Podcasts about meyerbeer

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

Patrizia Ciofi: Marguerite Olesya Golovneva: Valentine Irene Roberts: Urbain Juan Diego Flórez: Raoul Derek Welton: Saint-Bris Marc Barrard: Nevers Ante Jerkunica: Marcel Conductor: Michele Mariotti Deutsche Oper Berlin 20 November 2016 Broadcast

What better way to start off this Black History Month 2025 celebration than with a birthday tribute to beloved African American diva Martina Arroyo, who turned 88 yesterday, February 2?! Though she is universally regarded as one of the premier Verdi spinto sopranos of the second half of the Twentieth Century, Arroyo was equally adept at a wide range of other composers as well. In this episode, which focuses on Martina in duet, many of those composers are represented as well, from Handel to Meyerbeer to Mascagni, with a little Wagner thrown in for good measure. And what an amazing line-up of duet partners, including two of our most beloved African American mezzos/sopranos, Shirley Verrett, and Grace Bumbry. Also heard are Franco Corelli, Carlo Bergonzi, Anna Moffo, Franco Bonisolli, Bernd Weikl, Gianfranco Cecchele, Sherrill Milnes, Ludmila Dvořáková, and Giorgio Lamberti. Raise a glass to this supreme soprano, and prepare your ears for a deeply satisfying experience! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Interpreten: Aleksandra Kurzak, Morphing Chamber Orchestra, Bassem Akiki Label: Aparté EAN: 5051083205504 Es gibt nicht so viele Sängerinnen und Sänger, die einem bestimmten Stimmfach ihren Namen verliehen haben. Eine der wenigen ist die, heute mehr oder weniger in Vergessenheit geratene, Sopranistin Cornélie Falcon, die u.a. mit Werken von Meyerbeer und Halévy größte Erfolge gefeuert hat. Auf ihre Spuren hat sich nun mit dem neuen Album Aleksandra Kurzak gemacht, die sich damit vor ihrer Vorgängerin verneigt. Was muss das für ein Opernabend gewesen sein, als die erst 18-jährige Cornélie Falcon am 20. Juli 1832 ihr Debüt an der Opéra National de Paris gefeiert hat. In der Wiederaufnahmevorstellung von Meyerbeers Robert le Diable sind laut Aufzeichnungen nicht nur George Sand oder Alexandre Dumas gesessen, sondern die gesamte, zu dieser Zeit in Paris lebende, hochgefeierte Komponistenriege - von Rossini über Aubert, Adam, Berlioz, Cherubini bis hin zu Halévy und Meyerbeer selbst. Sie alle wollten das Debüt der jungen Sängerin miterleben und sie alle sollten nicht enttäuscht sein. Das Schicksal sollte ihr nur eine vergleichsweise kurze Karriere gönnen, umso spannender und schöner, dass nun Aleksandra Kurzak mit ihrem neuen Album an diese Sängerinnenlegende erinnert. Gemeinsam mit dem Morphing Chamber Orchestra unter der Leitung von Bassem Akiki zündet Kurzak ein Arienfeuerwerk sondergleichen. Mozarts Donna Anna, Beethovens Ah perfido, Ausschnitte aus Le comte Ory von Rossini, La Juive von Halévy oder Les Huguenots von Meyerbeer. Auch eine große Agathe Szene aus Webers Freischütz inklusive Leise, leise fromme Weise findet sich auf diesem schön konzipierten und noch schöner produzierten Album. Kurzaks Stimme erweist sich als äußerst wandelbar und stellenweise zaubert sie das wunderbarste Pianissimo, nur um gleich wieder mit voller Energie und vollem Volumen loszulegen. Gekonnt spritzig das begleitende Morphing Chamber Orchestra das hier vom polnisch-libanesischen Dirigenten Bassem Akiki höchst aufmerksam geleitet wird. (mg)

