Podcasts about Metropolitan Opera House

The story behind a trailblazing performer making beautiful music at New York's Metropolitan Opera House. Also, Dylan visits the owner of a candy shop serving up some of the best treats from around the world—all in one place. Plus, Craig meets an Oregon dad building a following by sharing his fun and creative DIY projects. And, NBC's Steve Patterson gets an exclusive look inside the top-secret Xbox lab at Microsoft.

This week, Larry Wolff immerses himself in a bold operatic vision of Melville's classic; and Travis Elborough on a boosterish attempt to rescue Croydon from its knockers.'Moby-Dick', composed by Jake Heggie, Metropolitan Opera House, New York, until March 29'Croydonopolis: A Journey to the Greatest City that Never Was', by Will NobleProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

New York City isn't just the city that never sleeps, it's the city that never stops making music! In this episode of The Music in Me, we're taking an all-access tour of some of NYC's most legendary music venues. From the electrifying energy of Madison Square Garden to the dazzling spectacle of Radio City Music Hall, the historic soul of The Apollo Theater, the indie coolness of The Bowery Ballroom, and the grandeur of The Metropolitan Opera House, each of these venues has shaped the soundtrack of our lives. Plus, I'll be sharing some wild and little-known facts about these iconic spaces—including hidden rooms, ghostly whispers, and secret seating! Grab your ticket, take your seat, and let's explore the stages where legends are made!What did you think of this episode? Support the showKeep listening, keep grooving, and let the music in you continue to shine. Thank you, and see you soon!CONTACT TERI:Instagram: https://www.instagram.com/terirosborg/Facebook: https://www.facebook.com/teri.rosborgYouTube: The Music in MeTikTok: https://www.tiktok.com/@terirosborgPodcast Facebook Page: The Music in Me Podcast Facebook pageTHEME SONG BY: Hayley GremardINTRODUCTION BY: Gavin Bruno

En septiembre de 1945 Encarnación López Júlvez, la Argentinita, fallecía a la edad de 47 años. A pesar de su temprana muerte, la Argentinita es uno de los referentes en la creación de la actual danza española, cuyo arte llevó por escenarios de todo el mundo.Con guión de Lara López y realización de Mayca Aguilera, Documentos RNE recupera su figura con el testimonio central de su hermana Pilar López, también maestra del baile, quien volcó su esfuerzo en fijar el legado de su hermana mayor.La Argentinita fue una artista completa e innovadora que pronto entra en contacto con las tendencias renovadoras de la escena, acercándose al ambiente cultural de la Generación del 27 y al grupo de la Residencia de Estudiantes de Madrid; con ellos quedará vinculada artística y sentimentalmente.Lorca y la Argentinita fueron una fructífera pareja artística. En 1931, con Federico al piano y la voz de Encarnación, realizaron la histórica grabación Colección de Canciones Populares Españolas; una recopilación y adaptación de romances tradicionales hecha por el poeta. Y el torero amante de las letras, Ignacio Sánchez Mejías, uno de los principales inspiradores del grupo, también lo fue de la Argentinita.Pero la guerra romperá el mundo cultural de la Segunda República. La Argentinita compartió su tiempo con Lorca hasta el momento de su trágico regreso a Granada. Y emprende una nueva gira internacional hasta que le sorprende la muerte en Nueva York, donde había llevado su versión del Amor Brujo al Metropolitan Opera House.El programa cuenta con la participación de la musicóloga e investigadora de la UCM, Inmaculada Matía Polo, autora, entre otros, de Copla, ideología y poder; la bailarina e investigadora de danza española, María Cabrera Fructuoso; y la escritora Paulina Fariza, autora de La vida encontrada de Encarnación López, la Argentinita. Además, la actriz Patricia Extremera recrea la voz de la Argentinita.Escuchar audio

Susan Jaffe is the artistic director of American Ballet Theater. Called “America's quintessential American ballerina," and “born to dance,” by the New York Times, Susan was a principal dancer at American Ballet Theatre. She performed on stages around the world for 22 years. This summer American Ballet Theatre celebrates its 85th anniversary at the Metropolitan Opera House. Their anniversary season also marks 30 years of ABT Studio Company and two decades of the ABT Jacqueline Kennedy Onassis School. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you're a Slaycation Fan you love creepy cases, so we're excited to introduce you to True Crime Creepers. A podcast for people who love stories about sketchy people doing sketchy things. Each week Kristin tells Mogab about all her favorite true crime creepers, from con artists to serial killers. This episode dives into the mysterious disappearance of Helen Hagnes Mintiks a violinist at the Metropolitan Opera House. After a break in the performance, Helen had vanished, with only her prized violin remaining. Learn more about this disturbing mystery on episode 145 of True Crime Creepers. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Jamaal & I delve into the depths of grief. With both of us losing our fathers we discuss the things we have learned, our difficulties, and our process with grief. Jamaal is a versatile actor whose career spans television, film, commercials, and theater. Known for his commanding on-screen presence, Jamaal has starred in roles on major networks such as Starz, VH1, BET, and TV One, where his performances have solidified his reputation as a rising talent in the industry. In addition to his extensive television work, Jamaal has appeared in numerous national commercials and campaigns, bringing a unique blend of energy and authenticity to each project. His ability to adapt and engage with a wide range of audiences has made him a sought-after face in the commercial world. Jamaal has also been featured in music videos for artists like Sabrina Carpenter and Bon Jovi, showcasing his range as a performer across different media. His theater credits include productions such as The Life and Times of Malcolm X at the Metropolitan Opera House, further demonstrating his versatility as an actor. With a passion for telling powerful stories, Jamaal continues evolving as a performer, dedicated to making a lasting impact on-screen and off-screen. Jamaal is delving into the fitness industry with Jamaal Williams Fitness to add to his ever-expanding portfolio of ventures Get in touch with Jamaal: https://www.instagram.com/_jamaalw/?hl=en --- Support this podcast: https://podcasters.spotify.com/pod/show/conversationsoftheheart/support

A cura di Paolo PellegriniGiacomo Puccini: TurandotTurandot, Birgit NilssonLiù, Mirella FreniCalaf, Franco CorelliTimur, Bonaldo GiaiottiAltoum, Mariano CarusoPing, Theodor UppmanPong, Charles AnthonyPang, Robert NagyUn Mandarino, Robert GoodloeIl Principe di Persia, David MilnesCoro e Orchestra del Metropolitan Opera House, New YorkZubin Mehta, direttoreLive Recording, Dec. 3, 1966

Join Corinne for a captivating conversation with tenor and creator Bernard Holcomb, where they hit all the right notes! From his early inspirations growing up in Detroit to the impactful performances and engaging content he shares on social media, Bernard shares valuable lessons learned along the way.  Tune in to discover more about this talented tenor and his inspiring path to the Metropolitan Opera House.www.bernardholcomb.com@bernarddamonholcomb@thedamonspeaksshowWatch our episodes on our Creative OPERAtions YouTube Channel under the playlist Create Outside the Box!Follow Us!Instagram @co_creativeoperationsFacebook www.facebook.com/CreativeOPERAtionsNYCMetroArea/Website www.creative-operations.orgThank You for Listening!!!

Brandice Peltier joins Kate & CG to talk about being an actress in NYC and performing at the Metropolitan Opera House. They discuss M. Night Shyamalan movies, a heroic teacher who saved one of her students, and how to handle passive aggressive comments. They also get into Trump's threats to defund certain schools, Philly's new video portal, and how a former Abercrombie & Fitch CEO was arrested for sex trafficking. Follow on IG: @thekatewolff @cg.wolff @brandice.peltierSupport this podcast at — https://redcircle.com/invasion-of-privacy/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Avui sentirem: "Gianni Schicchi" (extractes). Els

