Podcasts about met opera

HI Dear Friends, It's like I'm on a Nantucket Sleigh Ride since seeing the last evening performance of the Met Opera's performance of Moby Dick.  Visually it is astounding. The thrill of going to Lincoln Center and hearing some recognizable scenarios I was reminded of the fond memories I have of reading from Moby Dick aloud during the pandemic.  I've recorded again a few paragraphs of the Chowder chapter I just love and the thought to share my youtube link for one of my Signature dishes, Ocean State of Mind Clam Chowder. https://www.youtube.com/watch?v=DW7Dezumy5Y&t=12s COOK MORE, SPEND LESS, YOU'LL FEEL BETTER

Peter Filichia, James Marino and Michael Portantiere talk about Maybe Happy Ending, King Lear @ The Shed, A Wonderful World: The Louis Armstrong Musical, La Bohème @ the Met Opera, Orson's Shadow @ Theater for the New City, and Second Stage Theater's production of Walden Helen J Shen, Darren Criss read more The post This Week on Broadway for November 17, 2024: Maybe Happy Ending appeared first on BroadwayRadio.

Episode Notes: Opera: An Art for EveryoneIn this episode , we explore how opera is more than just an elite art form—it's a timeless, emotionally rich experience that anyone can enjoy. Here's a closer look at what we cover in this episode:1. Why Opera Resonates with Everyone2. Busting Myths About Opera3. Tips for Newcomers to OperaKey Takeaway: Opera's stories, characters, and emotions resonate universally, making it an art form that everyone can enjoy. By embracing its accessibility and openness, opera becomes an art for all.Call to Action: Encourage listeners to experience an opera performance and share their impressions on social media with #OperaForAll. Host Bri Cooper Email: 728productions@gmail.com Thanks to our partners at THRIVE MARKET! Join today and get 30% off your first order as well as a gift up to $60. Visit www.thrivemarket.com/bricoopermezzo Instagram Harbour for the Arts Instagram Bri Cooper, Mezzo Soprano, MBA, BM (@bricooper.mezzosoprano) • Instagram photos and videos Spotify Playlists Harbour for the Arts Tik Tok Bri Cooper Mezzo Soprano SHOPPINGBy merch from my website: Merch Use my Rakuten Code

Our topic today is resilience in performance, overcoming obstacles to make it in the performing arts. Tasi and Steven talk with up-and-coming star Anna Dreslinski, a singer/dancer who is currently performing in the opera Ainadamar at the Met in New York. She straddles the worlds of opera and musical theater, performing in shows such as West Side Story, Amadeus, and others, but she's had to overcome many different issues along the way. This includes hip surgery, injuries keeping her out of rhythmic gymnastics, and abuse at the hands of Dr. Larry Nassar, the imprisoned US Gymnastics physician. Her life lessons are inspirational, and you won't want to miss this episode.WARNING: This episode discusses sexual abuse, and although no graphic detail is described, the topic may be sensitive for some of our audience, so we want to issue this warning in advance.For Anna's page with the Met Opera, go to: https://www.metopera.org/discover/artists/soprano/anna-dreslinski/Instagram @adreslinskiFor more on Athletes and the Arts, go to http://www.athletesandthearts.com

Today's episode will cover tips for staying focused on stage, strategies to mentally compartmentalize personal challenges, and maintaining emotional resilience as a performer. Host Bri Cooper Thanks to our partners at THRIVE MARKET! Join today and get 30% off your first order as well as a gift up to $60. Visit www.thrivemarket.com/bricoopermezzo Instagram Harbour for the Arts Instagram Bri Cooper, Mezzo Soprano, MBA, BM (@bricooper.mezzosoprano) • Instagram photos and videosSpotify Playlists Harbour for the Arts Tik Tok Bri Cooper Mezzo Soprano SHOPPINGBy merch from my website: Merch Use my Rakuten Code

Support Breaking Walls at https://www.patreon.com/thewallbreakers Willam Spier was born on 10/16/1906 in New York City. He began his career as an editor at Musical America Magazine, eventually becoming its chief critic. His radio career began in 1929, when he produced and directed The Atwater-Kent Hour, a Met Opera presentation. He soon became a valuable member of BBD&O's growing staff of radio writers & directors. In 1931 Spier went to Hollywood to direct one of the first big budget radio programs in southern California. Coming back to New York, he was one of the people responsible for the creation of The March of Time. In 1940 Spier left BBD&O & began working for CBS. He was soon their story editor. Meanwhile, CBS decided to bring Forecast back. Season two premiered on 7/14/1941, with a play from Hollywood called The Arabian Nights. It starred Marlene Dietrich & was directed by Charles Vanda. The following week Kay Thompson starred in 51 East 51 from New York. It was an on-the-scene comedy at a fictitious upscale New York bar. Her director that evening was Bill Spier. The two were soon dating, marrying in 1942. Two weeks later, Spier produced & directed a Forecast episode called Song Without End, starring Burgess Meredith & Margo. It was to be a biopic on musicians and composers. That autumn Vanda & Spier were in New York, pushing for the launch of Suspense as a CBS cost-sustained show. On Sunday 12/71941 Japan attacked Pearl Harbor & Manilla, finally thrusting the US into World War II. The next Sunday, as CBS prepared for the Monday multi-network broadcast of Norman Corwin's We Hold These Truths, Bill Paley finally approved Suspense's launch as a thirteen-week summer series in 1942. Vanda got Harold Medford to come East to write. Although Bill Spier was head of CBS's New York Story Department, it was Harold Medford who polished the first seven shows. Vanda also got CBS musician Bernard Herrmann to compose the show's score. Suspense premiered on Wednesday June 17th, 1942 at 10:30PM eastern time. The first episode, “The Burning Court” was adapted from a story by John Dickson Carr. Seeking a star, Vanda chose Charlie Ruggles. Known for his comedic flair, Ruggles was in New York for the opening of his latest film, Friendly Enemies. Vanda believed that Suspense could cast against type. It came to be a show staple. Charles Vanda wound up only being in charge of the first five shows. He went into the army. The second show was the John Collier mystery “Wet Saturday,” a grim tongue-in-cheek tale of murder. The final three shows by Vanda were a take on the Lizzie Borden case, a murder story aboard a train, & a thrill kill, “Rope” that Alfred Hichcock later shot with James Stewart. With Vanda entering the service Bill Spier took over the production. Spier's first episode as producer was on 7/22/1942. On 9/2 Suspense broadcast Lucille Fletcher's “The Hitchhiker.” At the time Fletcher was married to Bernard Herrmann. “The Hitchhiker” starred Orson Welles. Welles & Spier had known each other since The March of Time. Welles just returned from Brazil where he'd been promoting greater Pan-Americanism on behalf of RKO. It was his first appearance on Suspense. When the thirteen-week summer run ended, CBS was set to cancel the series. The last episode was called, “One Hundred In the Dark.” It aired on September 30th, 1942. In the end Suspense was saved by the amount of fan mail & phone calls to CBS. Spier pushed to link the show with a prestigious mystery author. He approached the agent of John Dickson Carr, who'd written “The Burning Court,” & a deal was soon in place for him to write exclusively for the program. CBS picked up Suspense for the fall season and put it on the air Tuesdays at 9:30PM beginning 10/27. John Dietz returned as director and a foreboding narrator, “The Man In Black,” was played by Ted Osborne.

The Swans of Harlem: Five Black Ballerinas, Fifty Years of Sisterhood, and the Reclamation of Their Groundbreaking History   By:  Karen ValbyThe forgotten story of a pioneering group of five Black ballerinas, the first principals in the Dance Theatre of Harlem, who traveled the world as highly celebrated stars in their field and whose legacy was erased from history until now.At the height of the Civil Rights movement, Lydia Abarça was a Black prima ballerina with a major international dance company—the Dance Theatre of Harlem. She was the first Black ballerina on the cover of Dance magazine, an Essence cover star, cast in The Wiz  and on Broadway with Bob Fosse. She performed in some of ballet's most iconic works with her closest friends—founding members of the company, the Swans of Harlem, Gayle McKinney, Sheila Rohan, Marcia Sells, and Karlya Shelton—for the Queen of England and Mick Jagger, with Josephine Baker, at the White House, and beyond.Some forty years later, when Lydia's granddaughter wanted to show her own ballet class evidence of her grandmother's success, she found almost none, but for some yellowing photographs and programs in the family basement. Lydia had struggled for years to reckon with the erasure of her success, as all the Swans had. Still united as sisters in the present, they decided it was time to share their story themselves.Captivating, rich in vivid detail and character, and steeped in the glamor and grit of professional ballet, The Swans of Harlem  is a riveting account of five extraordinarily accomplished women, a celebration of their historic careers, and a window into the robust history of Black ballet, hidden for too long. During Covid, five ballerinas met weekly on Zoom and formed the 152nd Street Black Ballet Legacy Council. Karen Valby joined them and wrote their story “Karen Valby's The Swans of Harlem brings to life the stories of Black dancers whose contributions to the world of ballet were silenced, marginalized, and otherwise erased. Karen introduces readers to important figures of our past, while inspiring us to courageously chase our dreams.”Misty Copeland“These five original Dance Theatre of Harlem ballerinas fell in love with an art form that most of America believed was white and should remain so. Upon Arthur Mitchell's founding of an all-Black company in 1969, they eagerly took their places at the barre and challenged themselves to the utmost. They triumphed. They showed that Blacks could not only excel at classical ballet but could also shape the art in their own vibrant image. Karen Valby weaves their stories together as a choreographer would: the women form an ensemble, yet each gets her own riveting solo. It's thrilling to watch as they join forces at last and claim their unique place in American ballet's past, present and future.”—Margo Jefferson152nd Street Black Ballet Legacy FoundationThe 152nd St. Black Ballet Legacy is an independent non-profit organization created by five trailblazing Black ballerinas.  Their professional careers began at the founding of Dance Theatre of Harlem, where their sisterhood was born.  They have enjoyed and nurtured their sisterhood for over 50 years and continue to thrive for the sake of preserving our their rich history.Lydia Abarca Mitchell is a founding member of the Dance Theatre of Harlem and their first prima ballerina. She danced leading roles in George Balanchine's Agon, Bugaku, Concerto Barocco, Allegro Brillante, Tchaikovsky Pas de Deux, and Swan Lake, Jerome Robbins' Afternoon of a Faun, Ruth Page's Carmen and Jose, William Dollar's Le Combat, and Arthur Mitchell's Ode to Otis, Holberg Suite, and Biosfera. She was featured on the cover of DanceMagazine, in the movie The Wiz, and on Broadway in Bob Fosse's Dancin'.  It was a stunning career on the world stage.Karen Valby Author of Welcome to Utopia, and contributor to The New York Times; O, The Oprah Magazine; Glamour; Fast Company; and Entertainment WeeklyDance Theater of HarlemThe Dance Theater of Harlem was founded in 1969, during the Civil Rights movement by Arthur Mitchell and Karel Shook.Harlem School of the ArtsElizabeth Howard, Producer and Host of the Short Fuse Podcast Elizabeth Howard is the producer and host of the Short Fuse Podcast, conversations with artists, writers, musicians, and others whose art reveals our communities through their lens and stirs us to seek change. Her articles related to communication and marketing have appeared in European Communications, Investor Relations, Law Firm Marketing & Profit Report, Communication World, The Strategist, and the New York Law Journal, among others.  Her books include Queen Anne's Lace and Wild Blackberry Pie, (Thornwillow Press, 2011), A Day with Bonefish Joe (David Godine, 2015) and Ned O'Gorman:  A Glance Back (Easton Studio Press, 2016). She leads reading groups at the Center for Fiction in Brooklyn, New York.  @elizh24 on Instagram     