O pianista português João Costa Ferreira lança o seu mais recente disco, José Vianna da Motta, Poemas Pianísticos, vol 2, no próximo dia 26 de Outubro, em Portugal. Nos nossos estúdios, João Costa Ferreira destacou a importância de reabilitar o património musical português e partilha o "meticuloso processo de edição inerente à gravação" deste disco. O álbum é composto por 12 obras inéditas de José Vianna da Motta que o compositor escreveu entre os seus 5 e os 14 anos. RFI: Antes de falarmos da relação que tem com a obra de José Vianna da Motta, vamos falar da peça"Resignação", uma peça escrita para ser tocada com a mão esquerda. Apesar de existir um vasto repertório clássico de obras para a mão esquerda, continua a ser curioso ver um pianista a tocar apenas com a mão esquerda. De onde é que vem esta tradição ?João Costa Ferreira: Há toda uma tradição, sobretudo no século XX, quando vários compositores célebres como Ravel ou Prokofiev compuseram obras para o pianista Paul Wittgenstein. A partir daí começou a surgir mais reportório. Mas antes da primeira metade do século do século XX, já havia este repertório composto apenas para a mão esquerda e as razões são diversas: podia estar relacionado com alguma lesão física no braço direito, podia estar apenas relacionado como um desafio composicional. No caso do Vianna da Motta, não conheço a razão que o levou a compor esta obra "Resignação". O título em si carrega algo de negativo, portanto, é possível, e é apenas uma hipótese, que possa estar associado a algum problema que ele teve com o braço direito. O que, por exemplo, é possível de notar quando lemos os diários dele. Embora ele só tenha começado a escrever os diários depois de compor esta peça. Durante muitos anos, durante quatro ou cinco anos, ele refere-se - por mais de 30 vezes - a dores nos dedos e por uma dessas vezes refere-se ao dedo mindinho da mão direita. Pode ser apenas uma hipótese, que ele possa de facto ter tido um problema no braço direito, mas não é de descartar essa possibilidade, até porque nos diários que eu estava a referir, escritos  entre 1884 e 1890, ele escreve sobre sobre essa lesão na mão direita. Em 1907 e 1908 encontramos também cartas que ele escreveu a Margarethe Lemke, onde ele continua a insistir sobre problemas que ele tem nas mãos. Portanto, esse problema era recorrente.Há desafios técnicos para tocar esta peça? Normalmente, a melodia é tocada pela mão direita e  o acompanhamento pela mão esquerda. Há uma complexidade técnica quando se toca apenas com uma mão?Sim, há uma complexidade associada a isso. O repertório para piano é composto no sentido de conferir à mão esquerda a melodia e o acompanhamento à mão direita. Isto é uma regra geral. Obviamente que há muitas excepções e no caso do repertório para a mão esquerda, acaba por ser muitas vezes o polegar que tem a função de produzir a melodia, uma vez que é ele que está próximo dos agudos, embora muitas vezes a melodia esteja nos graves, nem que seja para imitar um instrumento grave, como o violoncelo, por exemplo. Isso, de facto, traz um desafio que é diferente, uma vez que é confiada a uma mão apenas duas funções diferentes, isto é, o acompanhamento e a melodia.Isso muda a dinâmica da interpretação?Sim, de certeza. Quando temos que tocar um baixo muito grave e a seguir uma melodia é diferente de tocar com as duas mãos porque podíamos tocar ao mesmo tempo. Quando se trata de tocar com uma mão apenas, temos que fazer aquilo que nós chamamos arpejos, isto é, tocar primeiro baixo e depois tocar o agudo. E isso acaba até por ter repercussões na expressão musical, acaba por ser diferente do ponto de vista estritamente técnico, mas também do ponto de vista musical. Acaba por ter consequências que muitas vezes são consequências, aliás, que eu diria automaticamente positivas porque num arpejado há uma conotação da expressão associada.Lança o seu mais recente disco, José Vianna da Motta, Poemas Pianísticos, vol 2. O que é que o motiva a continuar  a aprofundar a obra de José Viana da Motta e a publicar este segundo volume?Já tinha publicado um primeiro volume e não podia deixar de publicar um segundo. Este foi um receio que tive durante muito tempo. Será que um dia vai haver um segundo volume? É estranho haver apenas um primeiro volume. Era para mim uma vontade muito grande de publicar este segundo volume. O que é interessante no meu ponto de vista, do ponto de vista da reabilitação do património musical português, que é o trabalho que eu tenho vindo a fazer em torno da obra de Vianna da Motta e não só, mas sobretudo de Vianna da Motta. O interessante na publicação deste volume é que dá a conhecer mais 12 obras inéditas, que eram inéditas até há bem pouco tempo. Comecei primeiro por uma fase de revisão dos manuscritos e edição musical porque as obras nem sequer estavam publicadas e nenhuma delas estava gravada. Há a edição musical e depois a edição discográfica que é, aliás, feita para também dar a ouvir esta música a um público mais alargado porque nem toda a gente sabe ler música e pode ler uma música e tocá-la ao piano. Vejo isto como uma missão e estas 12 obras vêm também mostrar até que ponto Vianna da Motta era uma criança prodígio, fora de série, porque são obras compostas entre os seus cinco e os 14 anos, mas que não parecem nada terem sido compostas em tão tenra idade. É um trabalho do qual eu me orgulho muito, na verdade, e que espero que venha a mostrar uma faceta de Viana da Motta. Uma faceta estonteante, inacreditável. Mais uma faceta de Viana da Motta que valoriza o pianista que ele foi, mas também o compositor.O critério para a escolha destas 12 peças foi o facto de terem sido escritas neste período entre os cinco anos e os 14 anos. Hoje parece difícil perceber como é que uma criança de cinco anos consegue compor uma obra como algumas destas que integram este álbum...Sim,  isso explica a razão pela qual, quando o pai do Vianna da Motta o levou à corte para tocar