soon enough". the future. 4: This "cannot be kept by force. It can only be achieved by understanding". peace. 5: "As long as there are sovereign nations possessing great power," this "is inevitable". war. Round 2. Category: Begins And Ends With The Same Vowel 1: Golden and triple double chocolate are varieties of this sandwich cookie. an Oreo. 2: One who lives in Haifa or Tel Aviv. an Israeli. 3: It's the area of study where kids make the acquaintance of polynomials. algebra. 4: For the Latin for "fox mange", it's the loss of hair. alopecia. 5: To take in marriage, or to speak in favor of a cause. espouse. Round 3. Category: Presidents' Speeches: One Word Off 1: Reagan:"Mr. T, open this gate! Mr. T, tear down this wall!". Gorbachev. 2: LBJ:"The Great Pumpkin rests on abundance and liberty for all". Society. 3: Lincoln:"A world divided against itself cannot stand". house. 4: FDR:"In the field of world policy I would dedicate this nation to the policy of the good time". neighbor. 5: George H.W. Bush:"A thousand points of purchase, of all the community organizations... doing good". light. Round 4. Category: Classical Dance 1: Jean-Baptiste Lully pioneered music for this dance whose name, from the Latin for "small", comes from its small, dainty steps. a minuet. 2: Not "sausage" but this dance follows "Vienna Blood" in a Johann Strauss Jr. title. waltz. 3: Between 1915 and 1917, after traveling among rural people, Bela Bartok wrote 6 "Romanian" these "Dances". Folk. 4: Bach's keyboard suites include music for this happy dance, 5 letters long (not 3) and starting with "G" (not "J"). a gigue. 5: The gopak or hopak from Tchaikovsky's "Mazeppa" is a dance of these people who really know their steppes. the Cossacks. Round 5. Category: Numbers In Song 1: The Beatles promised they'd love their girl this many days a week. 8. 2: It's the length of the Camptown racetrack. 5 miles long. 3: Biggest hit for The Crests was about a birthday cake with this many candles. 16. 4: According to Bobby Vee, the night has this many eyes. a thousand. 5: ? and the Mysterians' only #1 hit was about crying this many tears. 96. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

When we left off last episode, Captain Thomas Smith and two companies of the 27th Inniskilling Regiment, an 18 pounder that had just arrived by ship, two six pounder field guns, a small section of the Royal Artillery, a hand full of Royal Engineers, Sappers and miners, along with a company of Cape Mountain Rifles had formed their laager at level area to then north of Durban CBD today - where the Old Fort can be seen. Just a note - the 27th Inniskilling were an Irish infantry regiment of the British army, formed in 1689 so they'd been around the block so to speak. Boer commander Andries Pretorius had called his men to where he'd setup camp at Congella and by the time this battle commenced, there'd be more than 200 ready to face Smith's professional soldiers. The British were hopelessly optimistic in their plans as you're going to hear. Some of the English traders left at Port Natal, Henry Ogle for example, had warned Captain Smith that his force was somewhat underwhelming and that the Boers were not to be taken lightly. Smith unfortunately had no choice but to impose himself. He'd marched to Durban from Umgazi, and the last orders he'd received from Cape Governor Sir George Napier was to secure the bay for the British Empire. I've already explained that back in England, the Secretary for War and the Colonies Lord Stanley had changed his mind and ordered Smith back to base but his letter was going to arrive woefully too late. Captain Smith was aware of the Boer capacity to fight in bush, so he ordered his men to march along the beachfront. A stunning full moon was shining, causing the waves to fluoresce. Anyone who's marched on a beach knows that its very difficult, made worse by the horses and of course, dragging the three guns along - while they were obviously now clearly visible to anyone lurking in the bush on the dunes. It was low tide, so the going was good at first as the hard sand made things a little easier. The British also deployed a howitzer on a long boat from the Mazeppa which was how folks made difficult trip between ships at anchor in Durban Bay and across the dangerous sandbar to the beach. Smith was hoping that the longboat could row to the beach at high tide to offload the howitzer — but that was seven hours away. There were a lot of what if's that dogged Smith's plan as you can see. Pretorius had also given strict orders that no Boer should fire until the British troops were within 100 metres of the camp. The burghers waited until at Pretoriu's command, five shots rang out. An ox at each of the three gun carriages was shot dead by the sharpshooters only a few metres away in the bush. That wasn't all, Lieutenant Wyatt and a private of the Inniskilling regiment were both shot in the head and killed instantly. Pandemonium broke out in the British ranks. The surviving oxen panicked, but were now dragging the gun and a dead ox with them, while the canon were actually pointed away from the Boer laager so couldn't even be brought to bear and fired. The British in their redcoats dived onto the sand, firing back into the darkness. The soldiers were caught in the full moon light which back in these days of zero light pollution, was like a flare in the sky. The English were in big trouble.

When we left off last episode, Captain Thomas Smith and two companies of the 27th Inniskilling Regiment, an 18 pounder that had just arrived by ship, two six pounder field guns, a small section of the Royal Artillery, a hand full of Royal Engineers, Sappers and miners, along with a company of Cape Mountain Rifles had formed their laager at level area to then north of Durban CBD today - where the Old Fort can be seen. Just a note - the 27th Inniskilling were an Irish infantry regiment of the British army, formed in 1689 so they'd been around the block so to speak. Boer commander Andries Pretorius had called his men to where he'd setup camp at Congella and by the time this battle commenced, there'd be more than 200 ready to face Smith's professional soldiers. The British were hopelessly optimistic in their plans as you're going to hear. Some of the English traders left at Port Natal, Henry Ogle for example, had warned Captain Smith that his force was somewhat underwhelming and that the Boers were not to be taken lightly. Smith unfortunately had no choice but to impose himself. He'd marched to Durban from Umgazi, and the last orders he'd received from Cape Governor Sir George Napier was to secure the bay for the British Empire. I've already explained that back in England, the Secretary for War and the Colonies Lord Stanley had changed his mind and ordered Smith back to base but his letter was going to arrive woefully too late. Captain Smith was aware of the Boer capacity to fight in bush, so he ordered his men to march along the beachfront. A stunning full moon was shining, causing the waves to fluoresce. Anyone who's marched on a beach knows that its very difficult, made worse by the horses and of course, dragging the three guns along - while they were obviously now clearly visible to anyone lurking in the bush on the dunes. It was low tide, so the going was good at first as the hard sand made things a little easier. The British also deployed a howitzer on a long boat from the Mazeppa which was how folks made difficult trip between ships at anchor in Durban Bay and across the dangerous sandbar to the beach. Smith was hoping that the longboat could row to the beach at high tide to offload the howitzer — but that was seven hours away. There were a lot of what if's that dogged Smith's plan as you can see. Pretorius had also given strict orders that no Boer should fire until the British troops were within 100 metres of the camp. The burghers waited until at Pretoriu's command, five shots rang out. An ox at each of the three gun carriages was shot dead by the sharpshooters only a few metres away in the bush. That wasn't all, Lieutenant Wyatt and a private of the Inniskilling regiment were both shot in the head and killed instantly. Pandemonium broke out in the British ranks. The surviving oxen panicked, but were now dragging the gun and a dead ox with them, while the canon were actually pointed away from the Boer laager so couldn't even be brought to bear and fired. The British in their redcoats dived onto the sand, firing back into the darkness. The soldiers were caught in the full moon light which back in these days of zero light pollution, was like a flare in the sky. The English were in big trouble.