Hello, friend, and welcome back to another episode of the Tales From The Lane Podcast. I'm your host, Kate Kayaian– a former cellist, and now a writer and coach for high-performing creatives–This is the show where we talk about how to create a life and career that you love– ones that bring both creative fulfillment and financial reward–ones that make you feel like you are Thriving, instead of merely Surviving.  Today, we have as our guest, oboist, coach, podcaster, and author of the upcoming book, Artists For Joy. Dr. Merideth Hite-Estevez. You'll hear about:  Some of the books that have most profoundly influenced Dr. Merideth's life and career, and why. Her creative process and how she approaches starting a new project or piece of work One piece of advice Dr. Merideth would give her younger self, just starting out in her career.  The 4 questions everyone must ask themselves when they complete a project.  About Dr. Merideth:  Dr. Merideth Hite Estevez is a creative catalyst, inviting all to the joy of creative expression through her writing, coaching, and performing. As an oboist, Merideth has performed with top orchestras in the US and abroad, including the Met Opera and PhillyPops, and is currently the English hornist/Second Oboe of the Chamber Orchestra of NY. She has served on faculties of numerous universities and schools of music, most recently as Associate Professor of Oboe at the University of Delaware. Her education has taken her all over the world—Cincinnati Conservatory of Music, Yale School of Music, Fulbright Scholar to Germany, and The Juilliard School, where she received her doctorate in oboe. She has been a featured speaker at Google, Longy School of Music, ShePodcasts LIVE, Hope*writers, Music Institute of Chicago, and more. As a coach, she has helped thousands of artists overcome creative block through her popular online creative recovery clusters and has served as an executive coach for all types of arts leaders, from major museum directors to deans of conservatories and art schools. Dr. Estevez's award-winning podcast, Artists for Joy, was in the top 250 podcasts in the US in the Self-Help category in January 2023 and is currently top 1.5% of podcasts worldwide. Her first book, “The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life,” debuts in Spring 2024 from Broadleaf Books. Originally from South Carolina, Merideth now resides in Metro Detroit, Michigan, with her husband, Rev. Edwin Estevez, daughter Eva, and son Eli. Here is the link to her Free Bonus Chapter with her Four Curtain Call Questions: https://artistsforjoy.myflodesk.com/s7mi3cvutm   Meredith's Website:  https://artistsforjoy.org/book   If you enjoyed today's episode, please don't forget to subscribe and share it with your friends!   Book a free 30-minute discovery call with Kate Want more Tales From The Lane content? Check out the TFTL Blog, with 6+ years of past articles and interviews!  Let's hang out on socials:  IG: https://www.instagram.com/kkayaian FB: https://www.facebook.com/groups/Talesfromthelane Twitter: https://twitter.com/kkayaianwright Website: KateKayaian.com

Today's book is: The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life (Broadleaf Books, 2024), by Dr. Merideth Hite Estevez, which is the ultimate guide for creatives. Whether you are a dabbler, a career creative, or a long-time self-proclaimed "tortured artist," The Artist's Joy is here to help. As a professional oboist, teacher, and creative coach, Dr. Estevez knows the world of creatives and what they truly need to cultivate a life-giving practice. The Artist's Joy offers not only tools for the journey but a deeper understanding of the ways creativity works in our lives. It includes self-coaching questions, a group discussion guide, and a companion playlist with tracks for musical meditation and creative engagement. The Artist's Joy can help you get unstuck, recover your creativity, and cultivate a practice that is joyful and sustainable. Content Warning: from minute ten to minute fifteen, Dr. Merideth Hite Estevez discusses ED and addiction. Our guest is: Dr. Merideth Hite Estevez, who has performed with top orchestras in the US and abroad, including the Met Opera and PhillyPops, and is currently the English hornist/Second Oboe of the Chamber Orchestra of New York. She has served on faculties of numerous universities and schools of music, most recently as Associate Professor of Oboe at the University of Delaware. She has helped thousands of artists overcome creative block through her online creative recovery clusters, and has served as an executive coach for arts leaders, from major museum directors to deans of conservatories and art schools. Her podcast is Artists for Joy, and she is the author of The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life. Our host is: Dr. Christina Gessler, the producer of the Academic Life podcast. Listeners may also like: The Academic Life episode on addiction and sobriety in academia The Academic Life episode on managing your mental health during your PhD The Academic Life episode on protecting your wellbeing in grad school The Academic Life episode on healing your writing practice after grad school Make Your Art No Matter What Becoming the Writer You Already Are Welcome to Academic Life, the podcast for your academic journey—and beyond! Join us to learn from experts inside and outside the academy, and around the world. You can support the show by downloading and sharing episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today's book is: The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life (Broadleaf Books, 2024), by Dr. Merideth Hite Estevez, which is the ultimate guide for creatives. Whether you are a dabbler, a career creative, or a long-time self-proclaimed "tortured artist," The Artist's Joy is here to help. As a professional oboist, teacher, and creative coach, Dr. Estevez knows the world of creatives and what they truly need to cultivate a life-giving practice. The Artist's Joy offers not only tools for the journey but a deeper understanding of the ways creativity works in our lives. It includes self-coaching questions, a group discussion guide, and a companion playlist with tracks for musical meditation and creative engagement. The Artist's Joy can help you get unstuck, recover your creativity, and cultivate a practice that is joyful and sustainable. Content Warning: from minute ten to minute fifteen, Dr. Merideth Hite Estevez discusses ED and addiction. Our guest is: Dr. Merideth Hite Estevez, who has performed with top orchestras in the US and abroad, including the Met Opera and PhillyPops, and is currently the English hornist/Second Oboe of the Chamber Orchestra of New York. She has served on faculties of numerous universities and schools of music, most recently as Associate Professor of Oboe at the University of Delaware. She has helped thousands of artists overcome creative block through her online creative recovery clusters, and has served as an executive coach for arts leaders, from major museum directors to deans of conservatories and art schools. Her podcast is Artists for Joy, and she is the author of The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life. Our host is: Dr. Christina Gessler, the producer of the Academic Life podcast. Listeners may also like: The Academic Life episode on addiction and sobriety in academia The Academic Life episode on managing your mental health during your PhD The Academic Life episode on protecting your wellbeing in grad school The Academic Life episode on healing your writing practice after grad school Make Your Art No Matter What Becoming the Writer You Already Are Welcome to Academic Life, the podcast for your academic journey—and beyond! Join us to learn from experts inside and outside the academy, and around the world. You can support the show by downloading and sharing episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

For all the influence Twitter has had on our culture, no community there has made quite as much impact as Black Twitter. The virtual community grew from a loose online hangout to an influential cultural force that directed conversations about race and culture not only on social media, but in our society at large. A new documentary miniseries from Hulu called Black Twitter: A People's History charts that monumental trajectory. This week on Gadget Lab, we chat about the rise and solidification of Black Twitter with showrunner Joie Jacoby, director and executive producer Prentice Penny, and WIRED senior writer Jason Parham, who wrote the WIRED cover story the docuseries is based on.Black Twitter: A People's History premieres on May 9th on Hulu. Read Jason's three-part series of stories about Black Twitter. Recommendations:Joie recommends the Met Opera show Fire Shut Up in My Bones. Prentice recommends the YouTube channel Pitch Meetings. Jason recommends X-Men 97 on Disney+. Lauren recommends watching Black Twitter: A People's History and reading Jason Parham's story that inspired the show. Mike recommends trying the new instant coffees that are popping up. (Instant coffee is good now, he swears.) Jason Parham can be found on social media @nonlinearnotes. Joie Jacoby is @joiejacoby. Prentice Penny is @The_A_Prentice Lauren Goode is @LaurenGoode. Michael Calore is @snackfight. Bling the main hotline at @GadgetLab. The show is produced by Boone Ashworth (@booneashworth). Our theme music is by Solar Keys.