perante o Dom Fernando II  e a condessa d'Edla, a família real não hesitou em financiar os estudos de Vianna da Motta no antigo Conservatório Real de Lisboa e depois até mais tarde, quando ele partiu para Berlim, em 1882, também no Conservatório ele continua a beneficiar do mecenato e foi sempre muito acompanhado pela família real. Era de facto uma criança excepcional, mesmo no seu tempo, muito embora talvez na altura as crianças chegassem a um grau de maturidade mais cedo. Mas mesmo assim, para ter tido tanta atenção por parte da família real, durante tantos anos, é porque de facto se tratava, apesar de tudo, de uma criança excepcional, mesmo no seu tempo.Quando procura o repertório de Vianna da Motta, onde é que se encontram as partituras?O espólio de Vianna da Motta encontra-se na Biblioteca Nacional de Portugal. Foi lá que eu trabalhei a maior parte do tempo na realização do meu doutoramento em Musicologia na Sorbonne Université. O trabalho que apresento agora é fruto de cerca de dez anos de investigação, embora já tenha havida outros discos, editado partituras. Foi na Biblioteca Nacional de Portugal, onde a maior parte das coisas de Vianna da Motta estão, que eu encontrei estas obras. Foi uma descoberta no sentido musical porque eram obras que estavam lá, às quais as pessoas tinham acesso e podiam abrir o livro, mas se calhar o interesse não foi despertado para que elas experimentassem ao piano e vissem qual era o interesse musical. Foi o que eu descobri. Foi compreender o interesse musical e trazê-las à luz do dia.E qual é então, portanto, o interesse musical? O facto destas obras serem inéditas, a complexidade ou até mesmo imagino, os desafios da interpretação?Eu não posso nunca deixar de ficar deslumbrado pelo facto de serem obras que exigem uma grande capacidade técnica e musical, tendo em conta a idade que ele tinha quando compôs. Do ponto de vista da revolução ou de algo que ele tenha trazido à música: ele compôs já tarde no seu tempo, num estilo romântico que era um estilo muito próprio da primeira metade do século XIX; a música de Vianna da Motta, mas, como aliás, a maior parte da música dos compositores da época, não foi uma música que permitiu uma revolução na história da música. Mesmo no final do século XIX, já havia compositores que estavam a experimentar outras linguagens musicais, enquanto Viana da Motta ficou sempre muito agarrado ao romantismo do início do século. Talvez isso explique uma porque é que a sua obra tem vindo a ser esquecida ou praticamente ignorada.Porque é tardia?Sim, exactamente. Mas se nós formos a pensar noutros compositores românticos que até no século XX compuseram, embora com traços impressionistas, traços mais modernos e que acabaram por ficar muito célebres. O próprio amigo dele, o Ferruccio Busoni, é pianista e compositor italiano. Viana da Motta tem três fases criativas. Esta série discográfica é dedicada à primeira fase criativa, que é as obras de infância. A terceira e última fase criativa de Vianna da Motta é a fase nacionalista,  isto é, da música de carácter nacional.A fase mais conhecida...Sim, é mais conhecida e nesse sentido Vianna da Motta terá tido um papel importante para aquilo que foi a evolução da história da música em Portugal. Embora já nos outros países em toda a Europa já se fizesse isso, isto e os compositores inspiravam-se imenso, sobretudo na música popular portuguesa, introduziam nas suas obras. Vianna da Motta foi, nesse aspecto, um pioneiro em Portugal e ele foi importante para abrir portas para que se desenvolvessem escolas de composição em Portugal. Escolas no sentido estético que abriram portas a Luís Freitas Branco ou Fernando Lopes Graça, Francisco Lacerda. Para a composição de obras inspiradas no folclore ou na música popular portuguesa. Tendo em conta o conjunto geral da obra de Vianna da Motta, é inegável a importância que ele teve para a história da música em Portugal.As obras de infância são mais uma espécie de reprodução daquilo que já se fazia em termos de danças; danças de salão, valsas, polacas, mazurcas, mas também muitas marchas. O primeiro disco, tinha sobretudo polacas, mazurcas que este disco já não tem e esses géneros musicais foram substituídos aqui por marchas, mas também tem valsas e músicas inspiradas em temas de óperas, por exemplo, que era algo que se fazia muito na época e obras que reflectem, aliás, o quotidiano de Vianna da Motta na vida lisbonense. Temos duas obras, por exemplo, neste disco, inspiradas no universo hípico, nas primeiras corridas de cavalos que tiveram lugar no antigo Jockey Club de Lisboa, que é onde hoje se encontra o Hipódromo do Campo Grande, por exemplo. Mesmo a própria gaité que é um galop, um galope, uma dança também frenética, também é inspirada nesse universo hípico dos cavalos.Estas obras são importantes porque, por um lado, embora não sejam revolucionárias, e eu insisto, houve muito poucas obras a serem revolucionárias na época. Para além de serem estonteantes, tendo em conta a idade dele, reflectem aquilo que ele era capaz de fazer e o quotidiano lisbonense que ele frequentava.De que forma é que este segundo volume se diferencia do primeiro?Para além do facto de já não ter as danças, as polcas, mazurcas, a marcha é mais a música de rua. Tem também uma fantasia inspirada numa ópera que o primeiro volume não tinha. Tinha, sim, uma obra dramática também nesse sentido, mas que era inspirada numa catástrofe que aconteceu na região de Múrcia, no sul de Espanha. E tem uma obra também incrível que é a última faixa As Variações sobre um tema original - ele compôs um tema e a partir dele escreveu várias variações. Isto é o mesmo tema, mas com outra decoração, com outra decoração que revela muitas capacidades, não apenas do ponto de vista composicional, mas pianístico, uma vez que ele tocava as obras que compunha, é por isso que eu falo da questão pianística. Ele compunha as obras ao piano. Essa obra, por exemplo, revela várias