Parlem d'Òpera 539: "Anem a descobrir (XXX): Mazeppa"

Prismatic and polysemous, On the Road to Lviv (Arrowsmith Press, 2023) invites us on an odyssey across Ukraine in the hour of war. "This chronicle/ Took shape the day the war began, which was/ My 65th birthday," writes legendary traveler, war correspondent, memoirist and poet Christopher Merrill. At once deeply personal yet rooted in history so recent you can almost see the smoke billowing from the ruins of Mariupol, the poem is equal parts chronicle, a document of war crimes, and a sober self-reflection in which the poem's speaker examines his own engagement with Ukraine as a "democratic-minded" Westerner "determined to develop/ Civil societies around the world." Not since Byron's Mazeppa has there been an English-language poem comparably engaged with Ukrainian history, appearing here en face with Nina Murray's masterly translation into Ukrainian. Nataliya Shpylova-Saeed is a Preceptor in Ukrainian at the Department of Slavic Languages and Literatures, Harvard University.  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

Prismatic and polysemous, On the Road to Lviv (Arrowsmith Press, 2023) invites us on an odyssey across Ukraine in the hour of war. "This chronicle/ Took shape the day the war began, which was/ My 65th birthday," writes legendary traveler, war correspondent, memoirist and poet Christopher Merrill. At once deeply personal yet rooted in history so recent you can almost see the smoke billowing from the ruins of Mariupol, the poem is equal parts chronicle, a document of war crimes, and a sober self-reflection in which the poem's speaker examines his own engagement with Ukraine as a "democratic-minded" Westerner "determined to develop/ Civil societies around the world." Not since Byron's Mazeppa has there been an English-language poem comparably engaged with Ukrainian history, appearing here en face with Nina Murray's masterly translation into Ukrainian. Nataliya Shpylova-Saeed is a Preceptor in Ukrainian at the Department of Slavic Languages and Literatures, Harvard University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Prismatic and polysemous, On the Road to Lviv (Arrowsmith Press, 2023) invites us on an odyssey across Ukraine in the hour of war. "This chronicle/ Took shape the day the war began, which was/ My 65th birthday," writes legendary traveler, war correspondent, memoirist and poet Christopher Merrill. At once deeply personal yet rooted in history so recent you can almost see the smoke billowing from the ruins of Mariupol, the poem is equal parts chronicle, a document of war crimes, and a sober self-reflection in which the poem's speaker examines his own engagement with Ukraine as a "democratic-minded" Westerner "determined to develop/ Civil societies around the world." Not since Byron's Mazeppa has there been an English-language poem comparably engaged with Ukrainian history, appearing here en face with Nina Murray's masterly translation into Ukrainian. Nataliya Shpylova-Saeed is a Preceptor in Ukrainian at the Department of Slavic Languages and Literatures, Harvard University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Prismatic and polysemous, On the Road to Lviv (Arrowsmith Press, 2023) invites us on an odyssey across Ukraine in the hour of war. "This chronicle/ Took shape the day the war began, which was/ My 65th birthday," writes legendary traveler, war correspondent, memoirist and poet Christopher Merrill. At once deeply personal yet rooted in history so recent you can almost see the smoke billowing from the ruins of Mariupol, the poem is equal parts chronicle, a document of war crimes, and a sober self-reflection in which the poem's speaker examines his own engagement with Ukraine as a "democratic-minded" Westerner "determined to develop/ Civil societies around the world." Not since Byron's Mazeppa has there been an English-language poem comparably engaged with Ukrainian history, appearing here en face with Nina Murray's masterly translation into Ukrainian. Nataliya Shpylova-Saeed is a Preceptor in Ukrainian at the Department of Slavic Languages and Literatures, Harvard University.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's AgweekTV episode is chock full of rural developments as Agweek's special reports on "growing rural" kicks off. Learn more about Pride Dairy's success in a small town.  Mazeppa, Minnesota, will use a USDA grant to improve waste water in their rural community.  Growers are reaping the benefits of grants to improve energy efficiency.  All this and more on AgweekTV and full coverage coming this week at Agweek.com.

Synopsis We probably have the irrepressible playwright, music critic, and ardent socialist George Bernard Shaw to thank for this music—the Third Symphony of Sir Edward Elgar. Shaw had been trying to persuade Elgar to write a Third Symphony, and, early in 1932, had written to Elgar: "Why don't you make the BBC order a new symphony. It can afford it!" A few months later, Shaw dashed off a postcard with a detailed, albeit tongue-in-cheek program for the new work: "Why not a Financial Symphony? Allegro: Impending Disaster; Lento mesto: Stone Broke; Scherzo: Light Heart and Empty Pocket; Allegro con brio: Clouds Clearing." Well, there was a worldwide depression in 1932, but the depression that had prevented Elgar from tacking a new symphony was more personal: the death of his beloved wife in 1920. Despite describing himself as "a broken man," unable to tackle any major projects, when Elgar died in 1934, he left behind substantial sketches for a Third Symphony, commissioned, in fact, by the BBC. Fast forward 64 years, to February 15th, 1998, when the BBC Symphony gave the premiere performance of Elgar's Third at Royal Festival Hall in London, in a performing version, or "elaboration" of Elgar's surviving sketches, prepared by the contemporary British composer Anthony Payne. It was a tremendous success, and, we would like to think, somewhere in the hall the crusty spirit of George Bernard Shaw was heard to mutter: "Well—about time!" Music Played in Today's Program Edward Elgar (1857-1934) Symphony No. 3 (elaborated by Anthony Payne) BBC Symphony; Andrew Davis, conductor. NMC 053 On This Day Births 1571 - possible birth date of German composer Michael Praetorius, in Creuzberg an der Werra, near Eisenach; 1847 - Austrian composer Robert Fuchs, in Frauenthal, Styria; 1899 - French composer Georges Auric, in Lodève; 1907 - French composer and organist Jean Langlais, in La Fontenelle; 1947 - American composer John Adams, in Worcester, Mass.; 1949 - American composer Christopher Rouse, in Baltimore, Maryland; Deaths 1621 - German composer Michael Praetorius, supposedly on his 50th birthday, in Wolfenbüttel; 1857 - Russian composer Mikhail Glinka, age 52, in Berlin; 1887 - Russian composer Alexander Borodin (Gregorian date: Feb. 27); 1974 - Swedish composer Kurt Atterberg, age 86, in Stockholm; 1992 - American composer William Schuman, age 81 in New York; He won the first Pulitzer Prize for Music in 1943 for his Walt Whitman cantata, "A Free Song"; Premieres 1686 - Lully: opera "Armide et Renaud," (after Tasso) in Paris; 1845 - Verdi: opera "Giovanna D'Arco" (Joan of Arc) in Milan at the Teatro all Scala; 1868 - Tchaikovsky: Symphony No. 1 ("Winter Dreams") (first version), in Moscow (Julian date Feb. 3); A revised version of this symphony premiered in Moscow on Nov. 19/Dec. 1, 1883; 1874 - Bizet: "Patrie" Overture, in Paris, by the Concerts Pasedeoup; 1884 - Tchaikovsky: opera "Mazeppa" in Moscow at the Bolshoi Theater (Julian date: Feb. 3); 1919 - Loeffler: "Music for Four Stringed Instruments" at New York's Aeolina Hall by the Flonzaley Quartet; 1939 - Miakovsky: Symphony No. 19 for wind band, in Moscow; 1945 - Paul Creston: Symphony No. 2, by the New York Philharmonic, with Arthur Rodzinski conducting; 1947 - Korngold: Violin Concerto, by the St. Louis Symphony, with Jascha Heifetz as soloist; 1958 - Diamond: orchestral suite "The World of Paul Klee," in Portland, Ore.; 1965 - B.A. Zimmermann: opera "Die Soldaten" (The Soldiers), in Cologne at the Städtische Oper; Others 1940 - American Music Center, a library and information center for American composers, is founded in New York City. Links and Resources On Elgar