Avui sentirem: "Suor Angelica" (extractes). Els

Avui sentirem: "Il tabarro" (extractes). Els

Avui sentirem: "La fanciulla del West" (extractes). Els

Avui sentirem: "Manon Lescaut" (extractes) i "Madama Butterfly" (extractes). Els

On a summer night in 1980, the audience in New York's world famous Metropolitan Opera House rose to their feet and applauded at the end of an international ballet performance. The dancers and musicians rushed backstage and congratulated each other on a great show, but one of the musicians was missing. Her prized violin sat on a chair in the orchestra pit. She had left it there during intermission of the ballet, and she had never come back. NYPD Detectives would soon descend on the Met, where they would find themselves chasing down stagehands, musicians, and one of the most famous Russian dancers in the world, desperately trying to discover what had happened to the violin player who just disappeared – while thousands of people were in the audience.For 100s more stories like these, check out our main YouTube channel just called "MrBallen" -- https://www.youtube.com/c/MrBallenIf you want to reach out to me, contact me on Instagram, Twitter or any other major social media platform, my username on all of them is @mrballenSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Season 04 Episode 03 - the "Goldenrod" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Ms. Calabria Foti, vocalist; Mr. Chris Carosa, regional historian; and Prof. Don Marrazzo, SUNY Fredonia School of Music Voice Faculty. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps 02:17 - Calabria Foti/"From Bebop to Broadway" 20:03 - Chris Carosa/Lafayette in Fredonia 37:58 - Arts Calendar 40:27 - Prof. Don Marrazzo/Live at the Met Preview Media "Goldenrod", written, produced and performed by Kimberly and Alberto Rivera, from the album Spirit Songs, Nov. 13, 2017 "The Man with the Horn", performed by Calabria Foti (vocals) and Bob McChesney (trombone), written and composed by Bonnie Lake, Eddie DeLange, and Jack Jenney; from the album The Man with the Horn, June 1, 2019, MoCo Records. La Marseillaise (French National Anthem), written and composed by Claude Joseph Rouget de Lisle (1792); performed by the US Navy Band, May 5, 2016 "Mia Gelosa!", from the opera Tosca, composed by Giacomo Puccini, libretto by Luigi Illica and Giuseppe Giacosa (1900). Performed by Aleksandra Kurzak (Tosca) and SeokJong Baek (Cavaradossi) at the Metropolitan Opera House, September 2024. "Autumn Fell", written by Jerry Douglas Cole; performed by Authentic Unlimited, from the album Authentic Unlimited, June 27, 2022, Billy Blue Records Artist Links Calabria Foti Chris Carosa Prof. Don Marrazzo   BECOME AN OPERA HOUSE MEMBER!      

Subscriber-only episodeSend us a textWhat if the bustling corridors of a prestigious opera house concealed a dark secret? This episode unravels the haunting mystery of Helen Minkus, a brilliant violinist whose life was tragically cut short at the Metropolitan Opera House. We chronicle Helen's extraordinary rise from a humble farm in British Columbia to her celebrated performances at Juilliard and the Met. The story takes a harrowing turn on July 23rd, 1980, during a Berlin Ballet intermission, when Helen inexplicably vanished, only to be discovered dead and nude in a ventilation shaft the next day. Amidst thousands of unsuspecting spectators, her absence went unnoticed, painting a chilling picture of her untimely and enigmatic demise.Join us as we dissect the relentless investigation that ensued, focusing on the meticulous police work that led to over 800 interviews and zeroed in on 21-year-old stagehand Craig Crimmins. We explore how his intimate knowledge of the opera house and missed performance cue raised alarms, ultimately linking him to the crime through specific knots and a telltale handprint. The narrative reaches a spine-tingling climax when Crimmins, drunk and spurned, confesses to the horrific act, offering a disturbing glimpse into his disturbed psyche. Don't miss our closing segment, where we invite you to connect with us on Instagram, TikTok, Twitter, and Facebook for more updates and behind-the-scenes content. Cheers to another captivating episode of Murder and Mimosas!Book a cruise with Murder and Mimosas:https://saltykissestravel.com/truecrimehalloweenhttps://www.facebook.com/groups/1336304093519465https://twitter.com/Murder_Mimosashttps://www.instagram.com/murder.mimosas/murder.mimosas@gmail.comhttps://uppbeat.io/t/the-wayward-hearts/a-calm-hellfire License code: ZJZ99QK39IWFF0FB

Subscriber-only episodeSend us a textWhat if the bustling corridors of a prestigious opera house concealed a dark secret? This episode unravels the haunting mystery of Helen Minkus, a brilliant violinist whose life was tragically cut short at the Metropolitan Opera House. We chronicle Helen's extraordinary rise from a humble farm in British Columbia to her celebrated performances at Juilliard and the Met. The story takes a harrowing turn on July 23rd, 1980, during a Berlin Ballet intermission, when Helen inexplicably vanished, only to be discovered dead and nude in a ventilation shaft the next day. Amidst thousands of unsuspecting spectators, her absence went unnoticed, painting a chilling picture of her untimely and enigmatic demise.Join us as we dissect the relentless investigation that ensued, focusing on the meticulous police work that led to over 800 interviews and zeroed in on 21-year-old stagehand Craig Crimmins. We explore how his intimate knowledge of the opera house and missed performance cue raised alarms, ultimately linking him to the crime through specific knots and a telltale handprint. The narrative reaches a spine-tingling climax when Crimmins, drunk and spurned, confesses to the horrific act, offering a disturbing glimpse into his disturbed psyche. Don't miss our closing segment, where we invite you to connect with us on Instagram, TikTok, Twitter, and Facebook for more updates and behind-the-scenes content. Cheers to another captivating episode of Murder and Mimosas!Book a cruise with Murder and Mimosas:https://saltykissestravel.com/truecrimehalloweenhttps://www.facebook.com/groups/1336304093519465https://twitter.com/Murder_Mimosashttps://www.instagram.com/murder.mimosas/murder.mimosas@gmail.comhttps://uppbeat.io/t/the-wayward-hearts/a-calm-hellfire License code: ZJZ99QK39IWFF0FB

On July 23, 1980, thirty-year-old Helen Mintiks, a world-class musician, was on a break during a performance at the Metropolitan Opera House in New York City. When the show resumed, Helen didn't return to her position in the orchestra.  Her body was found twelve hours later in an air shaft, having been thrown from the roof of the opera house.  Instantly, the NYPD and Helen's loved ones sprang into action to find out what had happened. LOOKING FOR MORE TCO? On our Patreon feed, you'll find over 400 FULL AD-FREE BONUS episodes to BINGE RIGHT NOW, including our episode-by-episode coverage of popular documentary series like Love Has Won: The Cult of Mother God, LulaRich, and The Curious Case of Natalia Grace; classics like The Jinx, Making A Murderer, and The Staircase; and well-known cases like The Menendez Murders, The Murder of Laci Peterson, Casey Anthony: American Murder Mystery, and The Disappearance of Madeleine McCann, and so many more! The TCO Merch Store is open for a limited time only!  Grab your swag here!

“Dance Talk” ® with Joanne Carey and special guest, Diana Byer, founding director of the New York Theater Ballet. In this episode of Dance Talk with Joanne Carey, join host Joanne Carey as she chats with Special Guest, Diana Byer, as she shares her life in dance which began from a suggestion made by her pediatrician to exercise. That first class lead to a lifetime career in dance, an art form on which she continues to leave her imprint and is creating a profound and exemplary legacy. Diana discusses her commitment to developing dance artists and her outreach program for homeless and at-risk children. Diana Byer received her principal dance training from Margaret Craske and Antony Tudor. She is the founder of New York Theater Ballet that stages works that are intimate in scale and able to touch audiences in deeply personal ways. Hailed by Dance Magazine as “a miniature American treasure,” NYTB is known for its theatrical inventiveness, high production quality, excellent technique, and accessibility to its audiences. She has been a guest instructor of the Cecchetti Society of America, the Cecchetti Society of Canada (Toronto), Cornell and New York Universities, State University of New York at Purchase, Martha Graham School, and other centers of dance. Ms. Byer conducts master classes in schools and performance settings across the USA and Europe. Ms. Byer received extensive media attention for her ongoing work with homeless and at-risk children, winning special citations from President George Bush, First Lady Hillary Clinton, the National Endowment for the Arts, and the President's Committee on the Arts & the Humanities. The LIFT Community Service program, which provides dance classes, performance opportunities, scholarships, and services for homeless and at-risk children in New York, was initiated at NYTB through her vision and commitment. In 1988, 1990, and 1993, Ms. Byer received the Helen Wieselberg Award of the National Arts Club in recognition for her ongoing work with LIFT. In 1992, Lincoln Center produced, at Alice Tully Hall, a one-hour presentation for children called Dreams On A Shoestring, featuring an original script based on Ms. Byer and LIFT. She received a Humanitarian Hero recognition from Good Housekeeping Magazine for her ongoing work with LIFT and was the 2023 Martha Hill Dance Fund Lifetime Achievement Awardee. The feature-length film LIFT, documenting Ms. Byer's journey of LIFT, was featured in the 2022 Tribeca Festival and recognized with a “Children's Resilience in Film Award” by Shine Global. In December 1996, she was again spotlighted in two features in Dance Magazine. Ms. Byer coached the principals in the Columbia Pictures film, Center Stage. She was a member of the Antony Tudor Centennial Celebration Committee and in 2008 staged Tudor's Judgment of Paris for the American Ballet Theatre Gala at The Metropolitan Opera House. She is a repetiteur for the Antony Tudor Trust and a member of the Board of Directors of the Dance Notation Bureau and The Clive and Valerie Barnes Foundation. In 2010 she assisted Kevin McKenzie in ABT's restaging of Antony Tudor's Jardin Aux Lilas (Lilac Garden) and staged Agnes de Mille's Three Virgins and a Devil for the Alabama Ballet. In 2011 Ms. Byer restaged Antony Tudor's Soiree Musicale and the dances from Agnes de Mille's Carousel, Oklahoma, and Brigadoon for American Ballet Theatre's Studio Company. She continues to direct the NYTB School which she established in 1978. Learn more about The Diana Byer Legacy Project https://www.dancio.com/dianabyerlegacyproject Learn more about New York Theater Ballet ⁠https://nytb.org/about⁠ Follow Joanne Carey on Instagram @westfieldschoolofdance  Follow “Dance Talk” ® with Joanne Carey wherever you get your podcasts.  Tune in. Follow. Like us. And Share.  Please leave us review!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Can we ask an honest question, is there anything worse than being the best podcast about The Who and the 190th greatest album of all time,Tommy? But let's put a pin in that question for now.   Before we get to the album we'll pick you up for a night of trivia about youth baseball coaching, co-worker interactions, and Paisley Park. We also become the best podcast about opera when we discuss the Metropolitan Opera House, pre-ordering drinks at intermission, and tenors who get their balls eaten by wild boars. Remember, everything you hear on this podcast must be true!   Then at (1:02) we become pinball wizards and talk about The Who's 1969 rock opera, Tommy. We chat about why we don't like rock operas, discuss the best rock opera albums, and then bail on this episode at intermission.   Trust in me, next week is going to bring some stormy weather when we become the best Etta James podcast and cover her debut studio album, At Last.    

