Podcasts about mefistofele

Hacía tiempo que no disfrutábamos de la voz de un gran bajo de verdad. Por eso traemos aquí a uno de los más señalados de la segunda posguerra, que ya fuera visitante de nuestro programa hace años. Tras describir su rocosa y penumbrosa voz lo escuchamos en interpretaciones de O, tu, Palermo de Las vísperas sicilianas y de parte del dúo de bajos de Don Carlo, ambas de Verdi, esta con un imponente Boris Christoff. Luego dedicamos un amplio espacio al Mefistofele de Boito, del que Neri hacía una gran creación. Cerramos con el aria del malvado Alvise Badoero de La Gioconda de Ponchielli y con unos compases del final de Don Sebastiano de Donizetti..Escuchar audio

[@ 4 min] Canadian-American bass John Relyea goes ‘Inside the Huddle' with us from Rome where he just completed a run in the title role of Boito's "Mefistofele". Little did he know that he would be bargaining with his OWN soul when he agreed to be interviewed... [@ 24 min] It's a field report from PJ and pals on the Met's "Tannhäuser", and the #Callas100 countdown continues… [@ 37 min] Tributes are flooding in for the late Marlena Malas. We share some with you in the ‘Two Minute Drill'... GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Margherita - Elena Mauti Nunziata | Elena - Adelaide Negri | Marta - Flora Raffanelli | Mefistofele - Nicola Ghiuselev | Faust - Veriano Luchetti | Wagner - Giampaolo Corradi | Pantalis - Luisa Gallmetzer | Nereo - Giuliano Ansalone | Conductor: Maurizio Arena | Arena di Verona | 2 August 1979 | In-house recording

Arrigo Boito - Mefistofele: Ecco il mondo Samuel Ramey, bass Munich Radio Orchestra Julius Rudel, conductor More info about today's track: Naxos 8.578191 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 Amazon

TESTO DELL'ARTICOLO ➜ www.bastabugie.it/it/articoli.php?id=7356UN ASILO ABOLISCE LA FESTA DEL PAPA'... PER NON DISCRIMINARELa festa di san Giuseppe divenne festività civile nel 1949 e lo restò fino al 1977, quando fu abolita dalla Democrazia Cristiana al governo (!?), poi fu tolto anche il precetto religioso per cui non è più obbligatorio andare alla Messa quel giornodi Roberto MarchesiniA Viareggio una scuola per l'infanzia (un tempo detta asilo) abolisce la festa del papà: «È discriminatoria nei confronti di chi non ha un papà».I lettori della Nuova Bussola non sprecheranno certo tempo a controbattere questa affermazione: hanno ormai capito benissimo che l'obiettivo non è eliminare le discriminazioni, ma la festa del papà. Se non ci fosse la scusa della discriminazione se ne inventerebbero un'altra, di tipo scientifico («Il papà appartiene al passato, ormai possiamo creare bambini senza un uomo»), antirazzista («San Giuseppe era etero e bianco, non va festeggiato») oppure ambientalista («Le zeppole di san Giuseppe inquinano, la ricetta originale non prevede farine proteiche!») e via delirando. «Tutto ciò che esiste, merita di perire», diceva Mefistofele nel faust di Goethe; «Tutto ciò che esiste, merita di perire», ripetevano appena potevano Marx ed Engels. La festa del papà va abolita, punto. Perché esiste, perché ricorda la legge naturale. Poi un pretesto si trova, uno qualsiasi, anche il più assurdo.MOTIVI DI UNA FESTAMa perché festeggiare la festa del papà? Beh, di primo acchito, direi: per proteggere una specie in via d'estinzione. Ormai gli italiani sono estinti perché hanno smesso di riprodursi; quindi non ci sono più papà. I pochi, coraggiosi pochi papà (i «veri avventurieri», affermava Peguy) vanno onorati e festeggiati; finché ce ne sono. E poi i papà sono maschi eterosessuali, una delle specie animali più odiate del pianeta: come non solidarizzare con queste povere e innocenti vittime?Al di là di questo, cerchiamo di capire perché è stata istituita, questa festa. Il 19 marzo è la festa dei papà perché è il compleanno del papà più importante di tutti, san Giuseppe. D'accordo, un papà sui generis, considerata la faccenda; però, senza alcun dubbio, un vero padre. San Giuseppe è noto per alcune caratteristiche che lo rendono un archetipo di uomo e di padre. Innanzitutto, san Giuseppe… tace. Come ogni uomo tradizionale che si rispetti e a scorno delle femministe, che vorrebbero gli uomini ciarlieri e piagnucolanti, san Giuseppe, in tutto il vangelo, non pronuncia una sola parola. Però agisce: caspita, se agisce. Avvertito in sogno che la sua famiglia era in pericolo, fa i bagagli ed emigra in Egitto. Già, perché un padre accudisce e protegge, esattamente come fa Giuseppe. Ed è suo l'incarico di sostentare la famiglia («Col sudore della fronte», impone Dio all'uomo, «ti guadagnerai il pane»). Infatti san Giuseppe è un lavoratore, tanto che ha una seconda festa, il 1° maggio, festa del lavoro.UNA FESTA PLURISECOLARELa Chiesa ha cominciato a festeggiare san Giuseppe circa un millennio fa. All'inizio, per opera di qualche ordine religioso (Benedettini, Servi di Maria, Francescani); poi, da parte della Chiesa universale con Gregorio XV l'8 maggio 1621 e con Urbano VIII il 13 settembre 1642 (bolla Universa per orbem). Nel 1870, quando la Chiesa attraversava una persecuzione ferocissima da parte dello Stato italiano unitario, papa Pio IX proclamò san Giuseppe custode di tutta la Chiesa con il decreto Quemadmodum Deus. [...]La festa di san Giuseppe, chiamata anche «festa del papà» divenne anche festività civile con la legge 260 del 1949 e lo restò fino al 1977, quando fu abolita per motivi di «austerità» (sic). Contestualmente, perse lo status religioso di festa di precetto con la nota CEI dell'8 marzo 1977. Ma chissenefrega: resta comunque una bella festa, celebrata ancora in molti comuni italiani. E, soprattutto, ci permette di riflettere sul gran dono che Dio ci ha fatto dandoci un papà e indicando a tutti gli uomini Giuseppe, il giusto silenzioso, come modello ed esempio.