Part II Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   Transcript     Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories.  My name is Linda Lespets and my co host is Eric Wan. This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out. So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909. Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And  he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents.  Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest  version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin.  Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship.  She's an astounding player. And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it's quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the Halling Dance. And the Halling Dance is danced, it's danced by men at weddings or parties, and there's really no other way to describe it than breakdancing and it's like the ancestor of breakdancing. So what happens is the men, they show off their prowess to the ladies by doing this really cool sort of these acrobatics and the music for this hailing dance itself is quite tricky and you have to play it with like a rhythm to get the crowd moving and to give the dancer like the impetus to do his tricks and the men, they wear these like traditional costumes of like high waisted breeches and red waistcoats with long puffy sleeves and this little black hat. It's a bit like Mr. Darcy meets Run DMC.  You've got this man in this traditional dress doing this breakdancing, basically. And then they do they do backflips. They do that thing where you hold your foot and you jump through it with your other foot. They do like the caterpillar move. Even like spitting around on their heads. And what happens is they'll be, they'll be dancing to this music often played with, you know, the epinette and they'll be spinning around and then intermittently after spinning around, they'll do, you know, the backflip and the headspin or the, the caterpillar. And it's, I don't know how they do it. It's, they must be very dizzy. Anyway, it's incredible. And then sort of the climax of the dance is that there's a woman also, you know, dressed traditionally, and she's got this pole, this long pole. And on the end of the pole is a hat. And the idea is you have to kick the hat off, but the pole is three meters high.  So she's standing on like a ladder with the pole. And so the dancer, he'll do this kind of flying kick in the air. Either you can, you kick it off or you miss it. So in Johan Halvorsen's concerto at the end, there's this high harmonic and that you either have to hit on the G string. And like in the dance, you know, you're hitting that hat off. And so you're always there. You're always wondering if the soloist can pull it off. Can they, can they hit that high harmonic? And it's, it's the same sort of the equivalent of the spinning high kick from the dance. So, and if you were Norwegian, You would get this, I think, from the, from the music and you'd hear it. You hear that you do hear it in the music. So Kathleen Parlow, she plays this Halversen concerto and she plays it three times that year, and when she plays the piece in the National Theatre in September, there's sort of, there are mixed reviews with the critics saying that the piece was too unconventional. It's a little bit different and here's where Halvorsen, he like, he kicks up a stink a bit. This, because this concerto is like his baby and he's really protective and he's like, you know, he's quite fragile. He's, he's worked so much on this thing and people are just saying, you know, nasty things.  They don't understand the work that went into it. Yeah, you write a concerto.  So people, they flocked to hear Kathleen play Johan Halversen's concerto at the theatre. And it was full to bursting on several nights in a row. And if you consider on the same night in Oslo in another hall, Fritz Kreisler was playing and here you have Kathleen Parlow and people are just like cramming in to see her and Halvorsen's concerto. She was a huge name in her time. Only after a few performances and the negative critiques, Johan Halvorsen, he cancelled all the future performances of the work and, and when he retired, he burnt the manuscripts and asked for all the copies to be destroyed as well, it really, he was really hurt. Well, it was to be lost forever, except So a hundred years later, a copy of the concerto was serendipitously found in the University of Toronto's Faculty of Music, when one of the employees was looking through, not music, but personal documents of Kathleen's and it had been filed in there by mistake. And because it was with her personal files, it hadn't really, like her letters and things, it had been overlooked. So they found it and they resurrected it and they've re performed this concerto that had been lost for a hundred years.  And that's another role as a musician. You're also not managing, but you also have to deal with composers that could have quite be quite touchy and everything like a musician has to have, have on their plate. Well, I think being a musician, not only do you have to have an incredible skill level, you have to have an engaging personality. You have to be able to transmit a personality through the music itself. And you have to have incredible social grace to navigate charming not only your audience, but charming the people who create the concerts, the sponsors, the people who bankroll them. I think it's an incredibly difficult task. Because the skill level playing the violin is so difficult. That in itself would take up most people's energy. But on top of that, also have to be ingratiating and charming. I think it's an incredibly difficult life. Yeah, must be exhausting. And she does get exhausted. She'll have Breakdowns through, like her first one is when she's about 22. She has like almost like a nervous breakdown. And so it's kind of, she runs hot for a long time and then crashes.  And it might be like, you're saying like all these different things they have to, all the balls that they have in the air that they're juggling to keep it going. Kathleen Parlow, she's still in her teens. She's still a teenager. She has incredible success. She's performing in Germany and the Netherlands. And later that same year, she returns to Canada where she makes an extensive tour. She makes her debut in New York and Philadelphia.  I mean, she's just like, she's just all over. I mean, America's a big place and she's just all over the place.  And then in 1909, at the age of 19, she gets a recording contract with the gramophone company known as his master's voice. And that's the one with the dog listening into a recording trumpet.  And she was offered a 10 percent artist's royalty figure. So is that good? Getting 10 percent royalties? Yes. A 10 percent royalty at that time. is really quite unheard of. I believe the gramophone company gave that to their superstars. Louisa Tetrazzini, for example, was the great coloratura soprano of the day, and she received 10 percent of the sales royalty. So for Kathleen Parlow to be receiving that percentage really attests to her status. Yeah. And like you were saying before, it was, it's like amazing that we've forgotten about her. Oh, it's kind of astounding. She was an absolute star. The concert halls and one newspaper wrote an article and I quote one of the articles, the young woman could not mistake the furor she created. She was, so she was described as the greatest woman violinist in the world and the girl of the golden bow and Of course the obsession with her willowy figure and pale complexion and feminine wilds continues Which is sort of I mean even the case today I suppose will people will go into describing a woman and what she's wearing what she looks like a bit more than a guy, this thing that's just pervaded and then there was Einar Bjornsson, always there in the background. The communications between them, himself and Kathleen, was sort of constant. He was always visiting and in her diary she was, you know, just abbreviating his name because it was so his feelings for the young woman were extreme and the money he borrowed from his father, he would never be able to repay. So he was sort of indebted his whole life because of this. It must have been a little bit awkward explaining to his wife as well where the money has gone. Yeah, it's a big chunk of her dowry. I mean, even if he did tell her, maybe, you know, I don't know, maybe he didn't tell her. Maybe she, it was possible for him to do that. I'm not sure how the laws in Norway work. If, you know, sometimes in some countries, once you marry, your, your money becomes your husband's.  Basically, after the successful gramophone company recordings, she was really launched her career. She travelled all over. She travelled to, back to the United States, even though she's from Canada. She was regarded as a British artist, primarily because Canada was part of Britain, but then she made her success in the United States. And she was a very big success, so much so that the Columbia Record Company decided to offer her a recording contract. Now, there were two main companies in the United States. One of them was the Victor talking machine, which is essentially, that later became RCA Victor when it was bought by the Radio Corporation of America. But it originally started as the Victor talking machine. They had many, many big artists. They had people like Fritz Kreisler and Mischa Elman, and they also engaged a female violinist by the name of Maude Powell, who was an American born violinist. And so the Columbia Record Company decided that they should have their own roster of great instrumentalists, particularly violinists. And so they signed up Eugene Ysaie,  the great Belgian violinist, but at the same time they also signed up And I think, in a sense, that was to somehow put themselves in competition with the Victor Company. These two major record companies in the United States. So you had  the Victor Company with Mischa Elman and Fritz Kreisler and their female star, Maude Powell. And then you have Columbia answering back with Eugenie Ysaie and their female star, Kathleen Parlow.  Yeah. So you have like we were saying, like all the relationships that you have to keep juggling as a musician. And I think what Kathleen Parlow had on top of that was this. This complicated relationship with Einar, her, her patron, who was, who it was, it's all a bit ambiguous what was going on there, but she also had that in the equation. So it's not surprising that she had multiple breakdowns like she would just go for it and then, and crash. And she plays, I think Kreisler's tambourine chinois. And was that because there was sort of this, like this kind of fascination with the Orient at that time in the, in like the 1910s, 1920s? Well, the origin of tambourine chinois, apparently according to Kreisler, but Kreisler always spun tall tales. He said that he was in a Chinese restaurant in San Francisco when the idea, the musical ideas of tambourine chinois came to, to being. So, but Kreisler always. You know, invented stories all the time. I mean, the thing is, it's a very  playful, it's a very you know, fun piece of music. It's very bustling.  So, hence, that's why probably Fritz Kreisler is associated with a busy Chinese restaurant in San Francisco, because it's very, very bustling in its character. But the middle section of Tamborine Chinois It's Act Viennese,  so it's funny, because the middle section, when you hear it, it doesn't sound like anything  to do with the Orient, or if anything, it sounds like the cafe, coffeehouses  of Vienna. Yeah, it'd probably be cancelled anyway today. Well, if they heard that story, it certainly would. Then, she actually only does her first tour in America when she's 20. Kathleen, she continues with her endless touring and concert. Her money management was never great, although, you know, she's still, she's still earning quite a lot of money, and her mother and herself had, they had enough to live on, but never enough to be completely hassle free. And not that she wanted it, it seemed like she was sort of addicted to this life of the stage, and she once said when she was older that she thought maybe she had to get a job teaching, but she just couldn't do it.  She played more than 375 concerts between 1908 and 1915 and, and you can believe it to get an idea. So she's 19 year old's touring schedule. Here are the countries she played in in 1909. And you have to remember the concerts are nonstop every night, almost in different cities, but here are just, here are just some of the countries she travelled to in this year, in 1909. Germany, England, Poland, Netherlands, then she goes back to England, Ireland, Germany, England, the Netherlands, Norway, Wales, England again, Ireland again, England, Scotland, Poland. Man, I gave it, it was just, you know, huge. And in her diaries we can see that she's, like, she's just a young woman, like, about town when she's in London, she takes trips to the theatre, and she talks about going to see Madame Butterfly, and she goes shopping, and she goes to tea with people she has like, appointments at the dressmaker for fittings for new dresses, and, and all of this is in between lessons, and rehearsals, and concerts. And her diary is just jam, she has these day books and they're just jam packed. Then Auer when he comes to London, her diary, it's like she has lessons with him. And you can see she's sort of excited, she's like hours arriving and then she'll see him and then she'll often have lunch with him and lessons and sometimes the lessons are at eight o'clock at night or, or 10am on a Saturday or at the middle of the night on a Monday. And she'll skip from him to rehearsals with her pianist from Carlton Keith. And she's lots of tea. She's going to tea a lot with a lot of different people. She's still only 19 here. So her popularity, it's like, it's far reaching and she's not just playing like classical music. She'll also play just popular pieces of the day. There's Kreisler's Tambourine Chinoise. And then she'll play, there's some of the recordings. They're these Irish, little Irish. Songs. So it was to appeal to the general public as well, her repertoires and her recordings. And then in 1910, she turns 20 and she has her first tour in North America. And then in 1911, the New York Herald declares her as one of the phenomena of the musical world on par with Mischa Elman. That must have been frustrating because for years she's in the same class as him and she knows him. And everyone just keeps comparing her to, she's like, Oh, she's almost as good as this guy. But no, here they're saying she is as good as this guy. I could just, must've been a little bit frustrating. Then she makes an appearance with the Toronto Symphony in 1911 and she'll go back there many times. And in the next year, in 1912, she moved with her mother, who's still her mentor and manager and chaperone, to England, where they, they rent a house just out of Cambridge, you know, in the peaceful countryside away from the big cities. And in between her touring from here, she went, she goes to China, to the U. S., to Korea and Japan. And in Japan, she records with Nipponophone Company. She recorded quite just in a not much in a short space of time. She could have, she could have recorded more afterwards, because yeah, but she doesn't. Then the news of the tragic sinking of the Titanic in April had Kathleen jumping on a streamliner herself to play a benefit concert in New York for the survivors of the disaster. And I've seen that booklet, and that you open the booklet, and there's like, life insurance.  And then there's actually ads for another streamliner, and you're like, too soon, too soon, people don't want this. And then she plays, so on that same trip, she plays at the Met Opera. She plays Tchaikovsky's Serenade, Melancholique.  And in New York, she signed up by Columbia Record, by the Columbia Record Company. And her first records for the US label are brought out alongside those of Eugene Ysaye. So she's alongside these, they all, they must've all known each other. She was a contemporary and she just kind of slips off the radar. And as with all the recordings of the great violinists of the day, most of Paolow's recordings on American Columbia were of popular songs and that, that would attract the general public. But the fact that most of these recordings were accompanied by an orchestra and not just piano highlights her status as a star. So they had the, they got together an orchestra for her, so she's worthy of an orchestra.  Still in 1912, Kathleen, she's 22 now and she's been traveling so much, she's, now it's happening, it's hitting her, she's exhausted and she has a kind of breakdown it'd probably be like a burnout and, which, it's amazing she's lasted this long, since, you know, age 5, 6, up to 22. So she's both mentally and physically exhausted and her mother, acting as her agent, realizes that she needs to reduce some of her tours. She retreats to Meldreth, that's that house just outside of Cambridge that they have, that they've been renting. It's quite close to London, that little cottage that they have. They have easy access to London by train. And not only could they go easily to London, but traveling, traveling businessmen! From Norway! Could come to them! Easily. She continues with the concerts, one at Queen's Hall in London. So she has her little burnout, but then she's back again. Plays Schubert's Moment Musical around this time. After they've rented this home for four years, they end up buying it. So she does have enough money to buy a house, so she is you know, not frittering away all her money. So this gives her some sort of stability. And it, even though it's a, it's still a very unusual existence for a young lady of the day. So she's breaking a lot of stereotypes and this could end up being exhausting after a while. So it was nice for her to have a calm place to kick up her heels or fling off her corset. But no, she didn't, but willowy frame, she doesn't look like she's got a corset. I don't think you can play. Can you? Could you play that much? You know, you can't breathe. But, but, aren't there like old photos of, of lady violinists in corsets? I don't know how they do it. Like, you can't.  Well, you had to do everything else in the corset.  But you get kind of hot and sweaty and you're under the lights and it must have been exhausting. At least she was like lucky to have that pre Raphaelite fashion where she could be wearing, you know, the flowing sort of we're heading into the, the sort of the looser clothes in this era. But I think some people are still hanging on to corsets, but it's like the end of corsets and you're getting more loose clothing thankfully for her. And according to letters Kathleen wrote to friends her and her mother, and they fell in love with the village life in Mildreth. Kathleen was able to relax and lead a normal life in between tours. And then in 1915, you have World War I hits, and her tours are less frequent. Her, her patron Einar, must have been having some lively fun. Dinner conversations with his family on opposing sides.  So you've got, you know, with his, you know, fascist party, enthusiastic brother and his ex-prime minister brother in law and his theatre operating lefty brother and his Jewish wife and his Left wing satirical journalist sister, and her German husband, and then,  and then his patriot father. So Einar probably just wanted to run away to willowy Kathleen, and her stunning violin. But she remains in England for much of the war, and she does a few concerts locally.  And her diary is quite blank until about 1916. And she uses, like, so she uses this time to relax. So ironically, she needed a war. To have a rest. That was the only thing slowing her down. She could, because she couldn't travel and tour. Now she's 26, but I feel like she's just, she's lived so much already. It's incredible. So Meldreth was the happy place where she enjoyed their lovely garden and their croquet lawn and Miss Chamberlain from the Gables next door would come and play croquet and she could escape to another world, almost. She'll go through periods of having these sort of breakdowns. I think she just pushes, there are some people like that. They'll push themselves; they just keep pushing themselves until they collapse. And I feel like she was one of, she looks like she didn't really pace herself. She just went, just hurtling into it. She just catapults herself into life and concerts and playing.  In 1916, she returned to the US. She toured Norway and the Netherlands. For playing she was said to possess a sweet legato sound that made her seem to be playing with a nine foot and was admired for her effortless playing, hence her nickname, the girl with the nine foot bow. So yeah, so she must have had this really kind of, it's hard to tell, you want to be there in the concert hall to hear her. I feel like the recordings don't do her justice. A lot of Experiencing music and these pieces is actually going to a concert and it's the same today listening  on a you know, at home, it's not the same as being in a concert hall and having that energy of the musician and the energy of the orchestra and the and the audience,  it's very different dynamic. She recorded a few small pieces for Columbia records. And then that was, that was it. And we have no more recordings of her. And between 1917 and 1919, she wasn't able to tour outside England due to the war that was going on. And for the last 12 years, Einar Bjornsson had. He'd been this presence in her life, but now in the summer of 1920, he visited her one last time in London before sailing home for good. So that.  So it finishes at this time, so he was, he was married, he had children, he was also broke. Buying a horrendously expensive violin and giving it to a girl can do that to you. And Kathleen writes, Kathleen writes in her diary simply, E. B. Sailing home. Einar had to return to his family as soon as possible because he couldn't afford to divorce his wife. Elspeth Langdon, she was, she wasn't going to let him off that easily. And if he left, he would have had to repay the, the dowry, I imagine.  Thank you. Thank you very much.  As I said, there are just no letters of her correspondence. There's correspondence between her and everyone else, but not with them. So that still remains. But you can sort of see by circumstance what was kind of going on. And after the Great War, Kathleen Parlow, she resumed her career in full force. She gave several world tours traveling to the Middle East, to India, to China, to Korea and Japan. And she toured the States, Canada, Indonesia and the Philippines in that year and she played concerts in 56 different cities. It was just non stop and in, and when I say 56 different cities, that's not 56, you know, concerts. That's like multiple concerts in each.  City, night after night.  And then in 1926, Kathleen and her mother, they leave England and they move to San Francisco. She takes a year off due to her mental health. So again, she's like, she's overdone it. The stress and basically, you know, a nervous breakdown and she's now in her mid thirties. But after having this year off, she's back onto it. She's back touring again. It's like this addiction, like you were saying, this is what, it's kind of like her, what makes her run. It's what, You know, keeps her going. But at this point she begins to slow down slightly and she starts teaching a bit. Starts teaching more and in 1929 she tours Mexico and she travels without her mother for the first time. Because her mother, Minnie, she would have been getting quite old and then Kathleen she's 39 now. So despite playing many concerts and receiving very high praise financially, she's barely kind of breaking even and she later told an interviewer that when things were very hard she and her mother had talked about her getting a job to ensure their security for the future but she just couldn't do it. And then, but then she did end up teaching at Mills College, Oakland, California. For from 1929 to 1936, but then her world tours continued and this is like, this is how she thrived, even though she would, you know, she'd crash and burn and from the exhaustion and, but then, you know, then she would go back. She realized she had to teach to earn some money. And then she returned to Canada in 1941, where she remained until she remains there until she dies in 1963.  She's offered a job at the Toronto College of Music and she begins making appearances with orchestras. She has a pianist, she has the, she creates the Parlow String Quartet, which was active for 15 years. Even though this time was difficult financially for her, she would,  she would never give up her violin. You know, she was struggling, just scraping by, but she, she would never give up her violin and so, I mean, it was a tricky situation. It was, it was a gift. Yeah. I mean, could you imagine? Like, she must've realized what Einar went through to give this to her and she can't, you know, she can't just be like, I'm going to sell it. So there's this sort of, it's like she's holding on to a bit of him really, like, by keeping it, if she, she gives that up.  So she taught at the University of Toronto and on her wall was a large portrait of her teacher, Leopold Auer, whom she would always refer to as Papa Auer. Now that she'd given up her career as a soloist, but she still remains very active in chamber music, concerto appearance. October of 1959, she was made head of the string department at the London College of Music in West Ontario, Canada. She never marries, and she dies in Oakville, Ontario, in 1963 at the age of 72. She kept her Guarneri del Gesu until her dying day, and the instrument was sold with her estate. The Kathleen Parlow scholarship was set up with the proceeds from the sale of her violin and the money from her estate. So Kathleen Parlow was a somewhat extraordinary woman, ahead of her times in many ways, and her relationship with Einar, must have been pretty intense. And it was, there was obviously strong feelings there. And even though it's a very grey area, we don't know her love life contrasts with her, her brilliant career and her phenomenal touring and the, the energy that she had to do, it was.  Exceptional she just does these brief recordings and then she does no more. And maybe, maybe that's why we've forgotten her. Have the other, did the others go on to keep recording? Well, they did. They certainly did. I think I'm surprised that Kathleen Parlow didn't make more recordings. I really am. And I don't know what that's about. I can only speculate, but I think she also kind of retreated from concertizing, didn't she,  in her twenties? So, I mean, you know, she did play as far afield as the, you know, she went to China, she went to Japan. She even made recordings for the Niponophone Company in the early twenties. So she was obviously still a great celebrity. But it's sort of puzzling how somebody who had all their ducks in place to make a superstar career. You know, she had  talent, she had beauty, she had interest. You know, from the public, so support from her teacher, all those elements would guarantee a superstar career. But it's so mysterious that she kind of fell off the radar. So much so that her name is completely forgotten today. Yeah, it's one of the big mysteries, but it's really quite remarkable that she was such a terrific violinist, even at the end. It wasn't that she lost her nerve or lost her playing ability. She obviously had it. So there are definitely other factors. that made her withdraw from public concertizing.  And just her touring schedule is just exhausting. Like just the traveling. Yeah, it's crazy. I mean, I mean, this is truly an example of burnout. Yeah. But, but then she would, she would have the crisis and then she'd be back on, she'd be back touring.  Well, you know, she was pretty resilient. But I think just the sheer number of years, I think, must have taken its toll. I think she loved being in England, in Cambridgeshire. I think those were some really happy years for her, to have a home and in a beautiful setting. But it really, it's a very complicated life and a life that really, one would want to try to understand in a deeper way.  Yeah, and it seems a little nothing was ever very simple. Yeah, and she never, she never marries, she never has a family. It's Yes. Her life is really And you'd imagine she'd have suitors, you know, send them off because, you know, she was a talented, beautiful woman. So she's got Misha Elman. He could, like, if you were a man, you could easily get married and then your wife would have children. But at that time, if you married, like, she had to choose between getting married and her career. You couldn't work if, like and it often, like, you weren't allowed to work. Absolutely. Terrible. No, it's true. So she had this like, this threat, and that's all she could do. That was her life playing. And then if she married, that would be taken away from her. So she had to decide between, you know, a career and this. It's kind of, it's a bit sad, but yeah, it's a huge choice that she made and she  was married to life. Yeah. The sacrifice. One way or the other. Well, I think it's wonderful that she is being remembered  through this Buddulph recordings release.  And it's the first time there's ever been a recording completely devoted to her. So I'm really glad that. will be able to somehow restore her memory, just a little bit even. Well, thank you for listening to this podcast. And I hope you enjoyed this story about the incredible Kathleen Parlow.  If you liked the podcast, please rate it and review it wherever you listen to it. And I would really encourage you to keep listening to Kathleen Parlow's work. What you heard today were just excerpts from her songs. So if you would like to listen to. The whole piece, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version.  Goodbye.   ​ 