Fabrice Luchini lit un extrait de Notes sur Chopin d'André Gide. Dans ce recueil consacré à l'œuvre de Chopin, André Gide souligne l'importance de l'interprétation et la nécessité de respecter l'intention du compositeur. Musique :  Chopin : Etude op.25 n°1 par Lang Lang  Liszt : Etude d'exécution transcendante n°4 : Mazeppa par Lazar Berman  Chopin : Etude op.25 n°1 par Daniel Barenboïm Réalisation : Laëtitia  MONTANARI 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.

EPISODE 76: CINCINNATI CURIOSITIES WITH GREG HAND WARNING: Listener discretion is advised! Kat, Jen, and Christina talk to Greg Hand about his new book, Cincinnati Curiosities: Healing Powers of the Wamsley Madstone, Nocturnal Exploits of Old Man Dead, Mazeppa's Naked Ride, and More. Show News: We will be at the inaugural Frogman Fest this March 4th at Great Wolf Lodge Conference Center in Mason, Ohio. We will have copies of both issues of the Cincinnati Cabinet of Curiosities comics anthology in addition to cryptid posters and stickers. Friend of the show and author extrodinaire, James Willis, is a featured speaker along with other folklorists, cryptidzoologists, and artists. More information at https://frogmanfestival.com/ That same month, on March 18, 2023, we will be at the Highland Heights Comic Con at Northern Kentucky University Student Union. If you are an artists or vendor interested in the event, you can reserve a table on their Kickstarter campaign. Link is long so it will be in the show notes! https://www.kickstarter.com/projects/ninjanuns/highland-heights-comicon-northen-kentucky-university?ref=thanks-share&fbclid=IwAR1cKrQQUDwY2zm-smDfOrMffs-m7J-Q24wzUN9-SewxCdhQThNAPdqalro Email us your hometown haunt story and we will read it on our next episode! hometownhauntedmail@gmail.com Drops every Wednesday at midnight! Follow us on Social: @cincabinetcurio (Twitter) @cincycabinetofcuriosities (Instagram) Cincinnati Cabinet of Curiosities (Facebook) Follow Kat: https://www.patreon.com/redcatcomics/posts Follow Christina: https://www.instagram.com/cswyellokat/ Christina's Sketchy Patreon: https://www.patreon.com/christinawald Follow Jen: https://society6.com/jenkoehlerart?fb

Hoy continuamos con Comte y cerramos ya el bloque de la Sociología Positiva. Para nuestro pensador la historia es el lugar donde la ley del progreso se comprueba. Para una exposición un poco más amplia de los tres Estados ir al siguiente Audio>>> https://go.ivoox.com/rf/89294165 Música de la época: Estudio trascendental n.º 1 (Mazeppa) de Liszt para piano. ****** Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

“Louis Boulanger“ Peintre rêveurà la Maison Victor Hugo, Parisdu 10 novembre 2022 au 5 mars 2023Interview de Olivia Voisin, directrice des musées d'Orléans, et commissaire scientifique de l'exposition,par Anne-Frédérique Fer, à Paris, le 9 novembre 2022, durée 19'12.© FranceFineArt.https://francefineart.com/2022/11/11/3346_louis-boulanger_maison-victor-hugo/Communiqué de presse Commissaire généralGérard Audinet, directeur des Maisons de Victor Hugo Paris- GuerneseyCommissaire scientifiqueOlivia Voisin, directrice des musées d'OrléansLa Maison de Victor Hugo poursuit sa programmation dédiée aux peintres proches de Victor Hugo, avec une exposition consacrée à Louis Boulanger (1806-1867).Louis Boulanger est, de tous les peintres du cénacle romantique, le plus proche de Victor Hugo. Ses amitiés avec nombre d'artistes et d'écrivains comme Alexandre Dumas, ou Balzac, qui lui dédie La Femme de trente ans, sa complicité avec des peintres comme les frères Devéria, Alexandre Colin, Eugène Giraud… en font un personnage central de l'époque. Par le grand succès qu'obtient son Mazeppa au salon de 1827, il devient l'un des points de mire de sa génération, et on le désigne souvent comme « le peintre du Mazeppa ». Pourtant son œuvre est riche et diverse. Chantre du romantisme, Boulanger en explore tout le spectre depuis les visions frénétiques et violentes jusqu'aux sujets littéraires plus légers. Il aborde toutes les techniques, donnant ses lettres de noblesse à la toute neuve lithographie et donne une puissance monumentale à l'aquarelle dont la mode vient d'Angleterre. Il est le premier à dessiner des costumes de théâtre et contribue ainsi à créer l'identité visuelle du drame romantique.Cette exposition monographique regroupe 180 oeuvres empruntées à plus de 30 institutions : musées, collections privées, galeries… et propose de découvrir ce peintre romantique du XIXe siècle injustement méconnu. Elle est accompagnée d'un catalogue aux éditions Paris Musées. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 01:58:17 - Relax ! du vendredi 11 février 2022 - par : Lionel Esparza - Aujourd'hui, quelques bacchanales dont celles de Saint-Saëns, un " Rêve de Gunnar " de Nielsen; mais aussi des pépites dont " Mazeppa " de Liszt et le rare " Namouna ", ballet d'Edouard Lalo. - réalisé par : Antoine Courtin

El programa de hoy versa sobre una forma musical que nos apasiona: los poemas sinfónicos. Para entender su importancia y relevancia como ejemplo de la música programática del siglo XIX, David Antón nos trae una pequeña selección con lo mejor de este género. Arrancaremos con dos obras esenciales del impresionismo de Claude Debussy, y tras hablar de la historia del cosaco Mazeppa musicalizada por Franz Liszt, nos adentraremos en el nacionalismo ruso para conocer mejor Una Noche en el Monte Pelado y Scheherezade. Finalmente, el violín desafinado de Saint-Saëns nos permite hablar de la Danza Macabra. En conjunto, seis obras clave en la música de la segunda mitad del siglo XIX para escuchar mil y una noches. Acompañadnos una semana más para los habituales ¡CONOCIMIENTOS MUSICALES!