durée : 01:29:20 - Cesare Siepi, une voix de basse impériale (1/2) - par : François-Xavier Szymczak - Né il y a un siècle, Cesare Siepi a imposé sur les scènes du monde d'entier sa sublime voix de basse et un physique charmeur. Nous revenons en deux émissions sur quelques-uns de ses grands rôles

A cura di Paolo PellegriniArrigo Boito MefistofeleMefistofele, Cesare SiepiFaust, Mario del MonacoMargherita, Renata TebaldiElena, Floriana CavalliMartha, Lucia DanieliWagner, Piero di PalmaPantalis, Lucia DanieliNereo, Piero di PalmaCoro e Orchestra dell'Accademia di Santa CeciliaTullio Serafin, direttore

Richter, Elisabethwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Ferruccio Furlanetto is one of the world's greatest operatic basses. Over five decades, Furlanetto has stamped his authority on the works of Verdi and Mozart with his powerful voice and impressive stage presence. In the Drawing Room, he looks back over his career so far, and talks about taking on the role of Mefistofele.

Ferruccio Furlanetto is one of the world's greatest operatic basses. Over five decades, Furlanetto has stamped his authority on the works of Verdi and Mozart with his powerful voice and impressive stage presence. In the Drawing Room, he looks back over his career so far, and talks about taking on the role of Mefistofele.

Appuntamento delle grandi occasioni all'Arts Centre di Melbourne con la messa in scena del Mefistofele di Arrigo Boito interpretato da Ferruccio Furlanetto con la direzione d'orchestra di Andrea Battistoni.

Culminamos el estudio que hemos dedicado a la eximia soprano a los cien años de su nacimiento. Comenzamos escuchando páginas verdianas: Oh patria mia de Aida, en donde la voz brilla refulgentemente, la maravillosa aria Tu, che le vanità de Don Carlo y tres números de Traviata, Ah fors’è lui, Sempre libera y el final de la ópera. Después admiramos a la cantante en Io son l’umille ancella de Adriana Lecouvreur de Cilea seguida de un fragmento del dúo entre Fausto y Margarita de Mefistofele de Boito, en donde Alfredo Kraus acompaña a la diva. Todo culmina en belleza con Deh vieni, non tardar de Las bodas de Fígaro de Mozart. Grabaciones en vivo en la mayoría de los casos. A lo largo de programa recogemos algunas de las afirmaciones y comentarios que la soprano nos hizo en entrevista de junio de 1991. Escuchar audio

Primer programa de los que vamos a dedicar a esta ilustra dama del canto a los 100 años de su nacimiento. Analizamos su voz, su técnica y su arte y recordamos algunas de sus opiniones al respecto. La escuchamos en Addio del passato de La traviata de Verdi, Vissi d’arte de Tosca de Puccini, L’altra notte il fondo al mare de Mefistofele de Boito, Plegaria de Mosé in Egitto de Rossini, Ritorna vincitor de Aida de Verdi y, también del compositor de Busseto, Recordare (con Cloe Elmo) y final del Liberame del Requiem, con Toscanini en el podio. Escuchar audio

Buongiorno Amici e buon inizio settimana! Anche questo lunedì siamo presenti con la nostra consueta Rubrica. Oggi vi leggeró un passaggio tratto da "Mefistofele e l'androgine" di Mircea Eliade. Per dubbi o curiosità seguici sui nostri social: https://www.facebook.com/LibreriaEsotericailSigillo?locale=it_IT%2F https://www.instagram.com/libreriaesotericailsigillo/ https://www.youtube.com/channel/UC71ncDLmdQL9_Hyai2F-YRA Oppure acquista sul nostro sito www.libreriailsigillo.it La Libreria Esoterica il Sigillo è a Padova in via Beato Pellegrino 102 Esoterismo On Air è un podcast originale della Libreria Esoterica il Sigillo, la voce è di Fabio Todeschini , la musica di Tym Frost https://www.youtube.com/channel/UCknEXeA0LLn0L3qc9nJdf9w https://open.spotify.com/artist/3CTlxV47r5hrF1eA0t5UDQ?si=JD11ZPRBQIauWHlZvfz1Ow https://www.facebook.com/nerobot.null?locale=it_IT%2F --- Send in a voice message: https://anchor.fm/libreria-il-sigillo/message

Frank and Kathryn saw each other at two opera performances. Frank and his wife Jere attended Marble City Opera's “I Can't Breathe.” Frank was relieved that he didn't have to help clean up or stack chairs.  As Frank and Jere were settling into their seats as Kathryn came over to say hi. Kathryn hugged Jere and would have hugged Frank but he missed the attempted hugging.  Frank and Jere went to dinner with Kathryn and her husband James before a performance of Knoxville Opera's Mefistofele. When they got to the Tennessee Theatre, they talked with critic Alan Sherrod who said he watches the Frank & Friends Show. Alan's website is https://ArtsKnoxville.com/  Kathryn chatted with Mary Costa at intermission. Mary was the voice of Princess Aurora in Disney's Sleeping Beauty and played Cunégonde in the 1959 London premiere of Leonard Bernstein's Candide. Frank spoke with conductor Reginald Houze, who conducted a banda in Mefistofele and will conduct Marble City Opera's The Copper Queen. Reginald said he wanted to be a guest on the Frank & Friends Show.  Kathryn posted a photo of herself trying on her costume for The Copper Queen. Frank puts it on the screen alongside a painting of Julia Lowell. Tickets are available at https://www.MarbleCityOpera.com/tickets  Kathryn and Frank have been Facebook friends for five years. They have different memories of when they first met. Frank didn't recall interviewing Kathryn about La Traviata but he found the May, 2017 interview posted on Facebook. When is the appropriate time to become Facebook friends?  Frank uses Facebook as a substitute for LinkedIn in the areas of comedy, radio, and television. Frank posts about his professional interests but tends to save his personal stories for this podcast.  Kathryn will be out of town for a few opera jobs. Frank will need a few fill-in co-hosts when she's away.  This episode is sponsored by BoneZones.com (don't forget the S). Buy books and other merchandise autographed by Body Farm founder Dr. Bill Bass at https://bonezones.com/  Tickets go on sale soon to see Dr. Bass and Frank at the Children's Museum of Oak Ridge on Saturday, March 26, 2022. Contact the museum at 865-482-1074 or via https://childrensmuseumofoakridge.org/  Support the Frank & Friends Show by purchasing some of our high-quality merchandise at https://frank-friends-show.creator-spring.com  Sign up for a 30-day trial of Audible Premium Plus and get a free premium selection that's yours to keep. Go to http://AudibleTrial.com/FrankAndFriendsShow  Find us online https://www.FrankAndFriendsShow.com/  Please subscribe to our YouTube channel at https://YouTube.com/FrankAndFriendsShow  and hit the bell for notifications.  Find the audio of the show on major podcast apps including Spotify, Apple, Google, Audible, and now Facebook.  Find us on social media:  https://www.facebook.com/FrankAndFriendsShow  https://www.instagram.com/FrankAndFriendsShow  https://www.twitter.com/FrankNFriendsSh  Thanks!