Today, we're joined by Kevin McNaughton, an incredible musician who is currently on the road with the Mamma Mia tour. Kevin shares a behind-the-scenes look at the life of a touring musician.* Getting Started in Touring: Kevin's journey began in Florida, where networking and a timely opportunity launched his career with the national tour of South Pacific.* Musical Influences: From early experiences seeing the Chick Corea Electric Band to absorbing the works of Beethoven, Kevin's diverse musical influences shaped his approach to drumming.* Family Support: Despite the uncertainties of a music career, Kevin was fortunate to have unwavering support from his family, who encouraged him to pursue his passion.* Learning the Craft: His decision to take private lessons and the impact of his father's drumming was pivotal in Kevin's development as a musician.* Education and Career Choices: Kevin reflects on his education, opting for a jazz studies degree over classical percussion. He contemplates how different decisions might have directed his career path.* The Business of Broadway: Kevin emphasizes the importance of understanding the business side of Broadway, from contracts to Broadway grosses, offering advice for those aspiring to join the industry.* Touring Life: He contrasts the experiences of bus and truck tours with first national tours, discussing accommodations, the grueling schedules, and the unique challenges of performing in different venues.* Drumming Techniques and Influences: Kevin shares his top drumming influences and discusses how he incorporates various styles into his playing.* Aspirations and Advice for Newcomers: Looking towards the future, Kevin expresses his dream of playing on Broadway and offers advice for musicians aiming to make their mark in New York City or in touring productions.* Creative Ventures: The podcast concludes with a light-hearted discussion about potential creative projects, showcasing Kevin's passion for music and storytelling.This episode provides a comprehensive look at Kevin's experiences and insights into the world of touring Broadway shows. You don't want to miss it!Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Kevin honed his classical percussion and drum set skills under the guidance of Grammy™ nominated artist Brian Slawson, refined his vocal abilities with MET Opera singer Mark Baker, mastered the art of conducting with John C. Carmichael, and explored composition with Grammy™ nominated composer Chuck Owen.Throughout his career, Kevin has shared the stage with renowned artists such as Bobby Floyd, Laura Osnes, Jeremy Jordan, Carolee Carmello, Mary Testa, Bonnie Milligan, and Andrea Burns, among many others.Kevin has also subbed on the Broadway shows Be More Chill, The Easter Bonnet in 2019, the All-Female 1776, and Elephant and Piggie. He has toured with several hit musicals, including Pretty Woman, Elf, Dirty Dancing, Beauty And The Beast, Memphis, Shrek, and South Pacific.Kevin is currently the drummer for the Mamma Mia tour.For more: https://kpmdrummer.wixsite.com/kpmdrummerClayton Craddock is the founder of Broadway Drumming 101, a comprehensive online platform dedicated to providing specialized mentorship and a meticulously curated collection of resources.Clayton's Broadway and Off-Broadway credits include: tick, tick...BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill, and Ain't Too Proud - The Life And Times Of The Temptations. He has subbed for shows like Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, Spongebob Squarepants - The Musical, Hadestown (tour) and many more. Clayton has appeared on The View, Good Morning America, Jimmy Fallon, The Today Show, the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Denise Williams, Chuck Berry, and Ben E. King.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.For more about Clayton Craddock, click here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Welcome to another conversation from the high/low art divide between opera-singer-turned-experimental-performer Ema Katrovas and comedian-and-TV-writer-turned-novelist Nicholas Anthony.  This episode is the first half of a two-part series recorded in New York - in this case, directly at the Metropolitan Opera. We recorded this episode sitting in our seats in the Family Circle, during both intermissions and right after the end of a performance of Zefirelli's classic production of Puccini's La Boheme, one of the most popular, if not the most popular, operas of the last century and, even better, one that tells the story of aspiring artists. The cast we heard on January 8th at the Metropolitan Opera:  Conductor: Marco Armiliato  Mimi: Elina Stikhina Rodolfo: Stephen Costello Musetta: Kristina Mkhitaryan Marcello: Adam Plachetka  Schaunard: Rodion Pogossov Colline: Krzysztof Bączyk Benoit/Alcindoro: Donald Maxwell Met Opera Chorus  Link to the recording I used as "illustration footage": https://www.youtube.com/watch?v=H_1OtRt0_ho Cast of the recording (though you don't get to hear most of them): Mimì: Mirella Freni Rodolfo: Luciano Pavarotti Musetta: Annarita Taliento Marcello: Lucio Gallo Schaunard: Pietro Spagnoli Colline: Nicolai Ghiaurov Conductor: Daniel Oren