Every week more and more Democrats are expressing frustration with American policy on Israel and the war in Gaza. Some heavyweights, including former House Speaker Nancy Pelosi, are now even joining the call for the U.S. to stop arms transfers to Israel. Senator Bernie Sanders has been one of the loudest voices on this issue. At 82 years old, he manages to be the voice of young liberals, and warns that if President Biden doesn't change tack on the Israel war, and doesn't expand his economic policy for working families, he could lose in November. Senator Sanders joins Christiane from Washington. Then, the unbelievable life story of the newly elected New York City Council Member Yusef Salaam. He was just 15 when he, and four other teens, were falsely accused of raping a jogger in central park in 1989. The media went all-out, assuming their guilt and the group became known as the "Central Park Five.” Salaam spent nearly seven years in prison for a crime he didn't commit. He and the others were exonerated after the real perpetrator confessed and submitted DNA to prove it. But Salaam refused to be beaten by bitterness, and began this year being sworn in as the councilor for Harlem. He speaks with Christiane about all of it as they sit down together in Manhattan. This Sunday marks a decade since terror became reality in Chibok, Nigeria, sparking a global cry to 'bring back our girls', when nearly 300 innocent students were kidnapped by Boko Haram militants. Many of those taken have yet to return home. And kidnapping has become a recurring horror in the country. Now, CNN's Stephanie Busari takes us to where tragedy unfolded, as part of CNN's ongoing series on gender inequality called As Equals. Also in this week's show, Bill Weir, CNN's Chief Climate Correspondent who has spent years covering our warming planet, says there is still room for hope, despite all the despair surrounding climate change. His book , ‘Life as we know it (can be)', goes on sale on April 16th. He joins Christiane in New York. From the Amanpour Archive: With war raging in Gaza, the Israeli Palestinian conflict may feel more intractable than ever. Peace may feel like a distant possibility. But there was a time when Northern Ireland felt like that too. After decades of brutal sectarian conflict and terrorist violence, its leaders and its people bravely chose peace. And this week they celebrated 26 years since the Good Friday Agreement that secured it. It remains one of the United States' greatest diplomatic triumphs as President Bill Clinton and Senator George Mitchell brokered the talks. Along with British Prime minister tony Blair and Irish Prime Minister Bertie Ahern, and of course Northern Irish leaders themselves, they got the deal over the line. And last year, on its 25th anniversary Christiane travelled to Belfast to speak to Clinton, Blair, and Ahern. A peacemaker's reunion. We revisit some of that historic conversation. We end the hour with a little opera for the soul. And a history making show at the Met in New York. “Fire Shut Up In My Bones” by the Grammy-award winning trumpeter Terence Blanchard, made history as the first work by a Black composer at the Metropolitan Opera in its 138-year history. And now it's back. Christiane went to the Metropolitan Opera House to meet him. Learn more about your ad choices. Visit podcastchoices.com/adchoices

As I reminisce about my own ballet slippers scuffing the floor during Sunday school, I can't help but feel a kinship with the young protagonist of "Dance Like Starlight: One Ballerina's Dream." In a heartfelt narrative that stretches from the scuffed floors of a dance studio to the grand stages of the Metropolitan Opera House, we follow the journey of an African American girl in the 1950s who dares to dream of becoming a prima ballerina, just like the trailblazing Janet Collins. This episode is steeped in the wisdom of knowing that hope is more than just wishing; it's the labor of dreams bound by determination and grace. There's a personal thread throughout this conversation, as I share how my own path in dance has informed my perspective on the arts and the power of representation.With a twirl and a leap, we then shift the focus to educators and how literature like Kristie Dempsey's enchanting tale can be woven into a curriculum that fosters young dreamers. I invite you to consider how stories can inspire students to elevate their aspirations from the "floor of their hearts" to the reality of their lives. This episode wraps up with an expression of gratitude for your company in our multicultural educational journey and a hint at the diverse topics awaiting us in the wings. So, lace up your own metaphorical ballet shoes and join me in this celebration of hope, hard work, and the dance of dreams. COME SAY Hey!! Instagram: @cultrallyjebeh_ Facebook: @JebehCulturalConsulting Pinterest: @Jebeh Cultural Consulting LinkedIn: @Jebeh Edmunds Leave a Review on our Podcast! We value your feedback!Are you ready to take your diversity, equity, and inclusion efforts to the next level? Sign Up for My Free Workshop: 3 Massive Mistakes To Avoid When Learning About DEIhttps://jebeh-edmunds.mykajabi.com/pl/2148161149Save time and effort with our informative newsletter that offers strategies, tools, resources, and playlists from the culturally competent and socially just educator and creator Jebeh Edmunds! https://jebehedmunds.com/digitalcourse/email-signup/

In our wide-ranging conversation, opera singer Limmie Pulliam joins me to trace his unbelievable rise from rural Missouri choirboy to gracing world stages like the LA Opera and the iconic Metropolitan Opera House. Limmie reveals the discrimination he once faced as a Black artist, with opera houses telling this gifted vocalist to lose 50 pounds before an audition. After taking a 12-year hiatus from opera, Limmie returned more empowered to confront biases head-on. When the pandemic threatened his comeback, a chance Clubhouse friendship opened unexpected doors, from “kitchen concerts” to an offer from LA Opera soon having him make history singing lead roles no other Black man had at the Met. Yet through dizzying career highs and deep personal losses, Limmie credits his family and friends for keeping him anchored through grief and self-doubt. His is a triumph of spirit, talent, and grace. Limmie teaches us that we must be ready when fortune shines on us, even in adversity. His perseverance through unimaginable barriers makes him an inspiration to me and a rare talent to watch.   Host: Daymond John Producers: Beau Dozier & Shanelle Collins; Ted Kingsbery, Chauncey Bell, & Taryn Loftus For more info on how to take your life and business to the next level, check out DaymondJohn.com   See omnystudio.com/listener for privacy information.