Mefistofele is an opera in a prologue and five acts, then reduced to four and an epilogue, written and composed by Arrigo Boito inspired by Goethe's Faust.The first performance took place in Milan, at the Teatro alla Scala, on March 5, 1868, conducted by Boito himself, but it ended in a sensational fiasco, perhaps due, in addition to the excessive length of the work, to the strongly ideological content of some episodes, then suppressed. The work was then reduced and reworked by the author, who among other things transposed the part of Faust for tenor, originally for baritone; moreover, the figure of Margaret assumes central importance in the context of Faust's saving drama. The new version was successfully staged at the Teatro Comunale in Bologna on October 4, 1875, conducted by Emilio Usiglio in the presence of the composer.Purchase the music (without talk) at:http://www.classicalsavings.com/store/p1403/Boito%3A_Mephistophele.htmlYour 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

Una delle origini più controverse nella storia dell'uomo.

Countermelody celebrates its landmark 100th episode with a tribute to the artist that is my ne plus ultra, the Italian soprano Claudia Muzio (1889-1936). What better artist to salute on this occasion, as her voice is heard at the top of every episode of the podcast, and her beautiful presence graces the Countermelody logo. I discuss my theory that each individual listener has a singer whose voice penetrates to the core of their being. For me, as for many others, Claudia Muzio is that singer. I explore her recorded legacy, which falls into three distinct periods recording for three distinct record companies. In the case of “L'altra notte,” the classic aria from Arrigo Boito's Mefistofele, Muzio left three different recordings, one from each period. I examine these, and many of her other roles, in my attempt to plumb the depths of the Muzio mystique. Incidentally, there is a special bonus episode on Muzio that has been concurrently published for my Patreon supporters. What better time to celebrate this artist, and this occasion, than by signing up to become a monthly supporter on Patreon? (www.patreon.com/countermelody) The episode begins with a tribute to the late Italian dramatic tenor Giuseppe Giacomini, who died this past week at the age of 80. 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.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody's core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody's core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

Pour la sortie de l'album "Assoluta" chez Aparté SUR LE DISQUE Assoluta se réfère à ces voix de soprano qui firent les beaux jours des héroïnes tragiques du XIXe siècle : voix puissantes à la grande étendue de tessiture, au timbre chaud et riche, denses dans le grave, agiles et virtuoses dans l'aigu, et aujourd'hui presque disparues. Béatrice Uria Monzon en est l'une de ses rares représentantes : elle interprète les grands rôles de cette tessiture avec un programme traversant les monuments de l'opéra italien, dans ce premier enregistrement soliste. BIOGRAPHIE Béatrice Uria Monzon a profondément marqué le rôle de Carmen, dont elle a été l'une des plus grandes interprètes sur toutes les scènes nationales et internationales : l'Opéra de Paris, Chorégies d'Orange, Toulouse, Bordeaux, Venise, Vérone, Palerme, Turin, le Metropolitan Opéra de New York, Houston, Cleveland, Madrid, Barcelone, Buenos Aires, Staatsoper et Deutschoper de Berlin, Tokyo, Osaka, Moscou. Depuis plusieurs années, sa voix évoluant vers le répertoire de Soprano, Béatrice Uria Monzon interprète sa première Tosca en Avignon puis reprend ce rôle à l'Opéra de Paris, Berlin et la Scala de Milan. S'imposant d'emblée dans cette nouvelle tessiture, elle enchaine Lady Macbeth en 2016 au Théâtre Royal de la Monnaie et au Capitole de Toulouse, la Comtesse de Sérizy dans l'ouvrage de Luca Francesconi Trompe la Mort, création mondiale à l'Opéra de Paris en 2017, Adriana Lecouvreur à Saint-Etienne, Margherita et Elena dans Mefistofele de Boïto aux Chorégies d'Orange, La Gioconda au Théâtre Royal de Monnaie en 2019, Madeleine de Coigny dans Andréa Chénier.

Pour la sortie de l'album "Assoluta" chez Aparté SUR LE DISQUE Assoluta se réfère à ces voix de soprano qui firent les beaux jours des héroïnes tragiques du XIXe siècle : voix puissantes à la grande étendue de tessiture, au timbre chaud et riche, denses dans le grave, agiles et virtuoses dans l'aigu, et aujourd'hui presque disparues. Béatrice Uria Monzon en est l'une de ses rares représentantes : elle interprète les grands rôles de cette tessiture avec un programme traversant les monuments de l'opéra italien, dans ce premier enregistrement soliste. BIOGRAPHIE Béatrice Uria Monzon a profondément marqué le rôle de Carmen, dont elle a été l'une des plus grandes interprètes sur toutes les scènes nationales et internationales : l'Opéra de Paris, Chorégies d'Orange, Toulouse, Bordeaux, Venise, Vérone, Palerme, Turin, le Metropolitan Opéra de New York, Houston, Cleveland, Madrid, Barcelone, Buenos Aires, Staatsoper et Deutschoper de Berlin, Tokyo, Osaka, Moscou. Depuis plusieurs années, sa voix évoluant vers le répertoire de Soprano, Béatrice Uria Monzon interprète sa première Tosca en Avignon puis reprend ce rôle à l'Opéra de Paris, Berlin et la Scala de Milan. S'imposant d'emblée dans cette nouvelle tessiture, elle enchaine Lady Macbeth en 2016 au Théâtre Royal de la Monnaie et au Capitole de Toulouse, la Comtesse de Sérizy dans l'ouvrage de Luca Francesconi Trompe la Mort, création mondiale à l'Opéra de Paris en 2017, Adriana Lecouvreur à Saint-Etienne, Margherita et Elena dans Mefistofele de Boïto aux Chorégies d'Orange, La Gioconda au Théâtre Royal de Monnaie en 2019, Madeleine de Coigny dans Andréa Chénier.