Shakespeare's “Romeo and Juliet” is the most famous love story in the Western canon. It's a tale so embedded in our culture — one that has seen so many iterations and retellings — it might feel hard to appreciate its original pathos, and the way it perfectly distills the intersections of young romance, idealism, and rebellion. In this episode, host Rhiannon Giddens and guests take a fresh look at this classic by focusing on the character of Juliet and her pivotal decision to take the friar's draught, a concoction that will help her feign death long enough to escape an arranged marriage and run away with Romeo. It's both an act of tremendous courage and one that sets their tragedy in motion. In Charles Gounod's operatic retelling, the aria Juliet delivers as she wrestles away her fear is so difficult that it's often cut from productions. But it's a pivotal moment, and a testament to Juiet's agency. Soprano Diana Damrau is up to the task, and delivers a rendition of “Amour, ranime mon courage” — otherwise known as the “poison aria” — from the stage of the Metropolitan Opera. THE GUESTS Soprano Diana Damrau is among the most celebrated opera singers of her generation. She's graced the stages of opera houses all over the world, and sung the role of Juliette at both The Metropolitan Opera and La Scala. After her debut as Juliette in 2016, it quickly became a favorite. For her, Gounod's “Roméo et Juliette” is “one of the most beautiful operas ever written.” Yannick Nézet-Séguin serves as music director for the Met Opera orchestra, the Philadelphia Orchestra, and Montreal's Orchestre Metropolitain, among many other appointments and collaborations with esteemed orchestras. In his opinion, “Roméo et Juliette” beats out “Faust” as Gounod's best opera. Emma Smith is a Shakespeare scholar and critic at the University of Oxford. Among her publications is the book “This Is Shakespeare,” which was a Sunday Times bestseller and has been translated into several languages. Smith frequently works with theater companies on their productions of Shakespeare plays and consults for film and television.Acclaimed British author and theater director Neil Bartlett, whose novels include “The Disappearance Boy” and “Address Book,” directed “Romeo and Juliet” for the Royal Shakespeare Company in London. He says the experience leaves him feeling “wrung dry with admiration.”

When the Voyager spacecraft set off to explore the galaxy in 1977, it carried a recording to represent the best of humanity. The “Golden Record” featured everyone from Bach to Chuck Berry, but there was only one opera aria: the rage-fest and coloratura masterpiece from Mozart's “The Magic Flute.”As Kathryn Lewek reprises her role as Queen of the Night in this season's holiday presentation of “The Magic Flute” at The Metropolitan Opera, we're revisiting this episode. Host Rhiannon Giddens and her guests consider why the Queen of the Night's big moment – “Der Hölle Rache” – is an out-of-this-world achievement, how Mozart created a profound fairy tale for adults and what it takes for a soprano to reach the stratosphere. You'll witness Kathryn Lewek hit all those high notes onstage at the Met Opera and hear from Timothy Ferris, the man who produced NASA's “Golden Record.”The GuestsSoprano Kathryn Lewek describes singing “Der Hölle Rache” as throwing darts with your eyes closed. But after performing the part more than 200 times, she certainly knows how to hit the bullseye.Harvard University professor Carolyn Abbate once took her son to see The Magic Flute and he declared it to be “bad, but not in the way I expected it to be bad.” Her latest book is A History of Opera: The Last Four Hundred Years.Composer and author Jan Swafford was a graduate student when he spent his last $50 to buy a copy of The Magic Flute and immediately regretted it: He hated the opera. To say he's warmed to Mozart over the years would be a wild understatement.Timothy Ferris produced the Golden Record that went up with NASA's Voyager space probes in 1977. It was the only record he ever produced, but he's written many books including Coming of Age in the Milky Way, which was nominated for a Pulitzer Prize.

The Met Opera was interrupted by protestors screaming nonsense about global warming. A mob of pro-Hamas supporters shouted antisemitic slogans in front of Philadelphia deli. Why are these demonstrations a feature of the left?... George Santos was expelled from the House. He was convicted of no crimes. The Ethics committee did not recommend kicking him out, but the House — Democrats and Republicans — did it anyway. This sets a terrible precedent.  You can divide the world into those who build and those who destroy… The Canadian economy has been moribund since Justin Trudeau became premier… Military recruitment is way down. Maybe the problem is that the Democrats always turn the armed forces into a social experiment.  Dennis talks to the irrepressible Leon de Winter, the Netherlands leading novelist and political columnist. Topics include: the recent Dutch elections, immigration, and Israel vs. Hamas. Thanks for listening to the Daily Dennis Prager Podcast. To hear the entire three hours of my radio show as a podcast, commercial-free every single day, become a member of Pragertopia. You'll also get access to 15 years' worth of archives, as well as daily show prep. Subscribe today at Pragertopia dot com.See omnystudio.com/listener for privacy information.

Part 1 of our gift guide is here! We have an abundance of recs for stocking stuffers, boyfriends, husbands, moms, sons, and kids! Share any gift ideas with us at 833-632-5463, podcast@athingortwohq.com, @athingortwohq, or in our Geneva!Gift yourself professional counseling with BetterHelp and take 10% off your first month with our link.Tackle all of your holiday shopping at MoMA Design Store and take 10% off your purchase when you use or mention promo code ATHINGORTWO online and in US MoMA Design Stores through November 23, 2023.YAY.Stocking Stuffers“We are only doing stockings for adults this year - all the fun stocking stuffers, please.”Opinel key chainsNoso patchesScout Regalia sticky hooksFavorite musician merch - Olivia Rodrigo Perfect All-American Bitch hatCustom family matchbooksNutscene Colorful Tiddler TwineRose Los Angeles x Gossamer CBD Rosin DelightsRedecker Hedgehog Table BrushSilk Daisy Chain KitNata Concept Store Farfalle CandleHinoki Drawer BagLisa Angel bottle stoppers / Annie Raysee wine stopperTheWhiteStreetMarket wick trimmerKahawa 1893 Single Serve Coffee PacksBrightland Olive Oil minisSqwigl StrawsCuraprox toothbrushesBoyfriends/HusbandsMy husband, 34. Senior web developer manager. Likes home projects, sci-fi books/tv, awesome dad to our 4 year old and 8 month old. He hates spending money and “doesn't want gifts” but wants gifts. It's historically been a damned if you do, damned if you don't type situation. His favorite gifts from me ever have been a car washing kit, a woobles crochet kit, and a Dyson vacuum. Wtf do I get him now?!Sven-SawHoto Brushless Drill - .like the Dyson hairdryer of drills!Yuns Hardware gift certificateSinger Heavy Duty 4423 Open Studio: Do-It-Yourself Art Projects by Contemporary Artists by ​​Sharon Coplan Hurowitz and Amanda BenchleyHarvest Label Sling BagSlate FlosserCamper wool Wabi slippersSigned Ursula Le Guin or Octavia ButlerMy graphic designer husband who likes quality over quantity, is picky and lives in fear I might buy him clothes as a gift.An architecture or design book from a city you visited over the last year—make it an annual thing?A piece of art or a study from an artist he likes (for something more accessibly priced, depending)Marjolein Delhaas 2024/366 PlannerHigonokami KnifeRose Gold wrenchBalmuda toaster Bruno Munari Pencil Holder (with a set of Blackwing or Pineider pencils)Saint Olio body oilHusband - new dad, hates buying himself anything. He's bookish and British, and his interests include cycling, cooking, video games, F1 and the Tottenham Hot Spurs. Everything nice he wears is because I bought it for him. Want to get him something good this year because he's been so underslept and overworked, juggling baby and a new job.Lewis Hamilton AlmaveTottenham Hotspurs vintage gearBook repair (as recommended by Lauren in our Geneva last year)WhiteSpacePress on Etsy for vintage Penguin Classics, etc.Fog Linen Brass Cookbook stand or Puebco Cookbook StandPersol 714 - Original (foldable) sunglassesBlackstock & Weber LoafersAsked for gift ideas for a quar romance a few years ago. We bought a house together this year. He's wonderful. His favorite drink is espresso. He loves Guy Fieri. He plays an Irish sport called hurling. We go on bike rides together and love exploring new places. We both lost our grandmothers this year. Air Fieri crewneck sweatshirtPillowsPostersPapers Guy Fieri Fan Sequin Pillowcase -we all just need to know this existsIvo Angel Italian splatterware espresso cupsOaxacan espresso cupBaba Tree bike basketNocs Provisions BinocularsWren Off-Road GrowlerSafety PizzetaThe ExpertGrounded Gift CardKabin Bonfire BuilderA custom print of something meaningful to him of his grandmother's from The HeirloomistSonsHelp! I'm desperate for gift ideas for my 22-year-old son. He's a new grad; job hunting, close to securing his first job, just moved home from Montreal. Uni girlfriend relocated from overseas to our hometown Toronto. He's very private. Hates receiving gifts (?!!?). Is gracious at the time he receives but they always find their way to the return pile. Loves a good bargain, and hates that we spend $ on him. Sooooo hard to buy for. Best gift ever was 3 month cheese subscription sent to school last year. Makes fun of the various prints I've bought him. Lots of friends, but very introverted; sporty; foodie; funny; middle child; does not share info, let alone gift ideas; nothing to see here folks, just move-on kinda guy. Help!!!!!!Gift cert for an Island Creek Oysters party with friends (plus a couple of shucking knives) or tinned fish. Hawkins New York cheese knife set - under $40, looks fancierRicki's Cheese Making KitsSowaca Ceramic Cooking PanThe Food Lab: Better Home Cooking Through Science by J. Kenji López-AltStart Here: Instructions for Becoming a Better Cook: A Cookbook by Sohla El-WayllyRestaurant gift certs—something fancy he and the GF would never do on their own like Prime Seafood Palace or just a favorite spot of two of theirs that feels like a treatLuggage! Like the Wallybags Travel Garment Bag, Patagonia Black Hole Duffle Bag, and Alex Mill Perfect Weekday Tote. Moms/Mother in Laws Quintessential Midwest mom of 3 adult kids who loves baking, reading, watching PBS shows, musicals, traveling, and getting her steps in walking her two black labs. Has been referred to as the "mommiest mom" in the past. Puts up with a lot of BS from her curmudgeonly husband (my dad). I've given her many kitchen items and books over the years. Favorite brands are things like Emma Bridgewater, Hanna Anderson, and Talbots. I recently moved to NYC, so I'm hoping to get her something that will make her feel less "abandoned" and more cared for. Thank you for any suggestions!! Met Opera on DemandTEKLA bathrobeLake Pajamas50 States, 50 Pies by Stacey Mei Yan Fong Fresh Midwest: Modern Recipes from the Heartland by Maren Ellingboe KingHaden electric tea kettleGalley & Fen oven mittVintage PBS shirtsMom, in her mid-50s, a new grandma. Had a really hard year mental health-wise but making positive changes. Goes to therapy but new at it. Loves to be social, have dinners, see movies and Broadway shows. Loves 80s pop music and Jason Isbell. Enjoys trying new things but tends to move on to something else quickly.Molly Mahon block-printing kitsMartha Mae How to Paint a Cloud BundleNora McInerny's “Don't honk I'm already crying” bumper magnet - if she has the sense of humor for it!Semikolon 5-Year Diary / Midori 5-year DiaryLoftie clock - because of sleep hygiene!Subscription to Mubi or Criterion CollectionSubscription to Saipua TV…paired with Saipua Garden Tea that's made by Deborah NeedlemanMy Mom! She's 70. A former elementary art teacher...retired and living on a budget. We completely mis-gift each other every year. I try to give her nice (not overly luxurious, but nice) scarves, sweaters, earrings, etc and they always flop. My brother and his girlfriend gave her a plastic porch goose and it's her favorite thing ever. She doesn't read. She's crafty but her medium is always changing and usually something very specific like needle felting.Pink Picasso paint-by-numbers custom kits or non-custom ones by Paint AnywhereArt Life Practice KitMelanie Abrantes DIY Wood Carving KitsFriendly Loom Black and White Potholder Loom Kit Pattern and supplies to DIY her own porch goose outfits—there's even a crochet one for making hair for them?!A duck candleholder to go with her porch gooseOk, how about my mom? I'll let you describe her though