SynopsisIn the 1930s, many Americans had a hard time making ends meet. During the Great Depression, opera and concert tickets didn't always figure into most family's budgets, but thanks to live radio broadcasts, American families enjoyed a veritable Golden Age of operatic and symphonic music in the comfort of their homes.On Christmas Day in 1931, NBC made radio history when it broadcast a matinee performance of Engelbert Humperdinck's opera Hansel und Gretel live from the stage of the old Metropolitan Opera House in New York City to radio listeners coast to coast. The on-air host was American composer Deems Taylor, whose opera Peter Ibbetson would be included in a live Met broadcast the following spring.And on Christmas Day in 1937, music of Antonio Vivaldi opened the first live NBC Symphony broadcast conducted by legendary Italian conductor Arturo Toscanini. Live NBC Symphony broadcasts under Toscanini would continue until the conductor's retirement in 1954. Along with Bach, Beethoven and Brahms, Toscanini included a handful of American works in his programs and, in 1938, conducted the broadcast premiere of Samuel Barber's well-known Adagio for Strings.Music Played in Today's ProgramEnglebert Humperdinck (1854-1921) Hansel and Gretel Overture; Bamberg Symphony; Karl Anton Rickenbacher, cond. Virgin 61128Antonio Vivaldi (1674-1741) Concerto Grosso in D; Moscow Virtuosi; Vladimir Spivakov, cond. BMG 60240

"Tunes of the Season: Phish, Grateful Dead, and Merry Jams"Larry Mishkin   discusses Christmas-themed songs performed by various artists, including The Who and Grateful Dead. Larry delves into The Who's rock opera "Tommy," particularly focusing on the song "Christmas" and its critical reception. He transitions to discussing Grateful Dead's rendition of Chuck Berry's "Run, Rudolph, Run" performed at the Felt Forum in 1971 and analyzes its significance in the band's repertoire.Larry further explores the potential residency of bands like Dead & Company at the Sphere in Las Vegas, following U2's shows there. He touches on Phish's upcoming performances at the same venue and discusses the difficulty in acquiring tickets for these highly anticipated shows.Later, Larry reminisces about New Year's Eve shows by various bands, specifically mentioning Grateful Dead's memorable performances during the countdown. He also features unconventional Christmas renditions by Phish and Jerry Garcia with David Grisman..Produced by PodConx   Theme – Rock n Roll ChristmasIf you were in the Mishkin household earlier this morning, you might have heard this blasting out of the speakers:INTRO:               ChristmasThe WhoFebruary 14, 1970University of Leeds, Leeds, England  aka  “Live At Leeds”The Who - Christmas - Live At Leeds (with Footage) (youtube.com)2:00 – 3:17 "Christmas" is a song written by Pete Townshend and is the seventh song on The Who's rock opera Tommy. On the original LP, it opens the second side of the album.  Tommy is the fourth studio album by the English rock band the Who, first released on 19 May 1969.[2] Primarily written by guitarist Pete Townshend, Tommy is a double album and an early rock opera that tells the story of Tommy Walker and his experiences through life. The song tells how on Christmas morning, Tommy's father is worried about Tommy's future, and soul. His future is jeopardized due to being deaf, dumb, and blind.[2] The lyrics contrast religious themes such as Christmas and Jesus Christ with Tommy's ignorance of such matters. The rhetorical question, "How can he be saved from the eternal grave?" is asked about Tommy's condition and adds speculation as to the nature of original sin and eternal salvation. In the middle of the song, "Tommy can you hear me?" is repeated, with Tommy responding, "See me, feel me, touch me, heal me." "Christmas" was praised by critics. Richie Unterberger of AllMusic called it an "excellent song."[5]Rolling Stone's Mac Randall said it was one of several "prime Pete Townshend songs" on the album.[6] A review in Life by Albert Goldman considered it beautiful and highlighted the song's "croaking chorus".[7] James Perone said it was "perhaps one of the best sleeper tracks of the collection." Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and he attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House, and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and revitalised the band's career. Live at Leeds is the first live album by English rock band the Who. It was recorded at the University of Leeds Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best-known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The album was released on 11 May 1970 by Decca and MCA in the United States,[2] and by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been ranked by several music critics as the best live rock recording of all time SHOW No. 1:                   Run Rudolph RunGrateful DeadFelt Forum at MSG, NYCDecember 7, 1971Track No. 10Grateful Dead Live at Felt Forum, Madison Square Garden on 1971-12-07 : Free Borrow & Streaming : Internet Archive0:11 – 1:54 Run Rudolph Run"[2][3][4] is a Christmas song written by Chuck Berry but credited to Johnny Marks and M. Brodie due to Marks' trademark on the character of Rudolph the Red-Nosed Reindeer.[5][note 1] It was published by St. Nicholas Music (ASCAP) and was first recorded by Berry in 1958, released as a single on Chess Records.It has since been covered by numerous other artists, sometimes with the title "Run Run Rudolph".[16] The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode", and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.During its initial chart run, Berry's 1958 recording peaked at number 69 on the Billboard Hot 100 chart in December 1958.[22] Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks.This Ciip:Out of Brokedown Palace and into You Win AgainPlayed a total of 7 times.This was the first timeLast:  December 15, 1971 Hill Auditorium, Ann Arbor, MI  SHOW No. 2:     Little Drummer BoyPhishJuly 3, 1999Coca Cola Lakewood Amphitheatre, Atlanta, GAPhish - The Little Drummer Boy - 7/3/1999 - Atlanta, GA (youtube.com)Start to 1:30 Out of Contact to close the second set.  Played it again as the first encore (into, Won't You Come Home Bill Bailery starring Page's dad, Jack, on vocals and kazoo. "The Little Drummer Boy" (originally known as "Carol of the Drum") is a Czechoslovakian popular Christmas song written by American composer Katherine Kennicott Davis in 1941.[1] First recorded in 1951 by the Austrian Trapp Family, the song was further popularized by a 1958 recording by the Harry Simeone Chorale; the Simeone version was re-released successfully for several years, and the song has been recorded many times since.[2] In the lyrics, the singer relates how, as a poor young boy, he was summoned by the Magi to the Nativity of Jesus. Without a gift for the Infant, the little drummer boy played his drum with approval from Jesus' mother, Mary, recalling, "I played my best for him" and "He smiled at me". Phish has only performed the song three times during the month of December – the debut performance segueing out of “Mike's Song” and into “Whipping Post,” a tease during the 12/28/94 “Weekapaug Groove,” and jammed out of the “YEM” vocal jam (12/2/99) (which melted down until Jon was left singing it to close the set). But the song was jammed out of season during “My Friend, My Friend” (3/18/93) and “Stash” (7/15/93), and teased during “Weekapaug Groove” and “Big Ball Jam” (4/9/94), “Wilson” (8/13/97), “Silent in the Morning” (7/4/99), and "Wilson" (4/16/04). This version is generally considered to be Fishman's most memorable version.  SHOW No. 3:     God Rest Ye Merry GentlemenJerry Garcia and David GrismanNovember 9, 1991Warfield Theater, S.F.God Rest Ye Merry Gentlemen - Jerry Garcia - Bing videoStart – 1:37Out of The Two Sisters to close second set "God Rest You Merry, Gentlemen" is an English traditional Christmas carol. It is in the Roxburghe Collection (iii. 452), and is listed as no. 394 in the Roud Folk Song Index. It is also known as "Tidings of Comfort and Joy", and by other variant incipits. An early version of this carol is found in an anonymous manuscript, dating from the 1650s it appeared in a parody published in 1820 by William Hone.               Story here is the way Jerry and David play so tight, trading off leads and filling in gaps.  A great sound for a traditional tune.  There are many sides of Jerry and we don't get to see all of them.  Nice to take a break from the traditional Dead stuff and take a look in at what else Garcia was doing during that creative period of his life. SHOW No. 4:                   Stagger LeeGrateful DeadDecember 30, 1985Track No. 6Grateful Dead Live at Oakland Coliseum on 1985-12-30 : Free Borrow & Streaming : Internet ArchiveStart – 1:32 As is made clear by the opening lyrics, this is a tale about events that unfolded and played out on Christmas: “1940 Xmas Eve with a full moon over town”.  On some occasions, Jerry was  known to substitute in “Christmas” Eve. "Stagger Lee", also known as "Stagolee" and other variants, is a popular American folk song about the murder of Billy Lyons by "Stag" Lee Shelton, in St. Louis, Missouri, at Christmas 1895. The song was first published in 1911 and first recorded in 1923, by Fred Waring's Pennsylvanians, titled "Stack O' Lee Blues". A version by Lloyd Price reached number one on the Billboard Hot 100 in 1959. The historical Stagger Lee was Lee Shelton, an African-American pimp living in St. Louis, Missouri, in the late 19th century. He was nicknamed Stag Lee or Stack Lee, with a variety of explanations being given: he was given the nickname because he "went stag" (went to social events unaccompanied by a person of the opposite sex); he took the nickname from a well-known riverboat captain called Stack Lee; or, according to John and Alan Lomax, he took the name from a riverboat owned by the Lee family of Memphis called the Stack Lee, which was known for its on-board prostitution.[2] Shelton was well known locally as one of the Macks, a group of pimps who demanded attention through their flashy clothing and appearance.[3] In addition to those activities, he was the captain of a black Four Hundred Club, a social club with a dubious reputation. On Christmas night in 1895, Shelton and his acquaintance William "Billy" Lyons were drinking in the Bill Curtis Saloon. Lyons was also a member of St. Louis' underworld, and may have been a political and business rival to Shelton. Eventually, the two men got into a dispute, during which Lyons took Shelton's Stetson hat.[5]Subsequently, Shelton shot Lyons, recovered his hat, and left.[6] Lyons died of his injuries, and Shelton was charged, tried, and convicted of the murder in 1897. He was paroled in 1909, but returned to prison in 1911 for assault and robbery. He died in incarceration in 1912. The Grateful Dead frequently played and eventually recorded a version of the tale which focuses on the fictionalized hours after the death of "Billy DeLyon", when Billy's wife Delia tracks down Stagger Lee in a local saloon and "she shot him in the balls" in revenge for Billy's death. Based on the traditional song "Stagger Lee", "Stagolee" or "Stack O'Lee." Robert Hunter wrote a version that he performed solo, and Jerry Garcia subsequently re-ordered the lyrics and rewrote the music for the Grateful Dead's version. More recently Bob Weir has also been performing some of the older traditional versions with Ratdog. Dead released it on Shakedown Street, Nov. 8, 1978 Played 146 times by the Dead1st:  August 30, 1978Last:  June 18, 1995 Giants Stadium  OUTRO:              Santa Clause Is Coming To TownBruce Springsteen and the E Street BandCW Post University, Greenvale, NYDecember, 19756Santa Claus Is Comin' to Town (Live at C.W. Post College, Greenvale, NY - December 1975) - Bing video2:15 - 4:00               Santa Claus Is Comin' to Town" is a Christmas song featuring Santa Claus, written by J. Fred Coots and Haven Gillespie and first recorded by Harry Reser and His Band.[1] When it was covered by Eddie Cantor on his radio show in November 1934 it became a hit; within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold.[2][3] The version for Bluebird Records by George Hall and His Orchestra (vocal by Sonny Schuyler) was very popular in 1934 and reached the various charts of the day.[4] The song has been recorded by over 200 artists including Bing Crosby and the Andrews Sisters, the Crystals, Neil Diamond, Fred Astaire, Bruce Springsteen, Frank Sinatra, Bill Evans, Chris Isaak, the Temptations, The Pointer Sisters, the Carpenters, Michael Bublé, Luis Miguel, and the Jackson 5 A rock version by Bruce Springsteen & the E Street Band was recorded on December 12, 1975, at C. W. Post College in Brookville, New York, by Record Plant engineers Jimmy Iovine and Thom Panunzio.[14][15] This version borrows the chorus refrain from the 1963 recording by the Crystals.[16] It was first released as a track on the 1981 Sesame Street compilation album, In Harmony 2, as well as on a 1981 promotional, radio-only, 7-inch single (Columbia AE7 1332).[17][18] Four years later, it was released as the B-side to "My Hometown," a single off the Born in the U.S.A. album.[19] Springsteen's rendition of the song has received radio airplay perennially at Christmastime for years; it appeared on Billboard magazine's Hot Singles Recurrents chart each year from 2002 to 2009 due to seasonal air play. Live performances of the song often saw the band encouraging the audience to sing some of the lyrics with—or in place of—the band's vocalists (usually the line "you'd better be good for goodness sake", and occasionally the key line "Santa Claus is Comin' to Town" as well). Sometimes, concert crowds would sing along with the entire song, and the band, who were known to encourage this behavior for the song, would do nothing to dissuade those audiences from doing so, instead welcoming the crowds' enthusiasm. This version remains a Springsteen concert favorite during the months of November and December (often concluding the show), and the band is among the few that keep it in their roster of songs during the holidays. Dead & Co at the Sphere?Phish – sold out fast Merry ChristmasHappy Holidays .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Jess Gillam is joined by Norwegian soprano and Last Night of the Proms star Lise Davidsen for a very Christmassy edition of This Classical Life. They share their favourite Christmas music and chat about what gives them that festive feeling! Lise Davidsen has been described as “the greatest soprano in the world right now”, with a “one-in-a-million voice”. Her performance at the Last Night of the Proms 2023 received rave reviews, and she has sung at iconic venues including the Metropolitan Opera House, Royal Opera House, and Teatro alla Scala, Milan. And she's just released a whole album of seasonal favourites and Nordic delights via Decca, called Christmas From Norway.Lise brings along a haunting Scandinavian carol, a sugary-sweet soundtrack from a cult Christmas film, and a modern classic from Coldplay. Jess's choices include a traditional English wassail song, a rock'n'roll Rudolph from Chuck Berry, and a Christmas jig from Yo-Yo Ma and Natalie MacMaster.PLAYLIST:ADOLPHE ADAM – O helga natt (Adams julsång) [Jussi Björling] NATALIE MACMASTER/ TRAD. FRENCH-CANADIAN - A Christmas Jig/Mouth of the Tobique Reel [Yo-Yo Ma, Natalie MacMaster] CHUCK BERRY – Run Rudolph Run KAREL SVOBODA – Drei Haselnüsse für Aschenbrödel (Three Wishes for Cinderella): Motiv - Einleitung TRAD. ENGLISH – Wassail Song [John Kirkpatrick and friends] SAMUEL COLERIDGE-TAYLOR – The Forest of Wild Thyme Op 74: Christmas Overture (arr. Sydney Baynes for orchestra) TRAD. SCANDINAVIAN – Mitt hjerte alltid vanker (My Heart Forever Dwells) [arr. O. Matre for chorus] COLDPLAY – Christmas Lights