Rare works by Tchaikovsky: Romeo and Juliet Fantasy Overture - 1st recording of Tchaikovsky's initial version of this work completed in 1869 Serenade for Nikolai Rubenstein's Saint's Day - 1st recording Festival Overture on the Danish National Anthem, Op. 15 - 1st recording The Battle of Poltava Symphonic Tableau Cossack Dance Gopak from Mazeppa - 1st recording as a concert pair Incidental Music to Shakespeare's Hamlet, Op. 67 - 1st complete recording Ophelia - Janis Kelly, sopranoGravedigger - Derek Hammond-Stroud, baritoneLondon Symphony OrchestraGeoffrey Simon, conductorMusical Heritage SocietyMHS Stereo 824172Recorded at All Saints Church, Tooting, LondonJanuary 1981Purchase the music (without talk) at:Tchaikovsky Rare Works (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

durée : 00:09:45 - Le cheval de Mazeppa - par : Marianne Vourch - Tantôt décrit comme un infâme traitre tantôt comme un honorable modèle à suivre, le nom de Mazeppa est rituellement honni en Russie de toutes les églises orthodoxes de l'empire jusqu'à la révolution d'Octobre 1917, tandis que l'Ukraine le nomme héros de l'Indépendance en 2009. - réalisé par : Sophie Pichon

Franz Liszt - Mazeppa Polish National Radio Symphony Orchestra Michael Halasz, conductor More info about today's track: Naxos 8.550487 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording AmazonArkivMusic

Nach dem großen Erfolg der Sendereihe RESOUND Beethoven im letzten Jahr widmet sich Dirigent Martin Haselböck im heurigen Jahr der Person Franz Liszt. Mit seinem Orchester Wiener Akademie hat Haselböck in den vergangenen Jahren beim Liszt Festival Raiding nicht nur das (bis dahin bekannte) Orchesterwerk von Franz Liszt auf zeitgenössischen Instrumenten aufgeführt und eingespielt, sondern hat auch die eine oder andere Uraufführung (!) eines Liszt'schen Werkes leiten können. 2021 wird er auf radio klassik Stephansdom immer am vierten Samstag im Monat die Kompositionen Liszt einem breiteren Publikum vorstellen. In der vierten Sendung präsentiert Martin Haselböck drei symphonische Dichtungen Liszts, die direkt oder indirekt Bezug zu kriegerischen Auseinandersetzungen haben: Hunnenschlacht, Mazeppa und Les Préludes.

In today's episode we continue our investigation into the actual science behind the Earth's ever changing climate, and we explore the political underpinnings of climate alarmism and the bogus mainstream narrative claims that CO2 causes global warming. Joining us today is a very accomplished Canadian engineer and businessman, with a successful track record of operations spanning across 6 continents. Mr. Allan MacRae is a true Canadian; with his ancestors having fought and died for this country in every conflict since the War of 1812. Over the span of his career Mr. MacRae has been involved at senior a level within the petroleum sector, and he has witnessed first hand the corruption of climate science at the hands of the leftist communists. Mr. MacRae is also a dedicated humanitarian having been involved with housing the homeless in Calgary for over a decade. During his volunteer tenure on the board of directors at the Calgary Drop-in and Rehab Centre the facility grew from 600 funded shelter beds to over 1200, and provided 1.2 million free meals per year. This facility is now the largest such organization in Canada. In 2016 Mr. MacRae was also responsible for averting a major disaster in SE Calgary. He was made aware of unsafe operating conditions at a sour gas plant known as the Mazeppa project. If the cost cutting measures at the plant had resulted in a pipeline rupture, as many as 300,000 people could have been killed or seriously injured from the neurotoxin hydrogen sulphide. Mr. MacRae alerted the Alberta Energy Regulator which quickly confirmed the potential problem and immediately shut down the facility and averted a disaster. To learn more about the Nemeth report, or Mr. MacRae's work, please visit (for a complete list please contact me directly): https://albertainquiry.ca/sites/default/files/2021-01/Nemeth%20Report.pdf https://albertainquiry.ca/sites/default/files/2021-01/Nemeth%20Report%20%28Supplement%29.pdf https://thsresearch.files.wordpress.com/2020/09/climate-change-covid-19-and-the-great-reset-readonly.docx https://calgarysun.com/news/local-news/alberta-outpaced-canada-in-excess-deaths-in-fall-statcan/wcm/de37dac6-6c5b-4791-aca2-18b9d2d122b0

To celebrate Karen Mason's upcoming 70th Birthday (March 30), this acclaimed Broadway actress & Cabaret Icon returns to bare it all about lessons learned. From vocal issues to Rebecca, one of Broadway's biggest musical theatre scandals to not having a Broadway contract renewed, Karen Mason is Baring It All with Call Me Adam. Missed Part 1 of our interview? Listen Here! Karen Mason is a 13-time Mac Award winning Cabaret Icon. She has been seen on Broadway in Mamma Mia!, Sunset Boulevard, Wonderland, and most recently, she performed around the country in the First National Tour of Andrew Lloyd Webber's Love Never Dies. Tune into Mason's Makin' Music every Thursday at 5pm on Karen's Facebook Page Connect with Karen: Website Facebook Twitter Instagram YouTube Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Karen Mason: Karen Mason was recently seen as “Madame Giry” in the North American premier of Love Never Dies — Andrew Lloyd Webber’s epic sequel to the Phantom of the Opera. On Broadway, Karen garnered rave reviews starring as “The Queen of Hearts” in Wonderland. She originated the role of “Tanya” in Abba’s Mamma Mia!, receiving a 2002 Drama Desk nomination for Best Actress. Her other leading roles include "Norma Desmond" in Sunset Boulevard, which she performed to critical acclaim on Broadway & in Los Angeles for three years; "Velma von Tussel" in the final Broadway company of Hairspray; “monotony” singer, "Mazeppa" in Jerome Robbins’ Broadway; 'Rosalie" in Carnival (another Drama Desk nomination); plus featured roles in Broadway’s Torch Song Trilogy; & Play Me a Country Song. Karen won the Outer Critics Circle award for her performance in And the World Goes ‘Round, & starred Off-Broadway in her own show Karen Mason Sings Broadway, Beatles and Brian. Karen has headlined Carnegie Hall, The Kennedy Center, Lincoln Center, Feinstein’s at the Regency, Rainbow & Stars, the Algonquin; The Cinegrill & UCLA/ASCAP Concert Series in Los Angeles; The Plush Room in San Francisco; & Davenport’s in Chicago. She has shared concert stages with Michael Feinstein, Jerry Herman, Chita Rivera, Luciano Pavarotti, Rosemary Clooney, Liza Minnelli, and John Kander & Fred Ebb, among others. Her highly acclaimed recordings include her newest single, "It’s About Time," written by Paul Rolnick & Shelly Markham; her 2009 Mac award-winning Right Here/Right Now, 2005’s The Sweetest of Nights, the Mac award-winning When The Sun Comes Out, as well as three other CD’s: Christmas! Christmas! Christmas!, recorded live at the West Bank Café; Better Days, featuring songs by her longtime composer/arranger, Brian Lasser (including the 1998 Emmy award-winning song “Hold Me“); & Not So Simply Broadway. Karen has been featured on original cast recordings of Wonderland; Jeffrey (Varese Sarabande), And the World Roes 'Round (RCA Victor), The Child In Me, Vol. 1 (Harbinger Records), Lost In Boston ll (Varese Sarabande), & the studio cast recording of Wonderful Town (Jay Records), Her television appearances include the hit dramas ED and Law & Order: SVU. Film credits include Sleeping Dogs Lie & A Chorus Line. Learn more about your ad choices. Visit megaphone.fm/adchoices