capacidades, uma vez que cada uma das 13 variações exige algo do ponto de vista técnico muito, muito diferente. Seja arpejos, seja acordes, seja oitavas. É como se ele ali explorasse as diferentes dificuldades técnicas que ele acharia que seriam necessárias a desenvolver. Até pode ser visto quase como aquilo que nós chamamos um estudo para piano, isto é, uma obra composta para desenvolver um determinado tipo de jogo, de forma de tocar.Há também uma faixa que se chama Praia das Conchas, Praia das Conchas e uma praia que se situa no distrito de Lobata, na ilha de São Tomé em São Tomé e Príncipe, onde Viana da Motta nasce e vive há alguns anos. Viana da Motta vai guardar memórias que consegue depois transpor na sua música.A Praia das Conchas é a única obra que o Viana da Motta compôs, inspirado no local do nascimento que é São Tomé. É uma obra que é uma quadrilha de contradanças, portanto origem popular da dança, em que ele escreve cinco danças e cada uma delas tem o nome de uma outra praia: a praia Mutamba. Há duas praias que eu não encontrei o nome que é Praia Soares, Praia do Sal. Sei que há muitas salinas no norte, mas são tudo praias ali perto da praia, porque há a praia, Mutamba, a praia do mouro também, acho que hoje é a praia dos Tamarindos. E depois há duas praias que eu não consegui encontrar. Andei à procura nos mapas e não consegui encontrar. Pode acontecer que estes nomes não existissem na época, que eram falados pela população local apenas e que nunca tinham sido registados. Vianna da Motta terá não lembrado das praias, uma vez que ele saiu de São Tomé muito cedo, mas penso que terá sido o pai. Na minha opinião, terá sido o pai a falar daquelas praias que ele provavelmente frequentava quando morava em São Tomé e Príncipe. E foi a partir daí que o Viana da Motta compôs estas cinco danças, inspiradas nas praias que eu acredito que sejam todas as praias no norte temos que encontrar a Praia Soares e a Praia do Sal.Como é que correu o processo de gravação deste disco; a elaboração, a escolha das peças, o estudo das obras seleccionadas e depois a gravação?Este é um objecto pequeníssimo e por trás dele está todo um trabalho absolutamente estonteante. Foram três anos de trabalho, sem contar, obviamente, com os dez anos que eu falei há bocadinho de investigação do doutoramento, os outros discos que eu gravei antes disto. Obviamente que isto também é um bocado fruto desse trabalho. Não foi tudo feito em três anos, mas entre o lançamento do primeiro volume desta série discográfica e este agora, passaram-se praticamente três ou quatro anos. Durante esse tempo houve tanta edição musical, a tal revisão dos manuscritos, que foi essencial porque há manuscritos que estão num estado muito difícil de descodificar, partes que estão rasgadas, um pedaço que está aqui, outro pedaço que está ali.E o que é que se faz nessas situações?É preciso compreender e conhecendo a linguagem da composição de Vianna da Motta. É importante para saber também avaliar e tentar perceber aquilo que ele queria. Conhecer a própria linguagem de Vianna da Motta, a linguagem romântica e trabalhar a partir daí, encontrando a forma como o Vianna da Motta imaginou e concebeu a sua obra. Não há assim tantos pedaços rasgados e perdidos. Apesar de tudo são desafios porque antes de tomar uma decisão é preciso ter mesmo a certeza daquilo que se está a fazer. Muitas vezes não se tratava de pedaços perdidos, mas, por exemplo, numa mesma página, várias versões escritas uma por cima das outras. Era preciso perceber cronologicamente aquilo que aconteceu. E muitas vezes havia indícios. Havia uma coisa feita a caneta, outra coisa feita a lápis, por exemplo, coisas feitas com canetas diferentes ou, aliás, com pontas de canetas diferentes. Houve esse trabalho quase de detective que faz parte do meu trabalho como investigador que foi a edição musical e a publicação. Depois a gravação em estúdio, foram cerca de 20 horas em estúdio. Foi um mês a fazer uma pré montagem de 8 horas todos os dias, a trabalhar numa pré-montagem apenas. Depois foram mais uns cinco ou seis dias de montagem. E depois as ilustrações que também não posso esquecer, uma ilustração para cada uma das faixas feitas pela artista portuguesa Mariana Miserável, que é o nome artístico de Mariana Santos e pôs todo o trabalho também do design gráfico e a produção, encontrar financiamentos junto de várias entidades. Tudo isto é um trabalho colossal, de facto, e que explica a razão pela qual só quatro anos depois de ter lançado o primeiro volume, é que lança agora este segundo.Talvez um próximo volume dedicado à fase mais conhecida de Vianna da Motta, a música mais nacionalista?Já lancei um dedicado às cinco rapsódias portuguesas, que se inspiram em 17 temas populares portugueses. Creio que dessa fase, como disse há pouco e muito bem, é a fase mais conhecida do Viana da Motta, ou já muitas coisas foram gravadas, aliás praticamente tudo. Tenho mais interesse para já em acabar as obras desta fase. E a haver um próximo disco, será um terceiro volume dedicado também à obra de infância, mas o qual terá não apenas obras para piano solo, mas também música de câmara.Nesta fase criativa, portanto, até aos 14 anos, até 1882, que é o período em que ele vai para Berlim e depois muda completamente a sua estética. Nesta fase criativa existe ainda todo um vasto repertório para piano solo, mas obras bastante grandes e exigentes do ponto de vista técnico e físico, mas também música de câmara. Tem piano para seis mãos, ou seja, três pessoas ao piano a tocar uma mesma obra, inspirada numa obra do compositor Meyerbeer, Robert le Diable. Tem também uma grande sonata para piano e flauta. Tenho a partitura a descobrir uma vez mais no sentido musical: abrir a partitura, tocar e tentar perceber porque é muitas vezes aí que se encontra e que reside a descoberta. A haver um terceiro volume, será um volume com uma ou duas obras ainda de piano solo e o resto é música de câmara.