Pour la sortie de l'album "Assoluta" chez Aparté SUR LE DISQUE Assoluta se réfère à ces voix de soprano qui firent les beaux jours des héroïnes tragiques du XIXe siècle : voix puissantes à la grande étendue de tessiture, au timbre chaud et riche, denses dans le grave, agiles et virtuoses dans l'aigu, et aujourd'hui presque disparues. Béatrice Uria Monzon en est l'une de ses rares représentantes : elle interprète les grands rôles de cette tessiture avec un programme traversant les monuments de l'opéra italien, dans ce premier enregistrement soliste. BIOGRAPHIE Béatrice Uria Monzon a profondément marqué le rôle de Carmen, dont elle a été l'une des plus grandes interprètes sur toutes les scènes nationales et internationales : l'Opéra de Paris, Chorégies d'Orange, Toulouse, Bordeaux, Venise, Vérone, Palerme, Turin, le Metropolitan Opéra de New York, Houston, Cleveland, Madrid, Barcelone, Buenos Aires, Staatsoper et Deutschoper de Berlin, Tokyo, Osaka, Moscou. Depuis plusieurs années, sa voix évoluant vers le répertoire de Soprano, Béatrice Uria Monzon interprète sa première Tosca en Avignon puis reprend ce rôle à l'Opéra de Paris, Berlin et la Scala de Milan. S'imposant d'emblée dans cette nouvelle tessiture, elle enchaine Lady Macbeth en 2016 au Théâtre Royal de la Monnaie et au Capitole de Toulouse, la Comtesse de Sérizy dans l'ouvrage de Luca Francesconi Trompe la Mort, création mondiale à l'Opéra de Paris en 2017, Adriana Lecouvreur à Saint-Etienne, Margherita et Elena dans Mefistofele de Boïto aux Chorégies d'Orange, La Gioconda au Théâtre Royal de Monnaie en 2019, Madeleine de Coigny dans Andréa Chénier.

a cura di Paolo PellegriniPRESENTAZIONE A CURA DI VALERIO LOPANE CON LA PARTECIPAZIONE DI GIOVANNI MARCHISIOPersonaggi e interpretiMefistofele, Giulio NeriFaust, Gianni PoggiWagner, Gino Del SignoreMargherita, Rosetta NoliMarta, Ebe TicozziElena, Simona Dell'ArgineOrchestra e Coro dell'Opera di MilanoFranco Capuana, direttore

A. Boito Mefistofele

Descubre con nosotros la versión operística definitiva del mito de Fausto, compuesta por un músico, Arrigo Boito, que quiso superar a Verdi y a Wagner. Aunque en su estreno, en 1868, esta ambiciosa obra cosechó un fracaso rotundo, el tiempo ha puesto en su sitio a una pieza demasiado avanzada para su tiempo, y que tiene algunas de las páginas corales más hermosas de la historia.

This classic tale of a man who makes an ill-advised deal with the devil has inspired many operas over the years, including Busoni’s Doktor Faust, Boito’s Mefistofele, and Lutz’s Faust et Marguerite. But no operatic version of this legend has come close to the instant success and enduring popularity of Gounod’s version. Today we have a pre-performance lecture from our “Talking about Opera” archives, featuring lecturer and writer Father Owen Lee, giving us an in-depth history and analysis of the music and creative inspiration behind this legendary work.

The Devil takes center stage in this opera based on the Faust story: a timeless tale of the seductive nature of evil and the redemptive promise of grace. Known primarily for his many successful libretti, Arrigo Boito gave his full poetic, philosophical, and musical talents to this, his only complete opera. This is the third in a series of Opera For Everyone podcasts featuring operas based on Goethe’s “Faust.” Also in the series: Episode 76 "La Damnation de Faust" by Hector Berlioz, and Episode 78 "Faust" by Charles Gounod. All three are hosted by Pat and guest co-host Kathleen Van De Wille.