Toevallig bracht hoboïste Pauline Oostenrijk vorig jaar een cd uit met werk van Bernhard van den Sigtenhorst Meyer (1888-1953). En nu is daar warempel een tweede cd gewijd aan deze Nederlandse componist, die vergeten leek te worden maar beslist de moeite waard is. Ditmaal is het de pianist Albert Brussee die zich over zijn werk ontfermt. Vooral uit de eerste periode van Sigtenhorst Meyer, die je het best kunt karakteriseren als romantisch-impressionistisch. Je voelt de adem van Debussy in karakterstukken die bloemen en vogels verbeelden, maar ook inspiratie vindt in en serie schetsen van Hokusai (Zes gezichten op de Fuji). Niet zo gek, hij heeft korte tijd in Parijs gestudeerd, bij Vincent d'Indy. Een andere sterke invloed: de interessevriend van zijn geliefde, Rient van Santen. Die was dol op de kunst en atmosfeer van het Oosten, en ook dat klinkt door. In de tweede fase van zijn leven werd de muziek van Sigtenhorst Meyer hollandser. Hij greep terug op de modaliteit van de kerktoonladders en schreef een boek over Sweelinck. Het is al voelbaar in sommige vroegere composities zoals De Maas en Oude Kasteelen. Albert Brussee voelt zich verwant aan Bernhard van den Sigtenhorst Meyer, hij was als kind al dol op de bloemen en de vogels, bijvoorbeeld. Maar hij heeft vooral ook affiniteit met het romantische repertoire, waarvan het impressionisme dan weer een uitloper is. Brussee is pianist, en docent, en onderzoeker. Hij maakte naam als Lisztkenner door zijn uitgave van vroegere versies van Liszts pianocyclus Harmonies poétiques et religieuses. In 1914 publiceerde hij de studie Mazeppa in de romantische kunst - een interdisciplinair cultuurhistorisch onderzoek. Over maar liefst 150 kunstwerken gebaseerd op de Mazeppa-vertelling.

Broadway Actress & Cabaret Icon, Karen Mason is "Baring It All with Call Me Adam" about starring on Broadway as well as her legendary cabaret career (she's a 13-time MAC Award winner). Karen gives the inside scoop on: Cast Pranks Sunset Boulevard (starring the legendary Glenn Close) Cabaret legacy with long-time collaborator Brian Lasser Working with Award Winning composers Alan & Marilyn Bergman, Michele Brourman, Amanda McBroom, Scott Evan Davis, Billy Goldenberg, her husband Paul Rolnick Rapid Fire Questions Tune into Mason's Makin' Music every Thursday at 5pm on Karen's Facebook Page Karen is also teaching a MasterCourse called The Song Is YOU! at Singasium. Sign up here! This interview has been split into two episodes. The second part of this interview, focusing on Lessons Learned, will be released at a later date. Connect with Karen: Website Facebook Twitter Instagram YouTube Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Karen Mason: Karen Mason was recently seen as “Madame Giry” in the North American premier of Love Never Dies — Andrew Lloyd Webber’s epic sequel to the Phantom of the Opera. On Broadway, Karen garnered rave reviews starring as “The Queen of Hearts” in Wonderland. She originated the role of “Tanya” in Abba’s Mamma Mia!, receiving a 2002 Drama Desk nomination for Best Actress. Her other leading roles include "Norma Desmond" in Sunset Boulevard, which she performed to critical acclaim on Broadway & in Los Angeles for three years; "Velma von Tussel" in the final Broadway company of Hairspray; “monotony” singer, "Mazeppa" in Jerome Robbins’ Broadway; 'Rosalie" in Carnival (another Drama Desk nomination); plus featured roles in Broadway’s Torch Song Trilogy; & Play Me a Country Song. Karen won the Outer Critics Circle award for her performance in And the World Goes ‘Round, & starred Off-Broadway in her own show Karen Mason Sings Broadway, Beatles and Brian. Karen has headlined Carnegie Hall, The Kennedy Center, Lincoln Center, Feinstein’s at the Regency, Rainbow & Stars, the Algonquin; The Cinegrill & UCLA/ASCAP Concert Series in Los Angeles; The Plush Room in San Francisco; & Davenport’s in Chicago. She has shared concert stages with Michael Feinstein, Jerry Herman, Chita Rivera, Luciano Pavarotti, Rosemary Clooney, Liza Minnelli, and John Kander & Fred Ebb, among others. Her highly acclaimed recordings include her newest single, "It’s About Time," written by Paul Rolnick & Shelly Markham; her 2009 Mac award-winning Right Here/Right Now, 2005’s The Sweetest of Nights, the Mac award-winning When The Sun Comes Out, as well as three other CD’s: Christmas! Christmas! Christmas!, recorded live at the West Bank Café; Better Days, featuring songs by her longtime composer/arranger, Brian Lasser (including the 1998 Emmy award-winning song “Hold Me“); & Not So Simply Broadway. Karen has been featured on original cast recordings of Wonderland; Jeffrey (Varese Sarabande), And the World Roes 'Round (RCA Victor), The Child In Me, Vol. 1 (Harbinger Records), Lost In Boston ll (Varese Sarabande), & the studio cast recording of Wonderful Town (Jay Records), Her television appearances include the hit dramas ED and Law & Order: SVU. Film credits include Sleeping Dogs Lie & A Chorus Line. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we talk about how a Polish man turned Ukrainian military leader has inspired great artists for great works. We discuss the appearance of the symphonic poem as a genre, and one of its founders Ferenc Liszt. Along the way, we will also mention Pushkin, Mendelssohn, Weber, and many more great names. Victor Hugo's poem Mazeppa: https://bit.ly/3o91cjF

In this 4rd episode, Laleh Hancock invites a dance conversation with Caroline Lamb, a Choreographer, movement director and dancer Join us in this pleasant conversation where the grace, the vitality, the physical wisdom of our body, has nothing to do with our age! While you are listening ... what about also moving your body? About our Guest: Caroline Lamb has a wealth of experience working as a freelance choreographer, movement director and performer in dance, opera, theatre, TV and film. Her work has been seen in the UK, Canada, Australia and New Zealand. Caroline's choreographic opera work includes Carmen for Vancouver Opera, Canada and for Welsh National Opera, Falstaff with Bryn Terfel, Orfeo ed Euridice, Parsifal, La Favorite, La Traviata, Peter Grimes, Don Giovanni, Mazeppa, Il seraglio and choreographic coaching for Salome. She choreographed A Night At The Chinese Opera for British Youth Opera, London and created the original choreography for Carl Rosa's Mikado shown at the Barbican and Hackney Empire, London and touring internationally. In 2016 Caroline choreographed Don Giovanni - Carmen Jacobi's production for Winslow Hall Opera. Caroline is artistic director of Striking Attitudes, a dance theatre company that works with dancers who act and actors who dance. www.marilynbradford.com www.rightrecoveryforyou.com FOLLOW US: Facebook Instagram Youtube Pinterest Spotify Telegram Official Website

Das Staatstheater Cottbus zeigt die Oper "Mazeppa" von Piotr Tschaikowski nach einem Gedicht von Alexander Puschkin. Ein ukrainischer Oberbefehlshaber plant darin eine Verschwörung gegen den Zaren. Sylvia Belka-Lorenz berichtet von der Premiere.