Donald Macleod explores the life and music of German composer Engelbert Humperdinck German composer, Engelbert Humperdinck, became an international celebrity with his music for the stage. His lasting hit was his opera, Hansel and Gretel. There were other huge successes too. Die Heirat wider Willen (The Reluctant Marriage) was highly praised after its premiere at the Royal Opera in Berlin, and Humperdinck took 19 curtain calls in London for his stage work Das Wunder (The Miracle). In New York, at the Metropolitan Opera House, after the premiere of Humperdinck's opera Königskinder (King's Children), the applause just kept going so that the management had to turn the lights off, in order to force the audience to leave.Humperdinck was born in Siegburg, and from early on his parents encouraged his musical abilities, provided he focused on his other school commitments, too. He went on to study at the Cologne Conservatoire and soon fell under the spell of Wagner whom he met, and later worked with, in the preparation of Wagner's opera, Parsifal. Humperdinck travelled Europe, and in the early 1890s he saw the premiere of his own opera Hansel and Gretel, which was performed on sixty-nine German stages within one year. Humperdinck became a professor of composition in Berlin and, between his teaching duties, he continued to write many works for the stage. Opera houses clambered to give the premiere of a new work by Humperdinck and he became a giant of his times. Music Featured: Evening Prayer (Hansel and Gretel) Weihnachten Piano Quintet in G (Allegro moderato) Hansel and Gretel (Overture) Die Wallfahrt nach Kevlaar (excerpt) Notturno in G, for violin and string quartet Junge Lieder Die Lerche String Quartet in C minor Wagner arr. Humperdinck: Parsifal (Herzeleide) Hansel and Gretel (excerpt) Nachtstück in A flat Christkindleins Wiegenlied An das Christkind Frühlingssehnsucht Altdeutsches Liebeslied Wiegenlied Piano Quintet in G (Adagio) Das Licht der Welt Erinnerung Liebesorakel Königskinder (excerpt) Moorish Rhapsody (Elegy at Sunset) Die Heirat wider Willen (excerpt) Winterlied Shakespeare Suite No 1 (Ferdinand und Miranda) Die Lerche II Verratene Liebe Unter der Linden Das Wunder (excerpt) String Quartet in C (Lebhaft)Presented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Engelbert Humperdinck (1854-1921) https://www.bbc.co.uk/programmes/m001t2k8 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Welcome to Season 03 Episode 07 - the "Heartwarmer" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include Prof. Emeritus of Voice Dan Ihasz on the Live at the Met production of Florencia en el Amazonas, Messrs. Phil McMullen and Ben Sheedy, co-directors of the Main Street Studio production of A Christmas Carol, and Libby Cardy-Sciarrino, co-director for It's a Wonderful Life: The Radio Play at Lakeshore Center for the Arts. Notes from the Aisle Seat is available from most of your favorite podcast sites, including Apple Podcast, Google Podcast, Stitcher, Spotify, and Amazon Prime Music, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps: Dan Ihasz - Live at the Met. 2:10 Ben Sheedy/Phil McMullen - A Christmas Carol  19:50 Arts Calendar - 38:18 Libby Cardy-Sciarrino - It's A Wonderful Life 40:02 Media: "Night (Midnight)", "Prelude", and "Joy"; from the album December, George Winston, composer/performer, Windham Hill, November 1982 "Escúchame" and “Ella nunca cedió a las tentaciones del amor”, from the opera Florencia en el Amazonas; Daniel Catán, composer; Marcela Fuentes-Berain, librettist; performed by Aylin Pérez, soprano, and Gabriella Reyes, soprano; Metropolitan Opera House, December 2023 For More Information: Metropolitan Opera House Main Street Studios Lakeshore Center for the Arts BECOME A MEMBER!    