Abell was raised in the Philadelphia and Chicago areas.David sang in the 1971 world premiere of Leonard Bernstein's Mass at the John F. Kennedy Center for the Performing Arts with the Berkshire Boy Choir.Abell enrolled at Yale University, where his teachers included John Mauceri and Rob Kapilow. He studied with Nadia Boulanger and Robert D. Levin at the American Conservatory in Fontainebleau before returning to Yale to complete his B.A. in 1981.Abell made his professional debut conducting Bernstein's Mass at Berlin's Deutschlandhalle in 1982.Abell mentions the following three operas by Gaetano Donizetti that were his introduction to opera: La Favorite, Lucia di Lammermoor, and Lucie de Lammermoor.Lyric Opera of ChicagoThe Makropulos Affair is a Czech opera with music and libretto by Leoš Janáček.Don Giovanni is an opera by Mozart.Mefistofele is the only completed opera with music by the Italian composer-librettist Arrigo BoitoThe Symphony No. 2 in D-flat major was written by Howard Hanson on commission from Serge Koussevitsky for the 50th anniversary of the Boston Symphony Orchestra in 1930.Interlochen Center for the ArtsThe Beatles were an English rock band formed in Liverpool in 1960. Members were: John Lennon, Paul McCartney, George Harrison and Ringo Starr.Abbey Road StudiosWashington National OperaGiacomo Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi".Oscar Hammerstein was an American librettist, theatrical producer, and (usually uncredited) theatre director of musicals for almost 40 years.The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte.Evans mentions the following schools as notable music schools: Juilliard School, Indiana University Jacobs School of Music, University of Michigan School of Music.The American Bach SocietyYale WhiffenpoofsWashington National OperaAbell continued his postgraduate training from 1983 to 1985 at the Juilliard School, under Jorge Mester and Sixten Ehrling.Eroica Symphony, byname of Symphony No. 3 in E-flat Major, is a symphony by Ludwig van Beethoven, known as the Eroica Symphony for its supposed heroic nature.Natalia Makarova is a Soviet-Russian-born prima ballerina and choreographer.Abell deputized at short notice for John Mauceri conducting Britten's The Turn of the Screw at Washington National Opera.On Your Toes is a musical with a book by Richard Rodgers, George Abbott, and Lorenz Hart.Gian Carlo Menotti gave David the advice to “never conduct Broadway. Never do it you will regret it.”Les Misérables, colloquially known in English-speaking countries as Les Mis is a musical adapted from French poet and novelist Victor Hugo's 1862 novel of the same name by Claude Schönberg.Porgy and Bess is an English-language opera by the American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin.Miss Saigon is a musical by Schönberg.Abell subsequently conducted the 25th anniversary concert of Les Misérables at the O2 Arena.The Philly PopsArturo Toscanini was an Italian conductor.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.Rhapsody in Blue is a musical composed by George Gershwin.Trevor Nunn is an English theatre director.Harold Prince was an American theatrical producer and director associated with many of the best-known Broadway musical productions of the 20th century.Ariadne auf Naxos is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal.The Voice of Firestone is a long-running radio and television program of classical music.Leontyne Price is an American soprano.Marilyn Monroe was an American actress, model, and singer.Dorothy Kirsten was an American operatic soprano.Minnesota OperaBlind InjusticeJohn Williams is an American composer, conductor, and pianist. Williams has composed for many critically acclaimed and popular movies, including the Star Wars series, Jaws, E.T. the Extra-Terrestrial, and the first three Harry Potter films.Till Eulenspiegel's Merry Pranks is a tone poem written in 1894–95 by Strauss.Along with pianist and musicologist Seann Alderking, Abell edited a complete edition of Cole Porter's Kiss Me, Kate, published in 2014.Glimmerglass OperaThe Library of Congress is the research library that officially serves the United States Congress and is the de facto national library of the United States.The New York Public Library is a public library system in New York City.Scott Davenport RichardsGioachino Rossini was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music.Phillip Gossett was an American musicologist and historian, and Robert W. Reneker Distinguished Service Professor of Music at the University of Chicago.Tancredi is a melodramma eroico in two acts by composer Gioachino Rossini and librettist Gaetano RossiUn ballo in maschera (A Masked Ball) is an 1859 opera by Verdi.Powel Crosley Jr. was an American inventor, industrialist, and entrepreneur. He was also a pioneer in radio broadcasting, and a former owner of the Cincinnati Reds major league baseball team.Alfred Drake was an American actor and singer.Robert Russell Bennett was an American composer and arranger, best known for his orchestration of many well-known Broadway and Hollywood musicals by other composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, and Richard Rodgers.Don Walker is an Australian musician, songwriter and author.Felix Mendelssohn was a German composer, pianist, organist and conductor of the early Romantic period.Messiah is an English-language oratorio composed in 1741 by George Handel.Lemuel WadeFrancesca Zambello is an American opera and theatre director. She serves as director of Glimmerglass Festival and the Washington National Opera.Lyric Opera of Kansas CityHawaii Opera TheatreChandos Records is a British independent classical music recording company based in Colchester.Peter Morris is an American playwright, television writer and critic, best known for his work in British theatre."Something's Gotta Give" is a song that was written for and first performed by Fred Astaire in the 1955 musical film Daddy Long Legs."A Wonderful Guy" is a show tune from the 1949 Rodgers and Hammerstein musical South Pacific.Abell cites Evans Mirageas as one of his greatest mentors.Abell cites his niece’s podcast, The Bright Sessions, as one of his current favorites.Abell mentions Dark Sky as one of his favorite appsTrio BistroCarousel is the second musical by Rodgers and Hammerstein.English National OperaAlfred “Alfie” Boe is an English tenor and actor, notably performing in musical theatre.

Frequent Verdi librettist Arrigo Boito wrote only one complete opera in his lifetime, a take on "Faust", entitled MEFISTOFELE. Sacrilegious, mystical, and captivatingly beautiful, Boito’s opera recounts the tale from the devil’s perspective, sung this season at the Met by bass-baritone Christian Van Horn. In this episode, Juilliard faculty member and Guild lecturer John J.H. Muller guides us through Boito’s work in this comprehensive pre-performance talk.

A vintage La Scala broadcast.

Episode 26! Benjamin and Joey continue our four part series on Batman Movies from different decades with part 3. This time things take a turn for the better as the guys discuss the first Christopher Nolan Batman film "Batman Begins" starring Christian Bale. In this episode: 1) How Christopher Nolan reinvented Batman onscreen and turned him from laughing stock to legend. 2) Understanding Christian Bale's portrayal of Batman and how this time it's much more real. 3)A breakdown of each of the main villains and how they use fear to their advantage. 4) And much, much more! Have a comment about something we said? Email: AffableChat@gmail.com Twitter: @AffableChat Don't forget to rate, review, and listen on iTunes, Google, or your favorite podcast app. Referenced in this episode: https://www.youtube.com/watch?v=OA5Y7wdmv8s https://www.youtube.com/watch?v=O3K2thH1goE https://www.youtube.com/watch?time_continue=12&v=d46Azg3Pm4c https://en.wikipedia.org/wiki/Mefistofele https://ipfs.io/ipfs/QmXoypizjW3WknFiJnKLwHCnL72vedxjQkDDP1mXWo6uco/wiki/Police_rank.html Intro Music: I Dunno by Grapes http://ccmixter.org/files/grapes/16626 Creative Commons — Attribution 3.0 Unported— CC BY 3.0 http://creativecommons.org/licenses/b... Music promoted by Audio Library https://youtu.be/sNAE8-mB5lQ

Arrigo Boito - Textdichter von Verdis "Otello" und "Falstaff" - stellt in seiner eigenen Oper "Mefistofele" den Verführer aus Goethes Faust in den Mittelpunkt. Doch ist der mit dem Denkmal, das der Italiener ihm setzt, auch zufrieden?

My old buddy...Sam Ramey. I asked him if Sam Jr. sang Mefistofele...Probably RAP!!!!!!