Mit "Mazeppa" hat Peter Tschaikowsky ein Gedicht von Alexander Puschkin zur Oper werden lassen. Der alte Mazeppa, Oberbefehlshaber der ukrainischen Truppen, möchte Maria, die Tochter des Kosakenhauptmanns, heiraten. Der ist dagegen und will seine Tochter durch eine Intrige zurückbekommen. Am Sonntag hatte die Inszenierung von Andrea Moses Premiere am Staatstheater Cottbus. Sylvia Belka-Lorenz berichtet.

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本来上期节目说好，这次要把整个钢琴练习曲的体系讲完。但在准备节目的过程中，勺子发现，无论是从节目体量还是工作量的角度考虑，把剩余的内容塞到一期节目中，都太难了。 所以，本期节目就当做是“钢琴练习曲”系列第一季的下集，主要介绍肖邦、李斯特、阿尔康三位作曲家的练习曲。余下的俄罗斯作曲家、现代主义作曲家，我们有缘再见。 毛里奇奥·波利尼 Maurizio Pollini, 弗雷德里克·肖邦 Frédéric Chopin - 12 首练习曲，作品 25 12 Etudes, Op.25: 第 12 首，大海 XII. Ocean 毛里奇奥·波利尼 Maurizio Pollini, 弗雷德里克·肖邦 Frédéric Chopin - 12 首练习曲，作品 10 12 Etudes, Op.10: 第 1 首，瀑布 I. Waterfall 毛里奇奥·波利尼 Maurizio Pollini, 弗雷德里克·肖邦 Frédéric Chopin - 12 首练习曲，作品 25 12 Etudes, Op.25: 第 4 首，激流 IV. Torrent 鲍里斯·别列佐夫斯基 Boris Berezovsky, 利奥波德·戈多夫斯基 Leopold Godowsky - 53 首肖邦练习曲改编曲 53 Studies after Etudes by Frederic Chopin: 第 6 首，改编自作品 10，第 4 首，仅为左手而作 VI. Study in C-sharp minor after Op.10 No.4 - for left hand alone 克劳迪奥·阿劳 Claudio Arrau, 李斯特·弗朗茨 Liszt Franz - 3 首音乐会练习曲，S.144 3 Études de concert, S.144: 第 3 首，叹息 III. Un sospiro 李云迪, 李斯特·弗朗茨 Liszt Franz - 6 首帕格尼尼大练习曲，S.141 Grandes études de Paganini S.141: 第 3 首，钟 III. La Campanella. Allegretto 马西米利亚诺·杰诺特 Massimiliano Génot, 李斯特·弗朗茨 Liszt Franz - 十二首练习曲，S.136 Étude en douze exercices, S.136: 第 4 首，小快板 IV. Allegretto  克劳迪奥·阿劳 Claudio Arrau, 李斯特·弗朗茨 Liszt Franz - 12 首超技练习曲，S.139 Études d'exécution transcendante, S.139: 第 4 首，马捷帕 IV. Mazeppa 森下唯, 夏尔-瓦朗坦·阿尔康 Charles-Valentin Alkan - 铁道练习曲，作品 27 Le chemin de fer, Op.27 文森佐·马尔特姆普 Vincenzo Maltempo, 夏尔-瓦郎坦·阿尔康 Charles-Valentin Alkan - 十二首小调练习曲，作品 39 12 Etudes in All the Minor Keys, Op.39: 第 12 首，伊索的盛宴 XII. Le Festin d'Ésope

CONTENT WARNING: Byron's poetry contains lots of Orientalist language. He may have experienced and perpetrated sexual abuse and we discuss that all in this episode. We read "Mazeppa" by Lord Byron, along with some of his other poetry, and discussed him and the young and foolish second generation of English Romantic poets. We're all extremely on-brand in this episode. Linnea is obsessed with the Romantics' obsession with incest. Manik is obsessed with Germans. Jessica has a novel idea, and Reidan discovers the genesis of horse-girls.Mentioned in this episode:* How Byron invented the wild horse trope: https://lithub.com/how-lord-byron-invented-the-wild-horse/ * Spoken word Mazeppa https://www.youtube.com/watch?v=B4Jc4-vjjcE * Cats in black https://i.pinimg.com/originals/46/69/26/4669262769189837a77de36fc26d1ea8.jpg * Lizst's "Mazeppa"* Young Romantics by Daisy Hay*The Shadow of The Wind by Carlos Ruiz Zafón* Greta Gerwig's Little Women* Persuasion by Jane Austen* Puskin's "Poltava" and Eugene Onegin

In this episode Evert interviews Dr. Waldo Engelbrecht. 1. Growing up 2. University and Community service. 3. Starting private practice in Port Elizabeth 4. Kareedouw 5. Mazeppa and Howard Gluckman 6. Walmer and Dental Assistant 7. Night trail race with a dislocated shoulder. 8. Private practice with Roelof Meurs. 9. Toys in Dentistry. 10. New Walmer practice. 11. Family life. 12. Scope of practice

Hello again and thanks for listening to Cauldron I'm your host Cullen. Today we have another whopper of a story for you but first some housekeeping. As always check us out on the social media stuff just search Cauldron on Facebook or Instagram. Please rate and review on iTunes, shout out to Persons117 for the latest review! Also, check out Patreon and become a producer for the show. A buck a month helps get research materials, production equipment, and show art. Welcome aboard to our latest producer Methuselah, thanks for your support! All right enough of the business lets get stuck in at Poltava! Let's go back 310 years to the plains of southern Ukraine, fresh of a winter so cold birds fell frozen out of the air. Charles XII of Sweden put his kingdom on the line outside a city called Poltava. After the collapse of the Teutonic knights, the Baltic region and Eastern Europe was in disarray. A power vacuum was left by the old order of crusading knights, but for some time no power emerged preeminent. Out of the madness and horrible violence of the 30 Years War emerged a Lion. Gustavus Adolphus of Sweden was one of the great commanders in history and clawed out an empire. Seemingly overnight France, England, Spain, and the Netherlands had to acknowledge a new member to their elite club. After Gustavus glorious death on the field, Sweden was set up well for the future. Large swaths of Denmark and Germany, as well as most of the Baltic region and east end of the Gulf of Finland, were under Swedish control. When Charles the 11th died the army he left behind was lithe, sinewy, and ready to be put through its paces. In the hands of a genius tactician, this army would be most formidable… This week’s main source - Peter the Great: His Life and World by Robert K. Massie Music - From Russia With Love by Huma-Huma Image by Melhaks@fiver.com Questions or Corrections - https://www.cauldronpodcast.com/sendustheories To support the show got to https://www.patreon.com/user?u=8278347 and search Cauldron Podcast For images, videos, and sources check us out on Facebook @cauldronpodcast Instagram @cauldronpodcast Spotify iTunes

Ted and Katie Brenny are from Mazeppa, MN and that is where they currently run their cow/calf operation with dreams of growing in the future. While working hard toward that goal, they stay active with their full-time jobs and being involved with the State and National Cattlemen Associations.