Roundabout Extends ‘Covenant’ Again, Met Opera to Celebrate Schwartz’s 75th Birthday, ‘Mean Girls’ Musical Movie Trailer “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated: Grace Aki: grace@broadwayradio.com | @ItsGraceAki Matt Tamanini: matt@broadwayradio.com | @BWWMatt read more The post Today on Broadway: Thursday, Nov. 9, 2023 appeared first on BroadwayRadio.

Liebe Wunderbars, mögt ihr Musik? Dann solltet ihr diese Folge unbedingt hören. Auch wenn ihr danach vielleicht direkt ein Ticket für die Metropolitan Opera in New York kaufen wollt. Denn egal ob La Bohème oder Dead Man Walking: Wenn die Cellistin Dorothea (kurz: Dora) Figueroa von ihrer Arbeit in einem der besten Orchester der Welt erzählt, fühlt es sich fast so an, als säße man selbst im Orchestergraben. Dort spielt die gebürtige Dresdnerin seit 2002 als „Associate Principal Cellist“, als stellvertretende Solo-Cellistin, täglich – neben ihrem Mann, dem ersten Solo-Cello.

Dead Man Walking, based on the acclaimed memoir by Sr. Helen Prejean, may be the world's most popular contemporary opera. But it had never before been performed on the stage of the Metropolitan Opera House in New York City—until now.  On this special episode, in anticipation of the Met Opera's Live-in-HD broadcast in cinemas on October 21, host Dominic Preziosi is joined by bass-baritone Ryan McKinny, who plays the condemned murderer Joseph DeRocher, and Sr. Helen Prejean herself.  Together, they discuss the significance of this new production of Dead Man Walking, and why its message of mercy, forgiveness, and redemption continues to resonate with audiences today. For further reading:  Commonweal's review of Dead Man Walking An interview with the composer, Jake Heggie Sr. Helen Prejean remembers her 1950s novitiate

The largest health care worker strike in US history started today — we have the latest. Some House members are putting their names forward to be the next House Speaker. The US will transfer thousands of seized Iranian weapons to Ukraine. Pope Francis is criticizing climate change skeptics, while Canadian wildfire smoke is back in the US. And, one classical radio station isn't happy about the Metropolitan Opera's new season.To learn more about how CNN protects listener privacy, visit cnn.com/privacy

My coach from 1988-1990 was Trudy Kane. Ms Kane was Principal Flute with the Metropolitan Opera 1976-2008 and is Professor Emeritus at the Frost School of Music, University of Miami. She received both her BM and MM from the Juilliard School. She is active in the commercial recording field and can be heard on the soundtracks of many film scores including The Untouchables and Beauty and the Beast (original). She can be heard and seen on many Met videos including Il Trittico, Manon Lescaut, Peter Grimes and three different La Bohemes. Her solo CD In the French Style includes Sonatas by Franck, Fauré and the Gieseking Sonatine.

At last! After much anticipation, Aria Code returns! We're guiding listeners through highlights from the Metropolitan Opera's 2023-2024 season, pairing beloved classics with investigations into modern masterpieces. So get ready for a night at the opera — from the comfort of your own home. (Or wherever!) Arias from the likes of Jake Heggie's Dead Man Walking and Anthony Davis's X: The Life and Times of Malcolm X will tackle some of the most complex social and ethical questions head-on, while classics like Bizet's Carmen and Gounod's Roméo et Juliette plunge us into the thick of opera's favorite themes of desire, love, and longing. Hosted by Grammy Award-winner, MacArthur “Genius” Fellow, and (most recently) Pulitzer Prize-winning musician Rhiannon Giddens, each episode features a signature combination of music and riveting storytelling, paired with Met Opera performances by world-renowned opera stars, including Joyce DiDonato, Matthew Polenzani, Will Liverman, Clémentine Margaine, Diana Damrau, and Ailyn Pérez.    Aria Code is produced by WQXR in partnership with The Metropolitan Opera. This season, we'll be releasing episodes on a biweekly basis, starting October 4.

All good things must come to an end...my passion project hasn't started to pay for itself. You can have dope content, but people will not pay for anything they can get for free. And Bay-bee, I-DON'T-DO Free! Bought to you by Felicia's Paycheck!   Actively seeking partners, sponsors or sponsorships to continue to provide amazing content. So become a Melanated Nerd on Podbean by clicking https://patron.podbean.com/TheTalkingFro https://patron.podbean.com/tnfroisreading Apple Subscriptions The last Spanish Language opera played at the Met but was sung in Italian was in 1923...so it took the Met 100 years to not only use another Romantic Language but also have another diva of color to perform...They just stopped using Black Face Makeup in 2017... ecome a Melanated Nerd on Podbean or Patreon by clicking https://linktr.ee/tnfroisreading to subscribe and listen to all Premium content; the window closes soon on available Episodes across most platforms! Check out the Previous Show Clips on TNFroisReading YouTube Channel @akrapheal  @Lettucegrow Get into it use code: FRIEND-YFO35A for percentage off your first order Navigate to  https://www.lettucegrow.com/shop?pc=FRIEND-YFO35A Gurneys   CLICK HERE! Offer Code: 0575825

In this week's episode of the New Flesh Podcast, Ricky and Jon interview return Guest Jessa Crispin. Jessa is the founder and editor of the magazines Bookslut.com and Spolia. She is the author of The Dead Ladies Project, The Creative Tarot and Why I Am Not a Feminist: A Feminist Manifesto. Her provocative podcast Public Intellectual featuring guest interviews with artists and thinkers ran from 2019 until November 2021. Her Substack is called The Culture We Deserve. Topics covered include; the arts funding crisis in the US, Hannah Gadsby's It's Pablo-Matic Picasso art exhibition, Claire Dederer's book Monsters: A Fan s Dilemma, what to make of monstrous artists and their work, how to get society to care about art again AND more. ---ARTICLES AND LINKS DISCUSSED---Find Jessa on Substack:https://theculturewedeserve.substack.com/---Cancel culture is real – but this is the worst possible way to discuss it - The Telegraph:https://www.telegraph.co.uk/books/non-fiction/review-monsters-claire-dederer/---SUPPORT THE NEW FLESHBuy Me A Coffee:https://www.buymeacoffee.com/thenewflesh---Instagram: @thenewfleshpodcast---Twitter: @TheNewFleshpod---Follow Ricky: @ricky_allpike on InstagramFollow Ricky: @NewfleshRicky on TwitterFollow Jon: @thejonastro on Instagram---Theme Song: Dreamdrive "Vermilion Lips" 

I auditioned for The Met Opera and failed, twice in a row. Going for the big one and failing was embarrassing. But by reaching for something far out of my grasp, I learned some lessons, had a great experience, and also had some small wins. Visit https://micron.fm/audition-film to view the documentary film mentioned in this episode.

Greetings podience! We are brought to you live from the great smokening of NYC - thank you, Canada. We talk Magic Flute at the Met Opera, we talk about a recent New Yorker Article that hits close to home, we dive into some ghosts of gags past and include a little roast of HBO's The Idol. https://www.newyorker.com/magazine/2023/06/05/how-to-hire-a-pop-star-for-your-private-party https://www.metopera.org/season/2022-23-season/die-zauberflote/?utm_source=performance-max&utm_medium=native&utm_campaign=die-zauberflote&utm_content=lookalikes&gclid=CjwKCAjw-IWkBhBTEiwA2exyO-xVt2TTq_N_7y4g8C3ELo0hEc6VN_UW2XPOVFvJXsV4HVde3_pUPhoCDkIQAvD_BwE&gclsrc=aw.ds Join the Discord!  https://discord.com/invite/yzcSEF2G9S  Follow on Instagram  https://www.instagram.com/gageconomy/ Follow on TikTok https://www.tiktok.com/@gageconomypod

(00:00) Welcome to Decorating by the Book Podcast(00:10) Your host Suzy Chase(00:22) Charm School: The Schumacher Guide to Traditional Decorating for Today(00:36) F. Schumacher & Co.(00:51) Stephanie Diaz(01:05) Dorothy Draper(01:07) Cecil Beaton(01:09) Frank Lloyd Wright(01:11) Radio City Music Hall(01:13) Met Opera(01:15) The White House (01:17) Style and Quality(01:23) Buy Charm School(01:44) Dara Caponigro(01:49) Schumacher Bulletin(01:53) Frederic Magazine(01:59) Miles Redd Collection(02:09) Emma Bazilian(02:16) S is for Style(02:21) The New Book(02:36) Emma(03:06) The Bulletin(03:25) Tori Mellott(03:31) Dara(03:48) Decorating by the Book (03:55) Frederic (04:20) Take Screenshot to Buy Book (04:55) Steph Diaz(04:59) S is for Style Book (05:07) Dara's Book(05:18) Emma Joined(05:28) Get the Book Here(06:01) Florals Everywhere (06:10) So Much Needlepoint(06:31) The Only Design Book Podcast(06:55) Victorian Doll(06:58) Laura Ashley(07:15) The Book (07:31) The Vogue Collection(07:35) Miles Redd(07:37) Mary McDonald(07:45) Grandmillennial(08:21) Charm School The Book (08:58) Country Floral Look (09:05) Batsheva(09:22) The Article (09:33) Needlepoints(09:35) Vintage Laura Ashley Dress(09:44) Now We Have A Name(10:15) Kate Spade(10:17) June Brosnahan(10:26) A Masterclass in Traditional Design(10:47) Striped Lampshade(10:54) Book(11:17) Steph Diaz(11:33) Bazilian(11:56) Different Chapters in the Book(12:16) Personal Style(13:00) Finding Pieces You Love(13:05) Liveable(13:17) Chintz(13:29) Floral(13:43) Example of Chintz(13:50) Indian Chintz(14:15) 80's(14:30) Chintz Sofa (14:37) Perry Street NYC(14:47) Couch(15:15) Check out the Book (16:05) All Over(16:12) Matching (16:35) Jenny Holladay(17:13) Kitchen Nook(17:21) Entryway(17:42) The Stripe(17:48) Dorothy Draper(17:59) The Greenbrier(18:10) Dorothy (18:12) Carleton Varney(18:15) Rudy Saunders(18:27) Wide Stripes(18:41) Tall Ceilings(19:06) Dramatic(19:19) Scale(19:41) Stripes on the Bias(19:53) Ticking Stripe(20:06) My Ticking Curtains(20:22) Skirt(20:27) Bathroom Sink(20:29) Kitchen Sink(20:44) Book Charm School(21:00) Storage(21:19) Ping Pong Table(21:35) Dressing Table(21:48) David Hicks Bathroom(22:03) DBTB Podcast(22:24) Adding Softness (22:31) Potential For Storage(22:38) Outro(23:24) Thanks for Listening(23:31) Follow on IGChapters, images & show notes powered by vizzy.fm.