Nella quarta puntata di Pagine sommesse abbiamo parlato del diavolo: dal Lucifero di Milton al Mefistofele di Goethe, attraverso il delirio di Ivan Karamazov e il Satana di Carducci. Usi e costumi del terribile principe dei demòni. LETTURE DELLA PUNTATA: Edgar Allan Poe – Il diavolo nel campanile Dante – Inferno XXIV Fëdor Dostoevskij – […]

1 Lauritz.Melchior                    Walkure "Walse"  (get a stopwatch) 2. Mario Filippeschi     PIRA!!!! 3. Renata Scotto                         Luisa Miller aria 4. Vera Galupe-Borszkh    In questa reggia    (Ira Siff -better than most Turandots) 5. Piero Cappuccilli                        Attila Cab...B FLAT!!! 6.  Joseph Schmidt                            Ma Parri 7. Diana Soviero                              Mefistofele aria 8.Christine Goerke               "Come scoglio" (Cosi) 9. Sergei Lemeshev              May Night Aria 10. Georges Thill                    Saffo aria 11.Maria Caniglia                   "Pace" 12. Marilyn Horne                   "Or la tromba" 13. Joseph Rogatchevsky     Oberon aria 14. Antonio Cortis                    PIRA 15. Lucine Amara, Richard Tucker,Martial Singher   Hoffmnn Trio 16. Meta Seinemeyer            Liebestod  (great  singer,died at 33)

Tebaldi arias  Louise,Forza,Wally,Forz.Boheme,Lescaut,Chenier,Mefistofele,Adriana,(Alli Live) Exclude the small print. I have been ill (BACK!!~) .Hope I do more.

 Saffo(Pacini),Norma,Trovatore,Ballo,Otello,Mefistofele,Gioconda, Cavalleria,Tosca and four songs by Grieg,Simonetti, Tosti,Denza and Bach/ Gounod Ave Maria.  Tomorrow I call Magda Olivero (104 years old) and tell her to sing this repertory..Well, maybe only a little..BET SHE COULD!!!!!!!!!!!!!!!!!!!!!!!!!!!!.

 I hope you are enjoying these compilations as much (MORE!) as I do making them: 1. Giacomo (Jaime) Aragall          Adriana aria, act one 2. Daniele Barioni rings the Turandot Gong.(What breath control!) 3. Callas/Barbieri        Gioconda duet  (They burn up the place!) 4. Gilda Dalla Rizza      "Addio del passato" 5. Leyla Gencer    "D'amor sull'ali rosee".  (Note: A friend had a fight over this aria with someone whose house he visited. He got so mad that the host liked Callas better, he said, "Get out!" My friend said, "But I LIVE here!" The Gencer nutcase then said, "So what..GET OUT!!") Do you now see how normal Charlie is??? 6. Mario del Monaco   "Ah la paterna mano"  (Macbeth) 7. Mirella Freni             "Tu che di gel." (Turandot) 8. Nicolai Gedda/Renato Bruson/Christine Eda-Pierre   Pearl Fishers Trio  (They sometimes do another version, but this version is incredible!!!) 9.Gertrude Grob-Prandl   "Hojotoho" 10.Kirsten/Merrill           Thais Finale (One of the most glorious recordings ever made) 11.Rene Kollo                    Tannhauser Rome Narrative 12.Raina Kabaiwanska      "La Mamma Morta" (Chenier) 13.Pavel Lisitsian               Prologo (In Russian)   A voice of pure gold! 14.Magda Olivero                Mefistofele aria (breaks your heart.) 15.Aprile Millo                       "Danny Boy" 16.Michele Molese's legendary telling  critic Harold Schoenberg, who had written about his "pinched high C" in Ballo, that the note was for him. Galvany almost flipped out! 17.Julius Patzak                   Seraglio aria

More Franco: Werther,Mefistofele,Pagliacci, Cavalleria, Lodoletta, Andrea Chenier,Fedora, Mme. Butterfly, and I threw in a live PIRA!!!!!    (36 min.)

  I present the Garden Scene and the Prison Scene from Boito's Mefistofele, featuring two of the greatest verismo sopranos, Magda Olivero and Virginia Zeani. The Olivero performance is from Macerata, 1972, and features Cesare Siepi and Giorgio Merighi. The Zeani performances is from Trieste, 1970, and features Nicola Rossi-Lemeni (Virginia's husband) and Umberto Grilli.     (61 min.)

 An all-star cast in Boito's Mefistofele under Lamberto Gardelli. Renata Tebaldi, Carlo Bergonzi, and Nicolai Ghiaurov make this a marvelous performance.  (73 min.)

The beloved Magda Olivero, now 102 years young, sings first Poulenc's "La Voix Humaine" from 1970 in Venice under Nicola Rescigno. This will be followed by a series of Ave Marias from several years: Schubert( 1978), Bracesso ( 1979), Luzzi (1981), Saint-Saens (1985), and Leoncavallo ( 1987). The podcast concludes with a special arrangement,in 1994 (she was only 84), of an Ave Maria that is based on the Cavalleria Rusticana Intermezzo.  (72 min.)  Magda is one of the great miracles of opera and when I speak to her every birthday and when friends of mine visit her in Milan, she speaks that gorgeous "Verism0" Italian, and is even more lucid than I am. Magda Olivero (née Maria Maddalena Olivero, 25 March 1910) is a soprano of the verismo-school of singing. She was born in Saluzzo, Italy. Olivero made her operatic debut in 1932 on Turin radio in Nino Cattozzo's (1886–1961) oratorio I misteri dolorosi.[1] She performed widely and increasingly successfully until 1941, when she married and retired from performing. She returned to the stage ten years later, at the request of Francesco Cilea, who asked her to sing the title role in his opera Adriana Lecouvreur.[2][3] From 1951 until her final retirement, Olivero sang in opera houses around the world. Among her most renowned interpretations were the leading parts in Adriana Lecouvreur, Iris, Fedora, La bohème, La fanciulla del West, La traviata, La Wally, Madama Butterfly, Manon Lescaut, Mefistofele, and Turandot (as Liù.) She sang in Cherubini's Médée in Dallas in 1967 and in Kansas City in 1968.[4] In 1975, already an international star for four decades, she made her début at the Metropolitan Opera House in Tosca. Her last performances on stage were in March 1981 in the one-woman opera, La voix humaine by Poulenc.[5] Thus, her stage career ended at age 71 and spanned nearly 50 years. She continued to sing church music locally and, well into her eighties, made a recording of several arias. Recordings exist of many of her great performances of both full operas and arias and scenes. Among her studio recordings are Turandot (as Liù, with Gina Cigna, for Cetra, 1938), Fedora (with Mario Del Monaco and Tito Gobbi, conducted by Lamberto Gardelli, for Decca, 1969) and highlights from Francesca da Rimini (with Del Monaco, conducted by Nicola Rescigno, for Decca, 1969). In 1993, she recorded, with piano accompaniment, Adriana Lecouvreur (with Marta Moretto as the Princesse de Bouillon); excerpts from this recording were published on the Bongiovanni label. At age 86, she performed Adriana's monologue in Jan Schmidt-Garre's film Opera Fanatic. She made occasional singing appearances into her nineties. Olivero celebrated her 102nd birthday on 25 March 2012.