By Davy Crockett  Both a podcast episode and a full article On May 10, 2019, America will celebrated the 150th anniversary of the completion of the transcontinental railroad. This is the third article in a series to recognize some historic accomplishments walking or running across the American continent. In the previous articles, the history was given of the 1855 walk across South America by Nathaniel Holmes Bishop, and the story of Dakota Bob was shared as an a example of the many fraudulent characters who would claim to walk across America. Women got into the game too! The most famous of the transcontinental woman walkers of the late 1800s, and perhaps the first, was a Spanish-American world-famous actress, Zoe Gayton. The may have also been the first person to walk the history transcontinental railroad end-to-end. Here is her amazing story of her walk in 1890-91. Zorika Gaytoni Lopez Ares “Zoe Gayton,” was born in about 1854, in Madrid, Spain. When she was about four years old, her father became a political exiled immigrant and they came to New York City. Zoe Gayton started performing in the theater at the early age of 14 in Tennessee and then joined a company in New York City. Zoe Gayton married at about 18 years old, to famous rich man, John H. Church, who was the owner of the Golden Gate Theater in Oakland, California. He had many wives, some at the same time. Zoe toured with him to South America. They lived in Utah for a time, building the first hotel in Little Cottonwood Canyon, Utah (location now of Alta and Snowbird ski resorts). They divorced in 1873 and Zoe then went through a series of other marriages as she continued to perform. She later joined companies in the west, performed in many places, and took a company to perform in Hawaii. Mazeppa Zoe Gayton became a world-known “equestrian actress impersonator” who traveled performing a four-act play based on a legendary poem, “Mazeppa” by Lord Byron. In the plot, Zoe played the male character Mazeppa, a horseman and page for a Polish Count. When Mazeppa is caught in an affair with the Countess, he is tied naked to a steed and set loose. The terrifying scene is the play is when Zoe is bound to a horse in scant clothing and rides on planks to the theater’s ceiling. It was much like a circus act. One newspaper described it this way, Zoe “is strapped to the side of her ‘barbed steed' and ascends the precipitous ‘runs’ to the ‘flies’ in the roof of the theater. It is a very exciting scene, and never fails to elicit tumultuous applause from the audience.” Another paper wrote, “Besides possessing a clear and pleasing voice, she has a splendid physique and graceful movement.” In 1882 Zoe Gayton performed “Mazeppa” in England at Queen Victoria’s New Royal Theatre. As she was touring, Zoe was arrested for stealing things at a boarding house where she was staying with her manager William J. Marshall. She took ten table clothes, a silk-velvet cape, a shawl, an umbrella, a lace scarf, and other items. They were found in her possession, she was convicted and sentenced to four months in prison. In 1883 she was back touring in the United States in Los Angeles, San Francisco, Oakland, New Orleans, and Alabama. In 1884 in deep financial trouble, after performing in Alabama, she raffled off her famous performing white Arabian steed, “Gypsy” to raise money to pay off debts when her theater company “went to pieces.” In 1885 she was performing with a new steed, “Fearless.” Zoe had performed all over the world including England, Scotland, France, Spain, Germany, Australia, India, Peru and all over America. But her years of success playing Mazeppa finally came crashing down. In 1885 her company was bankrupted performing in Kansas and her personal luggage was sold off to pay debts. In 1886 Zoe was traveling and performing again but in a new roles as Leah in Jewish play, "Leah, the Forsaken," and in another play, a military drama, “The French Spy.

Somehow we're reading another Christian-leaning, dog related book with strange authorship. We really don't know how this happened again. Thanks to longtime friend of the show Elisa for recommending this one! Content Warning: In addition to our usual barnyard language, we've got: inter-species breastfeeding and menstruation (brief mention). Apparently we were wrong about inter-species breastfeeding and it turns out it's actually fine for mammals to just do that for each other. Uh, neat? The person listed as the author isn’t actually the author, but a compiler/editor of sorts. Yet, there's also an additional person credited as his editor AND the actual author was also assisted by one of his children, so we’ve got about 4 people responsible for this thing: 1. BG Michael “Runt” Makepeace: Man who wrote memoirs and also took notes and pieced together what he believes was an encounter with an immortal dog breeder who has an immortal dog best friend. 2. Raymond N. Dombkiewicz: Listed as the author, but actually a friend of Michael Makepeace who re-wrote the original stories/notes from Makepeace into a larger "epic." 3. Sheron Mariah Steele, PhD: Copy editor, also possibly a bond villain. 4. Abigail Rebecca Makepeace Chafee: Michael Makepeace’s daughter who added to his notes and interviewed people about the potentially immortal dog breeder and immortal dog. The authorship question and inter-species breastfeeding is just the beginning. It gets even wackier.

durée : 00:11:17 - Leurs premiers pas du samedi 08 septembre 2018 - Extrait au piano de Mazeppa de Liszt par Bertrand Chamayou, lors du concert donné le 30/03/1999 au studio 106 à Radio France. Vous pouvez retrouvez cet extrait ici !

In our 19th episode of the Strip-Till Farmer podcast, brought to you by Totally Tubular Mfg., we welcome Mazeppa, Minn., strip-tiller Rod Sommerfield to share his experience adopting regenerative agriculture practices.

I programmet diskuteras Sjostakovitjs pianokonserter, Hvorostovsky sjunger ryskt, Bach på olika flöjter samt Pettersons 13e symfoni med Norrköpings symfoniorkester. Ehrnrooth i möte med Herreweghe. I panelen Magnus Lindman, Måns Tengnér och Tebogo Monnakgotla som tillsammans med programledaren Johan Korssell betygsätter följande skivor: DMITRI SJOSTAKOVITJ Pianokonserter nr 1 och 2, stråkkvartett nr 8 i trskr för piano Boris Giltburg, piano Kungliga filharmonikerna, Liverpool Vasily Petrenko, dirigent Naxos 8.573666 J S BACH Flöjtsonater Kristine West, blockflöjter, Stina Petersson, barock-cello, Marcus Mohlin,cembalo Daphne DAPHNE 1058 ALLAN PETTERSSON Symfoni nr 13 (1976) Norrköpings symfoniorkester Christian Lindberg, dirigent Bis BIS 2190 WAR PEACE LOVE AND SORROW Arior ur bl.a. Krig och fred, Mazeppa och Demonen Dmitrij Hvorostovsky, baryton Jevgenij Svetlanov-orkestern, Moskva Constantine Orbelian, dirigent Delos DE 3517 Referensen Johan jämför med och refererar till en inspelning med Sjostakovitjs första pianokonsert, där tonsättaren själv sitter vid flygeln och Ludovic Vaillant spelar trumpet. Franska radions nationalorkester bistår på ett ypperligt sätt och allt hålls samman av André Cluytens. Inspelningen gjordes i Paris 1958 på skivmärket EMI.  Kulturjournalisten Albert Ehrnrooth möter Philippe Herreweghe Albert Ehrnrooth har träffat och samtalat med den belgiske dirigenten och barockspecialisten som nyligen fyllt 70 år och som firas med konserter i Amsterdam och Antwerpen. Herreweghe har två egna ensembler; Collegium Vocale och Champs Elysées-orkestern, men dirigerar och gästar även andra orkestrar såsom Concertgebouw-orkestern i Amsterdam, Rotterdams filharmoniker och Wiens filharmoniker. Herreweghe har i dagsläget spelat in långt över 100 skivor. Andra i programmet nämnda eller rekommenderade inspelningar: Sjostakovitjs första pianokonsert med pianisten Yefim Bronfman och trumpetaren Thomas Stevens tillsammans med Los Angeles filharmoniska orkester allt under ledning av Esa-Pekka Salonen på skivmärket Sony Classical samt med Sjostakovitj själv vid flygeln i en inspelning från 1955 tillsammans med Ivan Volovnik och Moskvafilharmonins symfoniorkester ledda av Samuil Samosud på Eurodisc. Allan Petterssons trettonde symfoni med BBCs skotska symfoniorkester ledd av Alun Francis på CPO. Inspelningen av Allan Petterssons fjortonde symfoni i en P2-dokumentär av Anders Olsén.  Svepet Johan sveper över ett album, The Film Music of William Alwyn, volym 4, med BBCs filharmoniker under Rumon Gambas ledarskap. Inspelad på Chandos.