Con Carlos Iribarren | Da gusto volver al podcast semanal con la mejor música del mundo y esta nueva temporada lo hacemos con nuestra liturgia particular: un repaso a diferentes piezas orquestales, más o menos conocidas y provenientes de diversos lugares de la geografía mundial. Hoy nos quedamos en Europa para escuchar música compuesta por 2 franceses (Chabrier y Delibes), un alemán (Meyerbeer), un ruso (Rimsky-Korsakoff), un sueco (Blomdahl) y un bohemio de fama mundial (Mahler). De este último os hemos preparado algo poco habitual y que creemos que os va a encantar. Carlos ha seleccionado obras muy interesantes y en general poco conocidas para comenzar el curso, con Mario como fiel escudero y afinado comentarista de cada pieza y de mucho más. Esperamos que compartas la ilusión por los nuevos programas y disfrutes de esta entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

durée : 01:33:51 - Relax ! du lundi 10 juin 2024 - par : Lionel Esparza - Parcourons l'année 1836 en musique : des Huguenots de Meyerbeer à la Fantaisie de Schumann, et un détour par l'opéra avec Adolphe Adam, Wagner et Donizetti.

During Black History Month this year I featured a group of five exceptional singers I dubbed, for lack of a better term, “Forgotten Divas.” Each of these women, sopranos Delcina Stevenson, Annabelle Bernard, and Veronica Tyler, mezzo-soprano Gwendolyn Killebrew, and jazz singer Ethel Ennis, represents the peak of achievement in each of their respective fachs. These proved to be among the most popular and far-reaching of my recent episodes. At that time, I promised my listeners that I would continue to seek out rare recordings of each of these women and that, if and when such material surfaced, I would be sure to share it with my listeners. True to my promise, I present a brand-new episode featuring (for the most part) newly discovered material with each of these singers: a live Washington Opera Ariodante from 1971 and a live Carnegie Hall Orfeo ed Euridice from 1967, both with Veronica Tyler; live original language performances of Puccini's Il tabarro and Meyerbeer's Le Prophète from the stage of the Deutsche Oper Berlin which starred Annabelle Bernard; Gwendolyn Killebrew singing the Habanera from Carmen, one of her most celebrated roles, as well as the Waldtaube in Schoenberg's Gurrelieder; rare studio recordings of Delcina Stevenson singing Bach and Vivaldi from the early 1970s; and live material featuring Ethel Ennis over the course of nearly fifty years of her career, 1958 through 2005. As more of this material resurfaces, I will present further episodes of this new “Rescue Mission” series featuring both these singers and others I have already featured on the podcast, performing material that adds to our understanding and appreciation of their artistry. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.  

Cerramos nuestra cita con la voz de Renata Scotto. En esta ocasión la escuchamos en magníficas interpretaciones de Come per me sereno y Ah, non credea mirarti de La sonnambula de Bellini, dúo final del segundo acto de Fedora de Giordano en compañía de Plácido Domingo, Caro nome de Rigoletto de Verdi, salida de Isabelle de Roberto el Diablo de Meyerbeer, Quando rapito in estasi de Lucia di Lammermoor de Donizetti y final de La straniera de Bellini Escuchar audio

Sex, drugs, and Meyerbeer? Listen to our newest guest Felicia about all things Jewish history, her newest series Once Upon a Time in the East End and not to mention some very funny moments

SynopsisToday we pay tribute to Pauline Viardot-Garcia, born in Paris on today's date in 1821. Her father was Manuel Garcia, the tenor for whom Rossini had written the role of Count Almaviva in “The Barber of Seville.” Her older sister was the legendary operatic diva Maria Malibran, a famous interpreter of operas by Bellini and Donizetti.Little Pauline wanted to be a piano virtuoso, and took lessons from Liszt, but at age 15 her mother decided she, too, should become a singer. Chopin adored her voice, and together they arranged some of his mazurkas as songs. Meyerbeer and Gounod wrote operatic roles for her. In 1860, with the composer himself at the piano croaking out the tenor part of Tristan, Pauline sang the role of Isolde at the first private reading of music from Wagner's “Tristan and Isolde,” and it was she who gave the premiere performance of Brahms' “Alto Rhapsody” in 1870.She married Louis Viardot, the director of the Theatre Italien in Paris, and at their home one was just as likely to meet Charles Dickens or Henry James as Berlioz or Tchaikovsky. She was also a composer of songs and chamber operas, which are receiving renewed attention.Music Played in Today's ProgramViardot-Garcia, Pauline (1821-1910) 12 Poems by Pushkin, Fet and Turgenev: No. 12. Les étoiles (Laetitia Grimaldi, sop; Ammiel Bushakevitz, pno) Bis 2546