 Scenes from a most exciting 1964 Scala performance of Boito's "Mefistofele," featuring Nicolai Ghiaurov, Carlo Bergonzi, and Raina Kabaiwanska, under Gianandrea Gavazzeni. (70 min.)

   This wonderful work is performed by the Chicago Opera, 1965, under  Nino Sanzogno, and features Nicolai Ghiaurov,Renata Tebaldi, Alfredo Kraus, and Elena Suliotis.  (69 min.)

Here are the earliest reordings (1956-1959) by Franco Corelli.They originally were on the Cetra label. The arias are from: I Lombardi, Otello, Tosca, Turandot, Cavalleria, Fedora,Mme.Butterfly, Adriana Lecouvreur, Fanciulla, Andrea Chenier,  Lodoletta, Mefistofele, Pagliacci, and Werther.  (66 min.)   How we miss him!!!!!!!!

This is a great performance of Boito's Mefistofele. The 1931 recording,under Lorenzo Molajoli,features Mafalda Favero,Nazzareno de Angelis, Antonio Melandri, Giannina Arangi-Lombardi, and Ida Mannarini. This is true verismo singing.   (71 min.)

Happy birthday to my darling Virginia Zeani,one of the greatest divas in opera history. (No fooling.). In this tribute we present arias from Mefistofele, Turandot, Adriana Lecouvreur,Traviata, Lucia, Don Carlo, Maria di Rohan, Thais, Zelmira, La Boheme, and the Elisir duet with Nicola Rossi-Lemeni, her beloved husband.   (72 min.)

An abridged performance of Boito's Mefistofele, featuring Norman Treigle, one of the greatest singing actors in opera history. Julius Rudel conducts this 1970 performance which features also Gilda Cruz-Romo  and Robert Nagy. I heartily recommend the book as pictured in the photo. (68 min.)

Highlights from a brilliant performance of Boito's "Mefistofele" from Houston, 1992 under John DeMain. Featured are two superb singers whom I have known for so many years, Sam Ramey and Diana Soviero. Also the role of Faust is sung by Franco Farina, and Elena is sung by Elizabeth Holleque. I know you will love this one!!   (73 min.)

That devil of a guy, Sam Ramey, in arias from operas that deal with the devil (or with mean dudes): Faust,Damnation of Faust,Robert Le Diable, Rake's Progress, Tales of Hoffmann, Mefistofele, and I threw in Susannah as well. (50 min.)

 As I do each year, I wished the wonderful Magda Olivero a happy birthday today,Mar.25th, and she sends her "abbraccio" to all of you. This podcast contains live material from Amsterdam between 1962 and 1972 and is testament to the miracle of her art. I do hope you enjoy it and will search Youtube for much more material.(68 min.) Manon Lescaut ,Tosca,Iris,Risurrezione,Adriana, Mefistofele, Iris, Manon Lescaut (1964),Turandot, Gianni Schicchi, Boheme, La Rondine, Fanciulla del West

 A tribute to Jerome Hines, a great artist. The selections are anounced and biographical material is included. (73 min.) The American Jerome A. Hines (November 8, 1921 – February 4, 2003) was a well-known basso opera singer who was associated with the Metropolitan Opera for many years. His height (6ft 6 inches, or 2m), stage presence and stentorian voice made him ideal for such roles as Sarastro in The Magic Flute, Mephistopheles in Faust, Ramfis in Aida, the Grand Inquisitor in Don Carlos, the title role of Boris Godunov and King Mark in Tristan und Isolde. Hines was born Jerome Albert Link Heinz in Hollywood, California. He studied mathematics and chemistry at the University of California, while also taking vocal lessons. Hines made his operatic debut at the San Francisco Opera in 1941, singing Monterone in Rigoletto. He changed his surname to Hines at the suggestion of his manager Sol Hurok to avoid the anti-German feelings prevalent during World War II.[1] In 1946, Hines made his debut at the Met as the Sergeant in Boris Godunov. He went on to sing forty-one seasons there, longer than any other Met singer, encompassing forty-five roles in thirty-nine operas. During this time he pursued further voice studies with Samuel Margolis and Vladimir Rosing. In 1953, Hines made his European debut with Glyndebourne as Nick Shadow at the Edinburgh Festival in the first British performances of Stravinsky's The Rake's Progress. In 1958, he made his debut at La Scala in the title role of Handel's Hercules. From 1958 to 1963, he sang at Bayreuth in the roles of Gurnemanz, King Mark and Wotan. In 1961, he first appeared at the San Carlo in the title role of Boito's Mefistofele. In 1962, he sang Boris Godunov at the Bolshoi in Moscow, famously for Soviet leader Nikita Khruschev on the eve of the resolution of the Cuban Missile crisis. Hines turned to coaching later in his career, founding the Opera-Music Theatre Institute of New Jersey in 1987, but he continued performing virtually until the end of his life; among his last appearances was a concert performance as the Grand Inquisitor with the Boston Bel Canto Opera in 2001 at the age of 79. A born-again Christian and member of the Salvation Army, Hines composed an opera on the life of Jesus, I Am the Way. He sang the role of Jesus at the Met in 1968 and performed the work many times around the world. Hines wrote a memoir, This is My Story, This is My Song (1969) ISBN 0-8007-0313-8, and two books on singing, The Four Voices of Man (1997) ISBN 0-87910-099-0 and Great Singers on Great Singing (1982) ISBN 0-87910-025-7. Hines died of undisclosed causes in 2003, at age 81 at a Manhattan hospital. Hines was married to the soprano Lucia Evangelista from 1952 until her death from amyotrophic lateral sclerosis in 2000. They had four children, David, Andrew, John and Russell. For most of his life, he lived in South Orange, New Jersey. [edit] External links