Arien aus Opern: Charles Gounod "Roméo et Juliette" | Léo Delibes "Lakmé" | Nikolai Rimskij-Korsakow "Sadko" | "Schneeflöckchen" | "Der Goldene Hahn" | Peter Tschaikowsky "Mazeppa" | Lieder von Sergej Rachmaninow, Nikolai Rimskij-Korsakow, Peter Tschaikowsky sowie russische Volkslieder | Aida Garifullina (Sopran) | ORF Radio-Symphonieorchester Wien | Leitung: Cornelius Meister

"Mazeppa" S.100 es un poema sinfónico compuesto por Franz Liszt en 1851. Es el número 6 de su ciclo de trece Poemas sinfónicos escritos durante su periodo en Weimar. Narra la historia de Iván Mazepa, que sedujo a una noble dama polaca, por lo que fue amarrado desnudo a un caballo salvaje que lo transportó a Ucrania. Allí, fue liberado por los cosacos y lo nombraron su hetman. El mismo personaje había inspirado a Victor Hugo en Les Orientales y a Lord Byron. La obra se estrenó en el Teatro de la corte en Weimar el 16 de abril de 1854 (WIKIPEDIA).

Den tyske pianisten, läraren och kompositören Emil Sauer studerade för Nikolaj Rubinstein vid Moskvakonservatoriet. 1884-85 arbetade han med Franz Liszt i Weimar. Därefter debuterade han i Berlin med Beethovens Kejsarkonsert och fick rykte om sig att vara en av de mest framstående virtuoserna. Eml Sauer ansågs vara en i det närmaste perfekt uttolkare av pianorepertoarens mästerverk, med en exceptionell teknik och både temperement och poetisk inspiration. Emil Sauer gjorde skivinspelningar, bl.a. av Liszts båda pianokonserter och han medverkade också vid mycket av notförlaget Peters utgåvor av den romantiska pianolitteraturen. Mer information på sverigesradio.se/p2

Cedille Chicago Presents music based on stories from ancient Greece, Germany, the Ukraine, and the Inuit people of the arctic.   Playlist for July 24, 2013 Music & Legends STACY GARROP (b. 1969) String Quartet No. 3, “Gaia” II. Creation of Mother Earth (5:14) From In Eleanor's Words: Music of Stacy Garrop Cedille Records CDR 90000 122 (Track 9) Biava Quartet SAMUEL BARBER (1910–1981) Andromache’s Farewell, Op. 39 (13:10) From Royal Mezzo Cedille Records CDR 90000 104 (Track 1) Jennifer Larmore, mezzo-soprano Grant Park Orchestra Carlos Kalmar, conductor FRANZ LISZT (1811–1886) Die Loreley (6:15) From Dmitry Paperno: Uncommon Encores Cedille Records CDR 90000 007 (Track 8) Dmitry Paperno, piano MICHAEL COLGRASS (b. 1932) Snow Walker for Organ & Orchestra (1990) V. Snow Walker (6:03) From American Works for Organ and Orchestra Cedille Records CDR 90000 063 (Track 9) David Schrader, organ Grant Park Orchestra Carlos Kalmar, conductor DAVID LEISNER (b. 1953) El Coco (1999) (3:27) From Acrobats: Music of David Leisner Cedille Records CDR 90000 096 (Track 4) Cavatina Duo FRANZ LISZT (1811–1886) Mazeppa (13:58) From Liszt: The Complete Symphonic Poems for Two Pianos, Vol. II Cedille Records CDR 90000 024 (Track 2) Georgia & Louise Mangos, duo-pianists

Den tyske pianisten, läraren och kompositören Emil Sauer studerade för Nikolaj Rubinstein vid Moskvakonservatoriet. 1884-85 arbetade han med Franz Liszt i Weimar. Därefter debuterade han i Berlin med Beethovens Kejsarkonsert och fick rykte om sig att vara en av de mest framstående virtuoserna. Eml Sauer ansågs vara en i det närmaste perfekt uttolkare av pianorepertoarens mästerverk, med en exceptionell teknik och både temperement och poetisk inspiration. Emil Sauer gjorde skivinspelningar, bl.a. av Liszts båda pianokonserter och han medverkade också vid mycket av notförlaget Peters utgåvor av den romantiska pianolitteraturen. Mer information på sverigesradio.se/p2

 We remember the great Russian mezzo, Irina Arkhipova, who just passed away at 85. She sings scenes from Boris, Pique Dame, Mazeppa, and a Monologue from Arensky's "The Fountain of Bakhchisarai. (70 min.)                             All music inspired by Alexander Pushkin

A compilation of mostly Russian bassos (or bassos who sing in the Russian mode): Maxim Mikhailov  (Sadko)Len Sibirjakov      (Prince Igor)Fyodor Chaliapin   (Don Quixote)Yvgenyi Nesterenko  (Life for the Czar)Nicolai Ghiaurov (None but the lonely heart)Paul Plishka   (Eugene Onegin)Boris Gmyria   (Yolantha)Mark Reizen (in photo)  WalkureAlexander Kipnis (Tannhauser)Alexander Pirogov (Tsar's Bride)Sergei Aleksashkin  (Mazeppa)                       (74 min.)

Le cinéma équestre de Bartabas. La dernière de la saison. On parle du cinéma de Bartabas, metteur en scène, chorégraphe et maître de piste d'un opéra équestre qui s'est improvisé réalisateur le temps de deux films, Mazeppa et Chamane. Un virtuose dont la démesure n'a d'égale que sa passion. Des films à son image. (En plus, on se fascine pas pour le chevaux. C'est vous dire!)

Le cinéma équestre de Bartabas. La dernière de la saison. On parle du cinéma de Bartabas, metteur en scène, chorégraphe et maître de piste d'un opéra équestre qui s'est improvisé réalisateur le temps de deux films, Mazeppa et Chamane. Un virtuose dont la démesure n'a d'égale que sa passion. Des films à son image. (En plus, on se fascine pas pour le chevaux. C'est vous dire!)