The Biden administration is expected to announce new rules for airlines. Also, TODAY's Checklist: board certified psychiatrist Dr. Sue Varma shares some do's and don'ts when it comes to improving your mental health. Plus, Al Roker goes behind the scenes of a stunning new production at New York's Met Opera called “Champion.” And, Jane Fonda, Candice Bergen and Mary Steenburgen in studio 1A to talk about their roles in the new movie “The Book Club: The Next Chapter.”

When “Aida” premiered in Egypt in 1871, it delivered some not-so-subtle messaging in the dramatization of light-skinned Egyptians dominating dark-skinned Ethopians. Within two years, the man who commissioned “Aida,” Egypt's Khedive Ishmael Pasha, lived out this fantasy of conquest, mobilizing the nation's army with help from former American Confederate veterans.. In this episode of Every Voice with Terrance McKnight, our final installment on Giuseppe Verdi's “Aida,” we're joined by Limmie Pullman, Angela Brown, Raehann Bryce-Davis, and Sir Williard White to revel in the drama of this opera and consider to what extent life imitates art. This episode is hosted by Terrance McKnight. The Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Alan Goffinski. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

“Opera has always been not just adjacent to colonial conquest, but perhaps … quite a large part of it.” Pranathi Diwakar, Every Voice with Terrance McKnight researcher. When the US and British cotton industry was disrupted by the American Civil War in the 1860s,  Egypt, led by Khedive Ismail Pasha, moved to capitalize on Britain's demand for the valuable raw material. Egypt's new, booming industry led to a polarizing reality for the region, the use of enslaved East Africans as a labor force, and a new class of rich, European leviathans to entertain in Cairo. Thus, the birth of Giuseppe Verdi's “Aida” for premier at Cairo's newly constructed opera house.For “Aida's” original audience, the opera represented familiar and convenient tropes for those investing in imperialism: Autocratic rule, lavish lifestyles, and a society based on racial superiority. But this week, on Every Voice with Terrance McKnight, and with the help of opera greats, Limmie Pullman, Angela Brown, and Sir Williard White, we give “Aida” a chance to be reborn. This episode is hosted by Terrance McKnight. The  Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Alan Goffinski. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

At the heart of Verdi's opera “Aida” is an African love story, where an Egyptian general and an Ethiopian princess fall in love. It premiered in Cairo in 1871, but the truth is, very few Africans went to see it, let alone could afford the price of a ticket. This was a European conception of the East, for European audiences at a time when Egypt's leadership was attempting to make Egypt ‘the Paris of the East.'     Verdi's “Aida” often portrays Egyptians as white and free and Ethiopians and black and enslaved, reinforcing colonial stereotypes and colorism, still present in many modern day productions.  Verdi's “Aida” opera painted a picture of Africa for colonial consumption, and subjected its Egypt and Ethiopian characters to stereotypes and colorism that run rampant through even modern productions. In this episode of Every Voice with Terrance Mcknight: Joined by bass baritone Sir Willard White as the King of Egypt, soprano Angela Brown as Aida, and mezzo soprano Raehann Bryce Davis as Amneris; we hear from “Aida's” African characters in their own voices. This episode is hosted by Terrance McKnight. The  Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Alan Goffinski. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

In Giuseppe Verdi's “Aida,” Princess Aida is torn between her homeland of Ethiopia (ruled by her father, King Amonasro) and her captor, the Egyptian leader Radamès who loves her and whom she loves in return. It's a powerful love story, an African love story - so why are Egyptians portrayed as white and the Ethiopian as Black and enslaved? This week on Every Voice with Terrance McKnight: We're joined by tenor Limmie Pulliam, the first Black man to take on the role of Radamès at the Metropolitan Opera, soprano and arts activist Maleasha Taylor, and WQXR host, opera expert, and Cairo native Nimet Habachy on how Aida was commissioned to help position Egypt as the “Paris of the East” and what that means for Egyptians like her today. This episode is hosted by Terrance McKnight. The  Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Alan Goffinski. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov

For Video Edition, Please Click and Subscribe Here: https://www.youtube.com/watch?v=-HoICdC7LFU&t=50s Today, I'll be wrapping up the week with five artists making a difference. Grab some coffee cake and join us! Celia Berk is an award-winning vocalist whose recordings have attracted listeners around the world. She has made memorable appearances at Carnegie Hall, Jazz At Lincoln Center, Birdland Theater, The Town Hall and the National Arts Club. https://celiaberk.com Dana P. Rowe is an American musical theater composer whose works have been performed internationally with productions in London's West End (Theatre Royal Drury Lane, Prince of Wales, The Donmar Warehouse), Russia, Czech Republic, Japan (including Tokyo's Imperial Garden Theatre), Germany, Australia, New York City, São Paulo, Brazil and Slovenia.   A native New Yorker, Deborah Stone began studying ballet at age eight at the Metropolitan Opera Ballet School. She became smitten by the stage when cast as a supernumerary in Met Opera productions from that time forward into her late teens. While there, she studied with Margaret Craske, Alfredo Corvino, and Antony Tudor. Mark Nadler is an internationally acclaimed singer, pianist, tap-dancer and comedian. He is the recipient of the 2015 Broadway World Editor's Choice Award for Entertainer of the Year. His recent off-Broadway hit, I'm a Stranger Here Myself, has been honored with the 2013 Nightlife Award Mark Nadlerand was nominated for a Drama Desk Award and two Broadway World Awards. The show was presented at The Adelaide Cabaret Festival in Adelaide, Australia, where it was nominated for the prestigious Helpmann Award. 

The Metropolitan Opera (the Met) is the largest performing arts institution in the United States. Each season, the Met stages more than 200 opera performances in New York with over 800,000 people in attendance.   Millions more experience the Met through its 90-year-old radio broadcast series, its new media partnerships and state-of-the-art technology, including Metropolitan Opera Radio on SiriusXM Satellite Radio, Met Opera on Demand and  free live audio streaming of performances on its website during the opera season. Yet for all of its acclaim and reputation for being innovative and forward thinking, true inclusion has not been part of the Met's story.   Enter Marcia Sells, the first Chief Diversity Officer for the Metropolitan Opera and a phenomenal mom to her daughter and step-son. Marcia joined the Met Opera after serving as Associate Dean and Dean of Students at Harvard Law School. Her storied career includes positions in academia, the private sector and public service. She is here to talk today about her work to make opera inclusive and ready to thrive in an increasingly diverse  world

Bored at the theater.  BORGs? (not Bourgs).  Met Opera politics.  Cool Grandpas?  Dick Fosbury.  Bud Grant.  Willis Reed. Credits: Talent:  Tamsen Granger and Dan Abuhoff Special Guest: Pepper Abuhoff Engineer:  Ellie Suttmeier Art:  Zeke Abuhoff

Katie checks in with dancer and performing artist (Broadway's Jagged Little Pill, Lohengrin and The Hours at the Metropolitan Opera, Vogue World for New York Fashion Week, and more), Runako Campbell.

Operatic baritone Will Liverman starred in the Met Opera's first ever opera production by a Black composer, and this fall he'll star in its second. In Chicago on Sunday, he wrapped performances of the opera, "The Factotum," which he co-wrote. This Wednesday, he returns to Lincoln Center for his solo recital debut, performing songs from his Grammy-nominated album, Dreams of a New Day. He previews the concert.

Camille A. Brown - (Director/Choreographer) 3-time Tony award nominee is the first Black woman to direct and choreograph a play on Broadway in 67 years. Ms. Brown choreographed the Met Opera's critically acclaimed Porgy and Bess and Terrence Blanchard's Fire Shut Up in My Bones, which she also co-directed with James Robinson, making her the first Black director of a Met mainstage production. She is also the founder and director of Camille A Brown and Dancers. Awards include the 2021 ISPA/International Society for the Performing Arts Distinguished Artist Award, 2020 Dance magazine Award, Bessie Award (Mr. TOL E. RAncE), Jacob's Pillow Dance Award, Doris Duke Artist Award, United States Artists Award and five Princess Grace Awards. Foundation fellowships from Ford Art of Change, Guggenheim, TED, Emerson Collective. In addition to a Tony Award nomination, Camille has received an Obie Award, two AUDELCO Awards, three Drama Desk nominations and three Lortel nominations. Philanthropic/Activist Causes: Every Body Move and Social Dance for Social Change 

Synopsis On today's date in 1934, the audience at the Metropolitan Opera in New York City demanded—and got—50 curtain calls for the cast and conductor of the new opera that had just received its premiere staged performance. The opera was Merry Mount, based on a Nathaniel Hawthorne short story set in a Puritan colony in 17th century New England. The music was by the American composer Howard Hanson. The performers for Met Opera's premiere included the great American baritone Lawrence Tibbett as the Puritan preacher Wrestling Bradford, sorely tempted by the Swedish soprano Gösta Ljungberg in the role of Lady Marigold Sandys, his VERY unwilling leading lady. Despite its setting in Puritan New England, Hanson's opera included plenty of the lurid sex and violence that fuels the all the best Romantic opera plots, and the score was in Hanson's most winning Neo-Romantic style, with rich choral and orchestral writing, capped by a fiery conflagration as a grand finale. What more could an opera audience want? Strangely enough, despite its tremendous first-night success, Merry Mount has seldom—if ever—been staged since 1934. To celebrate the centenary of Hanson's birth in 1996, the Seattle Symphony presented Merry Mount in a concert performance conducted by Gerard Schwarz. Music Played in Today's Program Howard Hanson (1896-1981) Merry Mount Suite Seattle Symphony; Gerard Schwarz, conductor. Delos 3105