Synopsis On today's date in 1865, the hottest ticket in Paris was for the premiere of Giacomo Meyerbeer's long-awaited grand opera L'Africaine, or The African Maid, at the Paris Opera. And when I say “long-awaited,” I mean long-awaited! Meyerbeer had begun work on “L'Africaine” some 25 years earlier. It had become a standing joke in the French press to rib Meyerbeer about the “imminent” completion of his opera. There were many reasons for the delay. Meyerbeer was a slow-worker, a perfectionist; he was sidelined by ill-health; he was waiting for better singers, more sympathetic management at the Opera, etc. etc. Opera fans back then must have given up hope Meyerbeer would ever finish L'Africaine, but – surprise! – he did and the work was slotted for production at the Paris Opera. At that point, ironically, Meyerbeer died, and his widow entrusted another composer to supervise the rehearsals for its 1865 premiere. Meyerbeer's operas were the 19th century equivalent of the sweeping costume epic movies of Cecil B. DeMille. In L'Africaine, the hero is the explorer Vasco da Gama, and one of the opera's more spectacular stage effects involved a Portuguese ship running aground on an exotic reef and being taken over by a swarm of natives. Music Played in Today's Program Giacomo Meyerbeer (1791 – 1864) O paradis, from L'Africaine Ben Heppner, tenor; London Symphony; Myung-Whun Chung, conductor. DG 471 372

Born in Sydney, Richard Bonynge studied at the NSW Conservatory of Music and the Royal College of Music. He served as Music Director of the Sutherland-Williamson Grand Opera Company in 1965 (Melbourne, Adelaide, Sydney, Brisbane), as Artistic Director of the Vancouver Opera from 1974-77 and Music Director of The Australian Opera from 1976-86. Maestro Bonynge's accomplishments as conductor and musical scholar were recognized when Queen Elizabeth II, during her Silver Jubilee Celebration in 1977, made him a Commander of the British Empire. In the summer of 1989, the French government honored him with the rank of “Commandeur de l'Ordre National des Arts et des Lettres”.Throughout his illustrious career, Richard Bonynge has conducted in the world's leading opera houses in Europe, North and South America, Australia and New Zealand and Asia. He has received world-wide acclaim as a scholar of bel canto opera and is celebrated for leading the renaissance of eighteenth and early-nineteenth century musical theater, such as Les Huguenots(Meyerbeer), Semiramide, Sigismondo (Rossini), La Fille du Régiment, Maria Stuarda, Anna Bolena, Lucrezia Borgia(Donizetti), Esclarmonde, Le Roi de Lahore, Thérèse (Massenet), Medea (Pacini), Orfeo (Haydn), I Masnadieri (Verdi).In recent seasons he led performances of La Traviata in Athens, I Capuleti ed I Montecchi in London, Norma, Lucia di Lammermoor, La Scala di Seta, Signor Bruschino, Roméo & Juliette in Sydney, Lucia, Norma and Faust in the United States, La Favorite in Barcelona, I Lombardi in Buenos Aires and Semiramide (Meyerbeer) at the Wildbad Festival, Germany.Mr. Bonynge's extensive career includes innumerable performances with his wife, Dame Joan Sutherland, culminating in her farewell engagements in opera and recital throughout the world. The two artists also toured the United States with the Sydney Symphony in celebration of Australia's Bicentennial, with concerts at the Kennedy Center, Carnegie Hall and the United Nations.His discography reflects the eclecticism of his music interests. He has recorded over 50 complete operas as well as the three Tchaikovsky ballets, three Delibes ballets and numerous lesser known ballets by Adam, Minkus, Burgmuller, Auber, Drigo, Offenbach. He recorded several recital discs with Sumi Jo, Jerry Hadley, Deborah Riedel, Rosamund Illing, Cheryl Barker and Elizabeth Whitehouse. His recent recordings are Le Domino Noir (Auber), Le Toréador (Adam), Der Czarevich, Das Land des Lächelns (Paganini), Giuditta (Lehar), Cendrillon (Nicolo), Orfeo (Haydn), Die Herzogin von Chicago and Die Czardasfürstin (Kálmán), British Opera Arias (Balfe, Wallace, Sullivan), Sacred and Profane Arias (Massenet), Puccini Arias (Puccini), La Somnambula (Hérold), Verismo Arias and Tchaikovsky & Grieg piano concertos with Simon Tedeschi and the Queensland Orchestra. Video recordings include Les Huguenots, La Fille du Régiment, Adriana Lecouvreur, Die Lustige Witwe, Les Dialogues des Carmélites, Norma, Die Fledermaus, Lucrezia Borgia, Lucia di Lammermoor, Lakmé, Il Trovatore, Die Zauberflöte and Die Czardasfürstin.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

Synopsis Today we offer a special “Gong Show” edition of the Composer's Datebook. On today's date in 1791, at the height of the French Revolution, the Panthéon in Paris was converted into a mausoleum for national heroes, and the first to be interred there, with great pomp and ceremony, was Honoré Gabriel Riqueti, Comte de Mirabeau, a tremendously popular personage of the day. For dramatic effect during the Count's funeral procession through the streets of Paris, French composer François Joseph Gossec added an unusual percussion instrument to his funereal wind band: an exotic instrument someone had brought to Paris from the Far East, and known as—you guessed it—the gong. It was reported that whenever the gong was struck during Mirabeau's funeral procession, cries of terror and fright were heard from the crowd that lined the Parisian streets as the cortège passed. Now terror and fright are bread and butter in the world of grand opera, and so the gong soon was adopted by 19th century composers like Spontini, Meyerbeer, and Wagner, and, in the 20th century, composers like Puccini, Stravinsky, Stockhausen, and George Crumb have also used gongs to—pardon the pun—striking effect! Music Played in Today's Program François-Joseph Gossec (1734 – 1829) Marche lugubre The Wallace Collection; John Wallace, cond. Nimbus 5175

When an opera is based on badly told history, you know Anna and Krista will call bullshit. That's just what they do as they review Meyerbeer's Les Huguenots, loosely based on the events arround the French Wars of Religion. They also give you the lowdown on the BSO's 2023-24 season and give some love to the people of East Palestine, Ohio.