Helen Hagnes Mintiks had it all - a wonderful husband, a fabulous life in New York City, and her dream job as a professional violinist performing at the world famous Metropolitan Opera House. On July 23, 1980, Helen was playing in the orchestra for the visiting Berlin Ballet, but after a break in the performance, Helen never returned to finish the show. Her prized possession - her violin - sat in her empty seat, while others in the orchestra wondered where she could be. When she failed to turn up by the end of the performance, no one could understand how a someone could just vanish in the middle of a performance at the Met. Sponsors: Hello Fresh Go to HelloFresh.com/50creepers and and use code 50creepers for 50% off plus free shipping! EarnIn Download EarnIn today in the Google play or Apple app store! When you download the EarnIn app type in Creepers under PODCAST when you sign up! It really helps the show! Sources: Tragic tale of top violinist who vanished mid-performance at New York's Met Opera House Metropolitan Opera House (Lincoln Center) - Wikipedia The Firebird - Wikipedia QS World University Rankings for Performing Arts 2023 Mintiks v. Metropolitan Opera, 153 A.D.2d 133 | Casetext Search + Citator Remembering Violinist Helen Hagnes, 40 Years After Her Murder at the Met How a Real-Life 'Phantom of the Opera' Murdered a Young Violinist at the Met in 1980 | Inside Edition Helen Karen Mintiks | Find A Grave New York Homicide S1 E2: Murder at the Met | Peacock Craig Crimmins | Murderpedia, the encyclopedia of murderers Murder at the Met: Craig Crimmins on Trial for Murder of Violinist | Archives & Special Collections | New York Times Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Celebrate the opening of the opera season Gilded Age style!  In this encore episode, Carl delves into how the Metropolitan Opera came to be and what it meant to those bejewelled Gilded Age audiences.  Most of the drama took place in the audience - and not so much on the stage. On the night of October 22, 1883, the brand new Metropolitan Opera House opened its doors.  The new theater was able to accommodate many more prime seats than the old Academy of Music, and as a result, "new money" socialites like Alva Vanderbuilt could finally get their dream - a private box at the opera.  But most of these opera goers weren't there for the music. They were there to jockey for social position, play the game of "see and be seen" and hopefully get one's daughter married off to an appropriate fortune.  This episode goes in to the drama -- on stage and off -- that accompanied that first opera season at the net Met - so put on your favorite gown from Paris, don your top hat and cane and join The Gilded Gentleman for a Gilded Age night at the opera. Visit the website for images related to this subject. And check out the whole list of episodes from the Gilded Gentleman here.

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

Bidú Sayão foi a maior estrela da ópera no Brasil. Nascida no subúrbio carioca em 1902, Balduína de Oliveira Sayão não era “predestinada” ao canto: “Eu não tinha voz alguma quando comecei. Os professores me disseram que eu era muito nova ainda, que minha família ia gastar dinheiro à toa. Mas eu insisti, chorei muito, garanti que não me importava com bailes, namorados, festas. E comecei a cantar”. Com disciplina e o incentivo de sua professora de canto, que a levou para a Europa para estudar música, B.S. fez sua estreia nos palcos de Roma. O sucesso de seu début, em “O Barbeiro de Sevilha”, lhe abriu portas para cantar nos principais teatros europeus. Aos 24 anos Bidu já era um fenômeno da música. Em 1935, arrebatou os EU com sua estreia no Carnegie Hall. Nova Iorque viraria seu lar, ao ser contratada pela Metropolitan Opera House, de onde foi a estrela por mais de 15 anos. Apesar de todo seu sucesso internacional, era brasileiríssima. Depois de cantar para Franklin e Eleanor Roosevelt (#mulherdefibra) na Casa Branca, o então presidente chegou a lhe oferecer uma cidadania estadunidense. Bidu recusou, “No Brasil eu nasci e no Brasil morrerei”, justificou. Sayão contribuiu grandemente para a música brasileira com sua parceria com o maestro Heitor Villa-Lobos. Em 1995, B.S. foi a grande homenageada no desfile de carnaval da Beija-Flor de Nilópolis; aos 92 anos, a grande diva percorreu o sambódromo, recebendo uma homenagem à altura de sua realeza. Seu desejo de morrer no Brasil não se realizou: ela morreu, nos EU, aos 96 anos, vítima de uma pneumonia em 1999

Jennifer Aspinall joins me to discuss Universal horror movies; being shy, so stage makeup helped her; hired at a theater at 11; loving illusion; being on film sets at 18; being in front of the camera in Walk the Prank; playing a makeup artist on TV shows; starting out in film with "Playing for Time", "Vortex", and "The First Turn On!"; working on "Toxic Avenger"; gets hired from Metropolitan Opera House to SNL; would do roving special effects makeup; rotating number of artists, MAD TV allowed her to shoot on a schedule that made more sense to hair and makeup; Jan Hooks as a 100 year old woman; Massive Head-wound Harry; Tooncinator; Dana as Bush and Perot; Chevy Chase as Jeffrey Dahmer; Unfrozen Caveman Lawyer; not having the ability to say which cast member more resembles a famous person on SNL but having it on MAD TV; getting SNL's first Emmy nomination; working with Mike Meyers, Chris Farley, and Adam Sandler; Musicians for Free Range Chickens; going to MAD TV; being present at Artie Lange's pig story; Nicole Sullivan; Pam & Tommy; being the Susan Lucci of the Makeup Emmy; Alex Borstein; her work on "Erin Brockovich"; Albert Finney; how her p.a. became the executive producer of "Erin Brockovich"; Jennifer Coolidge; Funny or Die Presidents sketch; getting hired for The Jay Leno Show and staying when he took over the Tonight Show; Leno / Conan "fight"; working the Oscars; Chris Rock and the slap; getting older vs. looking and feeling older; Westworld; Winning Time: Rise of the Lakers; Debra Wilson; "That's My Black Mama"; David Cross; Sponge-Bob Square Pants movies; the Broadway show, her step-son and grandchildren; Martin Short

Welcome back to this companion episode of the STAGES podcast and our conversation with Natalie Mosco.In Part 1, Natalie shared anecdote from her vast career, particularly the period when she worked throughout Australia is many shows, garnering a significant profile. Natalie of course arrived in Australia via the Musical Hair, where she had been a member of the Broadway company.Subsequent stage sojourns included Grease, Two Gentlemen of Verona, The Magic Show, Gershwin, The Rocky Horror Show, Get Happy and Pippin. All of which she shares terrific insight to - the triumphs and occasional trauma. And always with tremendous passion, joy and respect; for an art form she adores and the folk who inhabit it.She recalls her first Australian too - the great Cyril Ritchard, who directed her as an 11 year old in La Perichole at the old Metropolitan Opera House in New York City.In Part 2, Natalie recounts growing up and embracing an education in the Performing Arts. And revisits celebrated performances in Follies, as Emily Whitman, and Grand Hotel as the Ballerina Grushinskaya. Throughout her stellar career she has also worked alongside key artists, teachers, performers and creatives - everyone a contributor to Natalie's remarkable story; and for who she continues to carry the torch of their combined artistry.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

New York born, Natalie Mosco appeared on Australian stages over a three decade period in productions that included The Rocky Horror Show, Get Happy, The Conquest of Carmen Miranda, Company and Oscar's Turn to Sing.Her earliest theatrical experiences were garnered as a dancer in a string of operas for the Metropolitan Opera House, as well as Swan Lake and Sleeping Beauty for Britain's Royal Ballet.She turned to acting in 1965 with plays for Off-Broadway's American Place Theatre. In 1968 she was a member, and later starred with the original Broadway cast of Hair and began a four year association with that show which took her as a performer/choreographer to Toronto, Boston, Paris, and finally Melbourne for the beginning of the Australian tour.Following Hair, Natalie toured with Jesus Christ Superstar, leaving that show for major roles in Grease, Two Gentlemen of Verona, No Sex Please We're British, Pippin, Gershwin, and The Magic Show. An offer to re-create her Australian role in The Magic Show on Broadway took her back to America where she remained for almost five years doing Broadway, television, and regional theatre work including new plays, musicals and ‘standards' such as ‘Maggie' in Cat On a Hot Tin Roof.In Australia, her television credits include regular roles in Bellbird, Number 96, Learned Friends, The Last Bastion, A Country Practice and Carson's Law, as well as guest spots for the ABC and Crawfords in sundry roles. Natalie performed the role of ballerina ‘Grushinskaya' in the West End production of Grand Hotel. And for the prestigious Paper Mill Playhouse in New Jersey; ‘Belinda Blair' in Noises Off; and ‘Emily Whitman' in the first revival of Follies, alongside Kaye Ballard, Eddie Bracken, Donna McKechnie and Ann Miller.We're thrilled to welcome Natalie Mosco to the STAGES podcast.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Join us as we go back to 1980 to the famous Berlin Ballet performance in New York City at the Metropolitan Opera House. Helen is a violinist who goes missing during a break in the performance. It is noticed after the show is over what exactly happened. You can read more about it on the Oxygen page found here. We love doing these episodes and would appreciate very much if you rate, share, and subscribe to us so you don't miss one when it goes live. Thank you so much to those who listen. We consider you friends, so if you want to make that official join us on our Facebook page: Old Time Crime Gals As always feel free to email us at oldtimecrimegals@gmail.com Thanks for listening!