The amazing Magda Olivero in an Amsterdam concert, 1962. She sings arias from Manon Lescaut,Mefistofele, Tosca, Iris, Adriana Lecouvreur, and Risurrezione.    (32 min.) Youtube Link: http://www.youtube.com/watch?v=HNniGHmTrNo  

   Maria Callas in the years 1958-1959. First we present a Los Angeles recital under Nicola Rescigno, with arias from La Vestale, La Boheme, Macbeth, Hamlet, Barbiere, and Mefistofele.    This is followed by some 1958-1959 material, with arias from La Boheme, Tosca, Ernani, Norma, and Mme.Butterfly.      Have any of you die-hard opera lovers ever experienced the vicarious thrill of being able to identify with someone who at an early age, much like yourselves, loves music so much? Recently, a young boy of 13, Olivier Bergeron, who resides in Montreal, has been reminding me (poor parents) of myself at that tender age. He is a Callas authority, and so I specifically dedicate this podcast to him.      Let us hope that his life will be as treasurable as ours, loving opera as we do. My problem with him is that his voice has not yet changed, and he must remember he ain't no Manrico (YET!).        (73 min.)

By popular request (ME), here are some more wonderful excerpts featuring the beloved Virginia Zeani.I hope you enjoy the scenes from: Piccolo Marat (w.Giuseppe Gismondo), Elisir d'amore (with Nicola Rossi-Lemeni),Mefistofele, La Boheme, La Rondine, Forza del Destino, Il Console, Tosca, and La Sonnambula, plus a brief interview.  (72 min.)

On July 13, 2009, we celebrate the 85th birthday of Carlo Bergonzi, one of the greatest singers in opera history. His singing serves as a true "vocal lesson" for singers, and we have been blessed by his presence on opera and concert stages for over 50 years.     This podcast, the second in his honor, features songs by Verdi, Caccini, De Curtis, Schubert, and Donizetti plus arias from Martha, La Boheme, Il Trovatore, Tosca, La Forza del Destino, L'Arlesiana, Mefistofele, and I Lombardi.     Bergonzi always ended his recitals with "Non ti scordar di me," and we will surely never forget him!                                       (71 min.)

Cari amici, About 40 long years ago, I attended the first rehearsal of Donizetti's "Anna Bolena," at the home of our illustrious maestro and one of my mentors in life, Armen Boyajian. Marisa Galvany (one of her many phony names) was the Bolena (and I loved looking down her throat to see where those phenomenal E flats came from). Then there was this young dude named Sam Ramey, who opened his mouth and out came some of the greatest sounds we ever heard. Gee... maybe he will make it some day, we all exclaimed! Now, as we celebrate Sam's 25th anniversary at the Met, and a 40 year professional career, singing an incredible range of roles and becoming one of the opera icons of our time, we feel so fortunate that he left Kansas to find an "Oz" of magic all over the opera world. I therefore wish to celebrate with you Sam's Met anniversary, and a fabulous career. I still relish those old tapes of our Bartolo/Basilio and am so fortunate I was able to be in on a tiny part of an illustrious career. I recall Sam once telling us about that skinny chain-smoking guy with the enormous voice by the name of Norman Treigle, and how he admired him. Well, they did so many of the same roles (Mefistofele, Boris,Blitch,Escamillo, The Hoffmann villains,Don Giovanni, Figaro,etc.). Happily, Sam Ramey has been able to follow along in this tradition, with so many great performances of a huge number of roles,a remarkable number of recordings, and engagements in every important opera theatre in the opera world. So..a happy 25th Met anniversary to a dear sweet and brilliantly talented guy and all my best to him and to his lovely wife and son (who also has a high F#...and more!) With my sincerest best wishes       Charlie   Excerpts are from  Italiana,Lombardi,Rinaldo,Attila, Mefistofele, Comte D'Ory, Semiramide,Susannah, South Pacific.                              (65 min.)

   I have waited far too long to present a podcast that features one of the great artists of all time, Carlo Bergonzi. There is so much material, but at least this is a good start. Included are arias and songs from his earlier days, up to his singing at age 67, and when I saw a New York recital at around age 77, there was still plenty of voice!        The selections are from:     Werther, Luisa Miller, Le Roi D'Ys, Forza Del Destino (original version), Elisir D'amore, L'Arlesiana, Martha, Mefistofele, the Verdi Requiem, and several songs.           Bergonzi always ended his recitals with "Non ti scordar di me," and that is appropriate because he will NEVER be forgotten!                                 (73 min.)

  Compilation of choruses from 16 operas as follows: Nabucco(in photo), I Lombardi, Macbeth (2 versions),Iris, Mefistofele, War and Peace, Boris Godunov, Prince Igor,Parsifal, Gotterdamerung, Meistersinger, Fidelio, Les Troyens,Romeo et Juliette, and Peter Grimes.                             (74 min.)

   I have come to the conclusion that Roumanian-born Virginia Zeani has emerged, in my opinion, as one of the greatest divas in opera history. I hope you enjoy the selections on this podcast. The works represented are: Forza del Destino,Maria di Rohan, I Puritani, Tosca,La Boheme, Turandot, La Traviata, La Rondine,The Consul, Elisir D'Amore, Vespri Siciliani,Mefistofele,and The Merry Widow.                   I sincerely hope you will enjoy listening to one of thegreat artists in opera history, and a very dear friend as well.                             (72 minutes)    

An affectionate tribute to the very great Magda Olivero,whowill celebrate her 97th birthday on March 25. The selectionsincluded in this podcast range from 1940 to 1993!! Traviata, Tosca, Risurrezione, Adriana Lecouvreur,FedoraFanciulla, Gianni Schicchi, Lodoletta, Jenufa, Mme.Butterfly,La Rondine, Manon, Mefistofele,plus "O del mio amato ben."                                     (81 minutes)

     In tribute to this great artist, I present scenes from:        Mefistofele, Boris, Coq D'or, Susannah, Faust,                           and Markheim.   If you are interested in Brian Morgan's fine new book,   which is entitled, "Norman Treigle, Strange Child of Chaos, "    it may be obtained from www.iuniverse.com or call the store at:1-800-288-4677