Last week on Feburary 2, the beloved African American soprano Martina Arroyo turned 86 years old. Although the Countermelody birthday tribute to Ms. Arroyo is a week late, it is nonetheless profoundly heartfelt. I have always valued the artistry and voice of this artist who often referred to herself as “The Other One” (because she was so frequently confused with today's birthday diva, Leontyne Price). In preparing this episode, however, I flipped over into fan girl mode: was there anything that Martina Arroyo could not do? Of course she was celebrated as one of the premiere Verdi sopranos of her day (or, indeed, of the twentieth century), and there are ample examples on the episode that give testament to her supremacy in that repertoire. But she was also an intrepid performer of contemporary music, creating important works by both Karlheinz Stockhausen and Samuel Barber. Her performances of baroque music, while very much following an earlier style of performance practice, are vivid and insightful. Her affinity with French grand opera style is off the charts, as evidenced by an excerpt from Meyerbeer's L'Africaine. She also could have pursued a path as a Mozart and Strauss singer, and selections by both of these composers prove her mastery of this genre as well. She also had the power to be a full-fledged dramatic soprano, as shown by her live performances of Schoenberg's Gurre-Lieder and the title role in Puccini's Turandot. And yet her subtlety as a recitalist is shown in live and studio Lieder performances. And the fervor and vigor of her performance of spirituals is a thing of joy. This episode is full of surprises but one thing is not surprising at all: the degree of dedication and commitment of this artist, which continues to this day with the performance and education initiative of the Martina Arroyo Foundation. (The episode begins with a brief tribute to Burt Bacharach, who died yesterday at the age of 94.) Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

A Mix of 19 selections randomly made from our most recent shows.Total time: 1 hour and 36 minutesSelections from Meyerbeer, Mozart, Handel, Foster, Lully, Balmorhea, Beethoven, Gregson, and many more.

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

Die Siebte war für Beethoven der wohl größte Erfolg seiner Karriere. Die Sinfonie strotzt vor rhythmischem Elan. Das berühmte "Allegretto" diente als Soundtrack in unzähligen Filmen. Und die Uraufführung war eine politische Demonstration gegen die Unterdrückung Europas durch Napoleon. (Autor: Michael Lohse) Von Michael Lohse.

Nachhaltigkeitsexperte Stefan Simon kritisiert überholte Energie-Konzepte: große Hallen, kühle Räume, Glas und Stahl gehen klimamäßig gar nicht. Und: Bayreuther Opernfestspiele / Bürgerentscheid Ingolstadt / Wagner und Meyerbeer

Giacomo Meyerbeer, einer der erfolgreichsten Opernkomponisten seiner Zeit, hatte Richard Wagners Genie früh erkannt, ihn protegiert und unterstützt. Wagner dankte seinem Ziehvater mit einer fürchterlichen Schmähschrift. Meyerbeer verschwand in der Nazi-Zeit von allen Spielplänen. Der Berliner Musikwissenschaftler Jascha Nemtsov hat die Verbindungen beider Komponisten untersucht und kommt zu dem Schluss: Spielt Meyerbeers Werke auf dem Grünen Hügel! Die Grand Opéra gehört ins Festspielhaus von Bayreuth!

Ossowski, Mariawww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Synopsis On today's date in 1869, a visitor to Boston's Back Bay could have marveled at a huge, specially-erected wooden structure sporting American flags and surrounded by a mini-village of peanut vendors and lemonade stands. Inside, an orchestra of 1000 sat surrounded by a chorus of 10,000. Over the stage hung giant portraits of Handel and Beethoven, and higher yet depictions of two angels gazing heavenwards by a banner reading “Peace on Earth, Good Will Toward Men.” This June 19th concert marked the end of a 5-day Jubilee Festival of Music and Reconciliation, as America tried to mend the wounds caused by its recent Civil War. Former Union General and current President Ulysses S. Grant was on hand, and the New York Times opined that the Festival offered proof that, “our people can think of something beyond … the almighty dollar.” During the Festival, the massive orchestra and chorus performed selections ranging from “classical” works by Bach and Mozart to more recent works by Meyerbeer and Verdi. A review by John S. Dwight, Boston's leading music critic of that day, found the immense chorus “glorious and inspiring” and the huge orchestra “splendid.” However, he dismissed a performance of Verdi's “Anvil Chorus,” accompanied by 100 real anvils, as a “childish, trivial thing for such a grand occasion.” Music Played in Today's Program Giacomo Meyerbeer (1791 -1864) –Coronation March, from Le Prophète (New York Philharmonic; Leonard Bernstein, cond.) Sony 46709 Giuseppe Verdi (1813 - 1901) –Anvil Chorus, from Il Trovatore (Chicago Symphony and Chorus; Sir Georg Solti, cond.) London 466 075