Harvey Brownstone conducts an in-depth interview with Richard Jay-Alexander, Renowned Producer and Director About Harvey's guest: Today's guest, Richard Jay-Alexander, is an internationally renowned producer and director of some of the greatest Broadway shows, musical theatre productions, and concert tours of our generation.    He's been instrumental in bringing some of the most wonderful Broadway shows to audiences throughout North America, including “Les Miz”, “Miss Saigon”, “Oliver”, “Song and Dance”, and “Amadeus”, to name only a few.    He's worked with some of the greatest music artists of all time, including Barbra Streisand, Julie Andrews, Johnny Mathis, Bette Midler, Bernadette Peters, Ricky Martin, Betty Buckley, Donna McKechnie and dozens more, on their concerts, TV specials and albums.   His career has taken him to the greatest performance venues in the world – everywhere from the Royal Albert Hall and Festival Hall in London, and the biggest arenas in the world, to the Sydney Opera House, Carnegie Hall, The Metropolitan Opera House, The Hollywood Bowl, and the big theatres in Las Vegas.   As a writer, he's contributed lyrics to projects for Disney, he's written the liner notes for the albums of many classic musicals, and his interviews with dozens of legendary stars for Broadwayworld.com are pure magic.  He's directed the Chaplin Awards for Film at Lincoln Center, honouring iconic stars like Robert Redford, Robert De Niro, Morgan Freeman and Helen Mirren.   He's produced Grammy-nominated recordings and cast albums.  And in addition to all of his professional activities, he is one of the most passionate and dedicated philanthropists in the entertainment world  In fact, he's absolutely ferocious about giving back.  He's a long time Board member of Broadway Cares/Equity Fights AIDS, and has directed many benefit shows, not only for that organization, but for many other causes that are near and dear to his heart, including animal welfare, the Make-A-Wish Foundation, The Actor's Fund, the National Asian Artists Project, Broadway Dreams, and Hollywood's Motion Picture and Television Fund.   He's also very active in teaching and mentoring young talent, and he's been the camp director of Kristin Chenoweth's Broadway Bootcamp. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Richard Jay-Alexander, go to:https://www.facebook.com/richard.jayalexander/ https://twitter.com/rja_tkydkyhttps://www.instagram.com/broadwaydick/ #RichardJayAlexander   #harveybrownstoneinterviews

Episode 65. Six Degrees of Patti LaBelle. The Queen. The Legendary Godmother of Soul. Hosted by Troy Saunders, Wanda T., and Arif St. Michael.In this part of our series on the music and career of the legendary Patti LaBelle, we focus on Patti's early years with The Bluebells and LaBelle. Our special guest is singer and songwriter Keith Anthony Fluitt, who has performed with Patti LaBelle, Nona Hendryx, Sarah Dash, Diana Ross, Roberta Flack, Bruce Springsteen, Pet Shop Boys, Michael Jackson, Harry Belafonte, and many others. We have asked him to be on the show since he has worked with Patti, Nona, and Sarah.Patti LaBelle grew up singing in a local Baptist choir, and in 1960 teamed with friend Cindy Birdsong to form a group called the Ordettes. A year later, following the additions of vocalists Nona Hendryx and Sarah Dash, the group was renamed the Blue Belles. With producer Bobby Martin at the helm, they scored a Top 20 pop and R&B hit in 1962 with the single "I Sold My Heart to the Junkman," and subsequently hit the charts in 1964 with renditions of "Danny Boy" and "You'll Never Walk Alone."The quartet, now known as Patti LaBelle & the Bluebelles, signed in 1965 to Atlantic, where they earned a minor hit with their version of the standard "Somewhere Over the Rainbow." In 1967, Birdsong replaced Florence Ballard in the Supremes. The remaining trio toured the so-called "Chitlin' Circuit" for the remainder of the decade before signing on with British manager Vicki Wickham in 1970. Wickham renamed the group simply LaBelle and pushed their music in a funkier, rock-oriented direction, and in the wake of their self-titled 1971 Warner Bros. debut, they even toured with the Who. The trio also collaborated with Laura Nyro on the superb R&B-influenced album “Gonna Take a Miracle”. By 1973, LaBelle had gone glam, taking the stage in wildly theatrical, futuristic costumes. A year later, they became the first African-American act to appear at New York's Metropolitan Opera House. The landmark performance introduced "Lady Marmalade," which in 1974 became their lone chart-topping single, produced by Allen Toussaint.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

Episode 66. Six Degrees of Patti LaBelle. The Queen. The Legendary Godmother of Soul. Hosted by Troy Saunders, Wanda T., and Arif St. Michael.This episode in our series on the career and music of the legendary Patti LaBelle will focus on  the life of the great Sarah Dash. Special guest is B.J. Nelson. She was known as “The Voice” before Whitney Houston was “The Voice”.B.J. Nelson began singing in the late '60s in her hometown of Pittsburgh, fronting a band called Insane Soul. She moved to New York in 1979 and after becoming a member of T.M. Stevens' band, T-Bird. During her time with T-Bird, B.J. met guitarist Ronald "Head" Drayton, which led to her becoming a member of Nona Hendryx's band. She has also worked with Duran Duran, Power Station, Will Downing and Robert Palmer.Sarah Dash was a founding member of the groundbreaking, million-selling vocal trio LaBelle, along with Patti LaBelle and Nona Hendryx. She brought her church-rooted soprano and high harmonies to LaBelle, which began as a 1960s girl group before reinventing itself as a socially aware, Afro-futuristic rock and funk powerhouse, costumed in glittery sci-fi outfits and singing about revolution as well as earthy romance. In 1974, LaBelle had a No. 1 hit, “Lady Marmalade,” and performed the first concert by a pop group - and a Black group - at the Metropolitan Opera House in New York City.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

Decca Classics is proud to announce Renée Fleming – Greatest Moments at the Met. The release showcases her stellar career at the Metropolitan Opera House to date, making some of the great soprano's most iconic performances at The Met available on CD and digital audio for the first time ever. Hearing these live performances captures the excitement felt in the house as they were happening in real-time, making an indispensable addition to her many studio recordings.Track Listing:1 Mozart: LE NOZZE DI FIGARO K.492 / Act III: “E Susanna non vien2 Act III: … Dove sono i bei momenti”3 Act III: “Cosa mi narri!”4 Act III: “Sull'aria… Che soave zeffiretto”5 Verdi: OTELLO / Act IV: “Era più calmo?”6 Act IV: “Piangea cantando” (Willow Song)7 Act IV: “Ave Maria, piena di grazia”8 Strauss: ARABELLA Op.79 / Act III: “Das war sehr gut, Mandryka”9 Britten: PETER GRIMES Op.33 Act III: “Embroidery in childhood was a luxury of idleness”10 Charpentier: LOUISE / Act III: “Depuis le jour”11 Gounod: FAUST / Act IV: “Alerte! Alerte! ou vous êtes perdus!”12 Dvorák: RUSALKA Op.114 / Act I: “Mesícku na nebi hlubokém”13 Massenet: MANON / Act III: “Obéissons quand leur voix appelle”14 Act III: “Toi! Vous!”15 Act III: “N'est-ce plus ma main que cette main presse”16 Floyd: SUSANNAH / Act I: “Ain't it a pretty night!”17 Act II: “That's mighty pretty singin', Susannah”18 Mozart: DON GIOVANNI K.527 / Act II: “Crudele? Ah no, mio bene!19 Bellini: IL PIRATA / Act II: “Col sorriso d'innocenza”20 Verdi: LA TRAVIATA / Act II: “Ah! Dite alla giovine”21 Act II: “Imponete – Non amarlo ditegli”22 Handel: RODELINDA HWV 19 / Act III: “Mio caro bene”23 Tchaikovsky: EUGENE ONEGIN / Act III: “O! Kak mnye tyazhelo!”24 Act III: “Onegin! Ya togda molozhe”25 Massenet: THAÏS / Act II: “Ah je suis seule …26 Act II: … Dis-moi que je suis belle”27 Rossini: ARMIDA / Act III: “Dove son io? … Fuggi!”28 Act III: “È ver… gode quest'anima”29 Lehár: THE MERRY WIDOW / Act II: “Hello, here's a soldier bold”30 Korngold: DIE TOTE STADT / Act I: “Glück, das mir verblieb” (Marietta's Lied)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

When 31-year-old violinist Helen Mintiks goes missing during a performance at the Metropolitan Opera House, all of New York is terrified. Her naked corpse is discovered in an air shaft at the Met, and everyone is a suspect.For even more Deadliest Decade, head to discovery+. Go to discoveryplus.com/deadliestdecade to start your 7-day free trial. Terms apply. Hosted on Acast. See acast.com/privacy for more information.