Synopsis Today's date in 1904 marks the birthday of Richard Addinsell, a versatile British musician who became one of the most famous film score composers of his generation. Addinsell was born in London, studied music at the Royal College of Music, and pursued additional studies in Berlin and Vienna before heading off to America in 1933 for some practical education at Hollywood film studios. He put both his theoretical and practical learning to good use when he returned to England, where he began composing for a series of successful British movies, like the Oscar-winning 1939 film “Goodbye, Mr. Chips.” Addinsell also became a popular songwriter and accompanist for British comediennes and cabaret singers of the day. But Addinsell is best known as the composer of the Warsaw Concerto, a piano concerto consciously modeled on the big Romantic scores of Rachmaninoff. This music originally appeared in the 1941 British adventure film “Dangerous Moonlight,” retitled “Suicide Squadron” when it was released in the States in 1942. After that mega-hit, Addinsell's fluent and versatile writing continued to grace a goodly number of Post-War British films and TV dramatizations, ranging from historical epics to psychological thrillers, gritty “slice-of-life” dramas, and whimsical, light-hearted comedies. Addinsell died in London at the age of 73 in 1977. Music Played in Today's Program Richard Addinsell (1904 –1977) Goodbye Mr. Chips BBC Concert Orchestra; Kenneth Alwyn, conductor. Marco Polo 8.223732 Richard Addinsell (1904 –1977) Warsaw Concerto Cristina Ortiz, piano; Royal Philharmonic; Moseh Atzmon, conductor. London 414 348 On This Day Births 1690 - German composer Gottfried Heinrich Stölzel, in Grünstadtl; 1866 - Russian composer Vassili Sergeievitch Kalinnikov, in Voin (Julian date: Jan 1.); 1904 - British composer Richard Addinsell, in London; Deaths 1864 - American composer Stephen Foster, age 37, in Bellevue Hospital, New York; 1980 - Russian-born American conductor and arranger André Kostelanetz, age 78, in Port-au-Prince, Haiti; Premieres 1726 - Bach: Sacred Cantata No. 32 ("Liebster Jesu, mein Verlangen") performed on the 1st Sunday after Epiphany as part of Bach's third annual Sacred Cantata cycle in Leipzig (1725/27); 1775 - Mozart: opera "La finta giardiniera" (The Feigned Gardener), in Munich at the Opernhaus St. Salvator; 1873 - Rimsky-Korsakov: opera "The Maid of Pskov" (first version) in St. Petersburg, Napravnik conducting; This was Rimsky-Korsakov's first opera (Julian date: Jan.1); 1904 - Bartók: tone-poem “Kossuth,” in Budapest; Bartók's parody of the German national hymn in this work caused an uproar at the work's premiere; 1944 - Stravinsky: "Circus Polka" (concert version) and "Four Norwegian Moods," in Cambridge at the Garden Theatre, with the Boston Symphony conducted by the composer; 1945 - Prokofiev: Symphony No. 5, by the Moscow State Philharmonic, with the composer conducting; 2000 - Danielpour: "Voices of Remembrance" for string quartet and orchestra, in Washington, D.C. with the Guarneri String Quartet and the National Symphony, Leonard Slatkin conducting. Others 1910 - Lee De Forest relays experimental Met Opera performances via a radio transmitter (see also Jan. 12). Links and Resources On Richard Addinsell Richard Addinsell filmography

This week's episode is sponsored by: I want you to start living a happier life today. As a listener, you'll get 10% off your first month by visiting our sponsor at BetterHelp dot com slash knitmore Join over 1 million people who have taken charge of their mental health. Again, that's BetterHelp.com/knitmore  Carry your creativity with Erin Lane Bags! Whether you show your fiber fandom with the woolly wonder Sheepleverse, or dive into history with the Curiosities collection, our project bags, totes, and hook and needle organizers are at the ready to keep your hobby happy. Go to HelloFresh dot com slash knitmore18 and use code knitmore18 for 18 free meals plus free shipping!   Have you ever had to frog because you forgot a step several rows back? Or lost your spot because you dropped your magnet board or lost track with your highlighter tape? Instead of wrestling with paper, use the knitCompanion app. It keeps you on track so you can knit more and frog less. knitCompanion works with ALL your patterns and is available for Apple, Android, and Kindle Fire Devices Are you feeling dis-GRUNT-eled about your stash? Are you browsing Insta-HAM looking for knitting inspiration? Is color "kind of a PIG deal" in your life? Oink Pigments offers over one hundred forty PIG-ture perfect colorways to make you SQUEAL with delight. For a limited time only, bring home the bacon with code KNITMORE and get fifteen percent off in-stock yarns and fibers at oinkpigments dot com. Shop soon, because these pigs will FLY!     On the Needles: (0:43) Gigi : Andrew's sock at Jasmin's. Toe decreases done Jasmin warped her Schacht flip loom with Tess Yarns Silk Chenille for a wide houndstooth wrap for Gigi. Jasmin mentions wanting a Tressel bag (It's actually called a Flip Trap) Gigi working on another pair of socks for Andrew for knitting at my house. Jasmin picked up her “I'll be Gnome for Christmas” pullover in Black Trillium fibers. (Go Big or go Gnome pattern ) GigiCocoknits Verena cardigan pattern on knit companion.  Participating in Dr Gemma's Romule KAL. She has cast on , done the collar and upper back, and is trying to understand the directions for the shoulder  Jasmin is nearly at the armholes on her Flamingo Christmas sweater, in: Seismic Yarns butter DK Trendsetter Aura  Onyx Fiber Arts  Strange Brew pullover from Tin Can Knits   LINK Jasmin's Live CAN YOU LINK? Gigi: cast on for a new preemie hat    Events:(18:42) Grinchalong is ONGOING Romjule! Glühwein Recipe Adelita's Bailey Sarian's Dark History about Christmas   Mother Knows Best:(33:56) 2023 Themes! Jasmin 2023: More. (More arts!) Gigi 2023 less!   Instagram How to keep house while drowning Jasmin mentions L'elisir d'amore (done by the Julliard Opera) Subscription to the Met Opera online   What are your themes for 2023?     When Knitting Attacks:(44:31) Gigi:out of yarn for toes on A's socks. He suggested black toes Upper back increases for Verena cardigan. Need to fudge an extra stitch in.  Jasmin's yarn crocked while she direct warped her Schacht Flip Loom   Knit more, know more ;(51:30) A segment about Persian culture, history, or just generally cool stuff about Persian people. Protests are ongoing. Christmas in Iran     And Sew on:(56:19) Final project:bark cloth. Oops

TrueBot found in Cl0p ransomware attacks. Royal ransomware targets the healthcare sector. Recent Iranian cyber activity. A night at the opera: an update on the cyberattack against the Metropolitan Opera. New Cloud Atlas activity reported. Europe looks to the cybersecurity of its power grid. Rob Boyce from Accenture describes Dark web actors diversifying their toolsets. Rick Howard explains fractional CISOs. And international support for Ukrainian cyber defense continues, more extensively and increasingly overt. For links to all of today's stories check out our CyberWire daily news briefing: https://thecyberwire.com/newsletters/daily-briefing/11/236 Selected reading. Breaking the silence - Recent Truebot activity (Cisco Talos Blog) New TrueBot Malware Variant Leveraging Netwrix Auditor Bug and Raspberry Robin Worm (The Hacker News)  TrueBot infections were observed in Clop ransomware attacks (Security Affairs)  Clop ransomware uses TrueBot malware for access to networks (BleepingComputer)  Royal Ransomware (US Department of Health and Human Services) US Dept of Health warns of ‘increased' Royal ransomware attacks on hospitals (The Record by Recorded Future)  Iran-Backed MuddyWater's Latest Campaign Abuses Syncro Admin Tool (Dark Reading) MuddyWater Hackers Target Asian and Middle East Countries with Updated Tactics (The Hacker News) New MuddyWater Campaign Uses Legitimate Remote Administration Tools to Deploy Malware (Cyber Security News) Shows will go on at Met Opera despite cyber-attack that crashed network (ABC7 New York) Cyberattack disrupts Metropolitan Opera (SC Media) Cloud Atlas targets entities in Russia and Belarus amid the ongoing war in Ukraine (Check Point Research) APT Cloud Atlas: Unbroken Threat (Positive Technologies) European Electricity Sector Lacks Cyber Experts as Ukraine War Raises Hacking Risks (Wall Street Journal) How the US has helped counter destructive Russian cyberattacks amid Ukraine war (The Hill)  The Australian company training Ukrainian veterans in cybersecurity (Australian Financial Review) How Proton intends to thwart Russian cybercensorship with its VPN (HiTech Wiki)  Cyber Lessons Learned from the War in Ukraine (YouTube)  War in Ukraine Dominated Cybersecurity in 2022 (CNET)

Peter Filichia, James Marino, and Michael Portantiere talk about the quick closures of KPOP and Ain’t No Mo’, The Met Opera ticketing system gets hacked, and Fat Ham schedules Broadway dates. Reviews include KPOP, Ain’t No Mo’, Downstate, A Sherlock Carol, and the latest incarnation of 54 Sings Broadway’s Greatest read more The post This Week on Broadway for December 11, 2022: Ain’t No Mo’ appeared first on BroadwayRadio.

David Krauss is the Principal Trumpet of the Met Opera orchestra, and in this conversation, we talked about his beginnings on the trumpet, the differences between playing in a symphonic orchestra vs. an opera orchestra, how to manage the vast distances between singers, the conductor, the orchestra, and the brass section, the specific skills an opera orchestra player has to have, and some funny/terrifying stories about on stage moments we both would rather forget! We also talked about David's podcast, Speaking Soundly. This was a really fun conversation and I hope you enjoy it as much as I did!

Cherubini was a child prodigy who composed several works by the time he was thirteen, before turning his sights to the operatic stage. Perhaps his most famous work, Medea opened the 2022-23 Met Opera season, marking the company premiere of the opera. We welcomeD lecturer and radio personality, Nimet Habachy, as she explores the life and times of Cherubini and his most famous opera, Medea.

Without the profound connection between these two artists, would the world ever have gotten I Know Why The Caged Bird Sings? Starring: Christina Elmore as Maya Angelou and Larry Powell as James Baldwin. Also starring Angelica Chéri as Lorraine Hansberry. Source List:James Baldwin: A Biography, By David Adams LeemingThe Three Mothers, by Anna Malaika TubbsNotes of a Native Son, by James BaldwinAt 80, Maya Angelou Reflects on a ‘Glorious' Life, NPR, 2008The Collected Autobiographies of Maya Angelou, Compilation copyright 2004 by Random House, Inc.Conversations With a Native SonJames Baldwin Biographical Timeline, American Masters, PBSMaya Angelou, World History ProjectJames Baldwin's Sexuality: Complex and Influential, NBC News“James Baldwin on Langston Hughes”,  The Langston Hughes Review, James Baldwin and Clayton Riley “Talking Back to Maya Angelou”, by Hilton Als, The New Yorker“Songbird”, by Hilton Als, The New Yorker“A Brother's Love”, by Maya Angelou“James Baldwin Denounced Richard Wright's ‘Native Son' as a ‘Protest Novel,' Was he Right?” by Ayana Mathis and Pankaj Mishra, The New York Times“After a 30 Year Absence, the Controversial ‘Porgy and Bess' is Returning to the Met Opera”, by Brigit Katz, Smithsonian Magazine“Published More Than 50 Years Ago, ‘I Know Why the Caged Bird Sings' Launched a Revolution”, by Veronica Chambers, Smithsonian Magazine“On the Horizon: On Catfish Row”, by James Baldwin“James Baldwin: Great Writers of the 20th Century” “An Introduction to James Baldwin”, National Museum of African American History & Culture“‘The Blacks,' Landmark Off-Broadway Show, Gets 42nd Anniversary Staging, Jan 31”, by Robert Simonson, Playbill “Do the White Thing”, by Brian Logan“James Baldwin: The Price of the Ticket”, American Masters, PBS“James Baldwin, The Art of Fiction”, by Jordan Elgrably“The American Dream and the American Negro”, by James Baldwin“The History That James Baldwin Wanted America to See”, by Eddie S. Glaude, Jr.“Lost and ... Found?: James Baldwin's Script and Spike Lee's ‘Malcolm X.'” by D. Quentin Miller, African American Review

Opera Outlooks, Master Classes, Boot Camps, and more are back LIVE and online at the Metropolitan Opera Guild! Find out more about the exciting array of Met Opera Guild learning opportunities in this season on today's episode of The Metropolitan Opera Guild podcast!

A decade ago, Costanzo had surgery that threatened to destroy his singing voice. Now he stars as a gender-fluid Egyptian pharaoh in the Met Opera's production of Philip Glass' Akhnaten. He's a countertenor, meaning he sings in a high range that's associated with women's voices. He knows all about the history of countertenors and their predecessors, castrati.Justin Chang reviews the new film Memoria, starring Tilda Swinton, which he calls a "sonic detective story."