Chuck and Roxy are back with another jam packed episode and open the show with your emails and notes.  Next it's time to "Meet the Littles" as our hosts welcome Cesar Amador to the podcast!  (11:00) TWITTER and INSTAGRAM @camador1976  AIR BNB or VRBO "The River Lilly Cabin" or "The Lilly Lodge." Then our hosts close out the show with 5 Mediocre Minutes as they welcome back Kyle Ketelsen to the podcast! TWITTER: @kyleket WEBSITE: kyleketelsen.instantencore.com "THE HOURS" at The Metropolitan Opera House in NYC.  November 22 thru December 15.  In theaters nationally on December 10, 2022 at 1:00pm ET.  WWW.METOPERA.ORG SONG -  "How Easy It Can Be" by Betrands Wish of their new album "You'll Find Out"  www.bertrandswish.com  Podcast Website - www.loyallittlespod.com  Podcast Email - WTFCPODNET@GMAIL.COM Twitter:@loyallittlespod Instagram: @theloyallittlespodcast PODCAST LOGO DESIGN by Eric Londergan www.redbubble.com Search: ericlondergan --- Support this podcast: https://anchor.fm/loyallittles/support

Meg searches The Metropolitan Opera House for missing violinist Helen Hagnes. Jessica discovers the ultra-cool kids' extracurricular activity.

In the final episode of our Courageous Conversation series (and for the summer), I am sharing my personal story of courage with you. It's the story of little Shirin, what I believed growing up, the “plan” I had in place, how I went from singing at The Metropolitan Opera House to becoming a life coach, and what choices, changes, and decisions led to the shift that created my dream life. This is the final podcast episode for the summer as I take a break to honor my rest, joy, and ease. In the meantime, I have a few steps for you to take: Rate & review the podcast wherever you listen! Seriously, stop right now & take a quick moment to share your thoughts if you love the show. Get ready, get excited, and join the waitlists for the launches of 2 of my signature programs in the fall: Wholehearted Woman (the only way to work with me one-on-one and it's limited to just 10 spots!) and The Alchemy Collective (my 12-month group coaching program to heal yourself and become your own leader again).  If you haven't already, tune into episodes 116 to 120 to hear all of the Courageous Conversation interviews about amazing, successful women who moved through fear, trusted their intuition, and how they shifted from their life's plan to their dream life.  *Also, this may be the last time I offer Wholehearted Woman before sharing some new, exciting changes for Wholehearted Coaching. Find the full show notes at https://www.wholehearted-coaching.com/podcast/how-i-became-a-life-coach Sign up to get your FREE 7-day guided journal with 45 prompts that will transform your life! wholehearted-coaching.lpages.co/reclamation  Join the Wholehearted Community on Instagram 

Today I talked to Joan Schweighardt about her novel River Aria (Five Directions Press, 2020). It's 1928 and Estela Euquério Hopper, of Manaus, Brazil, is the star vocal pupil of a world-renowned musician who'd come to revive a magnificent opera house. It had been erected during the heady years when rubber seemed likely to change Brazil's fortunes. Those days ended, and most of the population is poor and struggling. Estela has grown up among the “river brats,” but she was fortunate to have a magnificent voice, a stellar musical education, and an American father. She's got a job offer from the Metropolitan Opera House, but it's only to work in the sewing room. And her cousin JoJo, another river brat and a talented artist, is going to accompany her across the ocean. But secrets threaten to destroy her plans, the heady days of Prohibition are about to come to an end, and the stock market is about to crash. Joan Schweighardt studied English Lit and Philosophy at Suny New Paltz, NY and is the award-winning author of The Accidental Art Thief, The Last Wife of Attila the Hun, Virtual Silence, and other novels. Before We Died, Gifts for the Dead and River Aria make up her river series, whose stories unfold against an early 20th century backdrop that includes the South American rubber boom, the Great War (as experienced in Hoboken, NJ) and the beginnings of the Great Depression. The stories deal with themes of grief, loss, love, immigration, assimilation and more. Joan also wrote a book for children, No Time for Zebras (Waldorf Publishing 2019), about a mother and son, with drawings by artist Adryelle Villamizar. Schweinghardt worked for many years as a freelance writer, a ghostwriter, a literary agent, and the publisher of a small company with a list of award-winning books. When she's not reading or writing her own books, she enjoys collaborating with other writers, and also loves to hike, bike, travel, and paint with oils. I interview authors of beautifully written literary fiction and mysteries, and try to focus on independently published novels, especially by women and others whose voices deserve more attention. If your upcoming or recently published novel might be a candidate for a podcast, please contact me via my website, gpgottlieb dot com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I talked to Joan Schweighardt about her novel River Aria (Five Directions Press, 2020). It's 1928 and Estela Euquério Hopper, of Manaus, Brazil, is the star vocal pupil of a world-renowned musician who'd come to revive a magnificent opera house. It had been erected during the heady years when rubber seemed likely to change Brazil's fortunes. Those days ended, and most of the population is poor and struggling. Estela has grown up among the “river brats,” but she was fortunate to have a magnificent voice, a stellar musical education, and an American father. She's got a job offer from the Metropolitan Opera House, but it's only to work in the sewing room. And her cousin JoJo, another river brat and a talented artist, is going to accompany her across the ocean. But secrets threaten to destroy her plans, the heady days of Prohibition are about to come to an end, and the stock market is about to crash. Joan Schweighardt studied English Lit and Philosophy at Suny New Paltz, NY and is the award-winning author of The Accidental Art Thief, The Last Wife of Attila the Hun, Virtual Silence, and other novels. Before We Died, Gifts for the Dead and River Aria make up her river series, whose stories unfold against an early 20th century backdrop that includes the South American rubber boom, the Great War (as experienced in Hoboken, NJ) and the beginnings of the Great Depression. The stories deal with themes of grief, loss, love, immigration, assimilation and more. Joan also wrote a book for children, No Time for Zebras (Waldorf Publishing 2019), about a mother and son, with drawings by artist Adryelle Villamizar. Schweighardt worked for many years as a freelance writer, a ghostwriter, a literary agent, and the publisher of a small company with a list of award-winning books. When she's not reading or writing her own books, she enjoys collaborating with other writers, and also loves to hike, bike, travel, and paint with oils. I interview authors of beautifully written literary fiction and mysteries, and try to focus on independently published novels, especially by women and others whose voices deserve more attention. If your upcoming or recently published novel might be a candidate for a podcast, please contact me via my website, gpgottlieb dot com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Synopsis The opening of Edith Wharton's novel, “The Age of Innocence,” takes place at New York's old Academy of Music in the early 1870s, during a performance of Gounod's “Faust,” a French opera based on a German play by Goethe. At the time specified in Wharton's novel, Gounod's opera was still “new” music, having premiered about a dozen years earlier in Paris on today's date in 1859. Gounod's “Faust” became a worldwide success, and was quickly translated into many languages. In Wharton's fictional New York performance, for example, the real-life Swedish diva Christine Nilsson sang the role of Marguerite, the pure German maiden seduced and abandoned by Faust.  As Wharton puts it: “She sang, of course, ‘m'ama!” and not “he loves me,' since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.” Nilsson, again singing in Italian, sang Marguerite at the 1883 gala opening night performance of “Faust” at New York's newly built Metropolitan Opera House.  “Faust” was performed so often there that the building was soon dubbed the “Faust-spielhaus,” a pun on Wagner's “Festpielhaus” or “Festival Theater” in Bayreuth. Music Played in Today's Program Charles Gounod (1818 - 1893) — Faust Ballet Music (St. Martin's Academy; Sir Neville Marriner, cond.) Philips 462 125