Synopsis It was the fashion in the late 19th century to decorate concert halls with the names of famous composers like Bach, Beethoven, and Brahms. Of course, over time some composers once very popular fell out of favor, and many old concert hall walls included names like Cherubini and Meyerbeer, composers who nowadays are performed only on rare occasions. In Amsterdam, the main hall of the acoustically famous Concertgebouw boats a pantheon of over two dozen composers' names as part of its interior decoration, and, not surprisingly, a few Dutch composers are included in the mix. Most of the native sons so honored are probably unfamiliar outside of the Netherlands, however. Take for example Alfons Diepenbrock, a self-taught composer and conductor born in Amsterdam who lived from 1862 to 1921. Diepenbrock composed a small body of big orchestral works in the late Romantic style of Gustav Mahler, who was a close friend. In Amsterdam on today's date in 1906, the Concertgebouw Orchestra and conductor Willem Mengelberg premiered a work of Diepenbrock's entitled “In Great Silence – a Mood Poem based on an Aphorism of Friedrich Nietzsche.” This music sounds a little like a lost movement from some big Mahler symphony, and while these days the name Diepenbrock might not be as familiar as Mahler, maybe that's something we should work on correcting! Music Played in Today's Program Alfons Diepenbrock (1862 - 1921) — In Great Silence (A Mood Poem based on an Aphorism of Friedrich Nietzsche) (Royal Concertgebouw Orchestra; Riccardo Chailly, cond (live recording)) Royal Concertgebouw Recordings 97033

Marguerite de Valois: Erin Morley Raoul de Nangis: Michael Spyres American Symphony Orchestra Conductor: Leon Botstein Bard Summerscape 2 August 2009 Broadcast

Synopsis On today's date in 1862, the front page of The New York Times offered some encouraging news to the Northern side in the American Civil War: Union troops had captured Norfolk, Virginia, and there were other advances being made by General McClellan's troops. Under “Amusements” on the inner pages of that same edition could be found an announcement of a “Grand Vocal and Orchestral Concert” at Irving Hall to be conducted by a 27-year-old musician named Theodore Thomas. Thomas had been a major figure on the New York music scene since 1855, performing as the principal violinist in that city's first ensemble giving a regular series of chamber concerts. That chamber group presented hot-off-the-press works by Brahms and other ultra-modern composers of the day. This big orchestral concert, which marked Thomas's debut as a conductor, was no different. The Times noted, “We have never before had so much musical novelty presented to us. Such plentiful instrumental music equally new to our musical world, under the capable conductorship of the young musician, must insure a crowded audience of the more critical as well as the more fashionable portion of our public.” Tickets were $1 each—quite a lot of money in 1862—and the program offered the American premieres of orchestral pieces by Wagner, Meyerbeer, and Liszt's flashy orchestration of Schubert's “Wanderer Fantasy.” Music Played in Today's Program Schubert arr. Franz Liszt — Wanderer Fantasy (Leslie Howard, piano; Budapest Symphony; Karl Anton Rickenbacher, cond.) Hyperion 67403

Synopsis A number of the quintessentially “French” operas are set in other lands. Bizet's “Carmen” is set in Spain and Gounod's ”Faust” is in Germany, to cite just two examples. But Spain and Germany were familiar next-door neighbors for 19th century Frenchmen, and in that colonizing age, Parisian audiences also enjoyed traveling to much more exotic corners, all the while safely ensconced in their plush balcony seats, of course. One of the grandest of French grand operas, Meyerbeer's “L'Africaine,” has as its eponymous heroine the African Queen of an imaginary East Indian isle, with none other than European Vasco da Gama as her love interest. Another famous French opera set in the mysterious East had its premiere performance on today's date in 1883, at the Opéra-Comique in Paris. This was “Lakmé” by Leo Delibes. In this one, the title heroine is an East Indian priestess of Brahma whose taboo love for an English Colonial officer leads to tragedy and death—but not before lots of gorgeous singing. The popular “Flower Duet” from “Lakmé” achieved a particularly late 20th-century brand of fame when it was used as the soundtrack to a British Airways TV commercial. Music Played in Today's Program Léo Delibes (1836 - 1891) — Flower Duet, from Lakmé (BBC Concert Orchestra; Barry Wordsworth, cond.) London 473 371 Léo Delibes — Flower Duet, from Lakmé (Natalie Dessay and Delphine Haidan, sopranos; Toulouse Capitole Orchestra; Michel Plasson, cond.) EMI 67830

The most important composer of French Grand Opera.

Synopsis On today's date in 1706, the German composer and organist Johann Pachelbel was buried in Nuremberg, the town where he was born some 53 years earlier. In his day, Pachelbel was regarded as an innovative composer of Protestant church music and works for harpsichord and organ. Pachelbel was acquainted with the Bach family, and was, in fact, the teacher of the teacher of J.S. Bach, and served as godfather to one J.S. Bach's older relations. Johann Pachelbel would be pretty much forgotten by most music lovers until late in the 20th century, when an orchestral arrangement of a little Canon he had written would suddenly become one of the best-known classical themes of our time. In 1979, the American composer George Rochberg, even included variations on Pachelbel's famous Canon as the 3rd movement of his own String Quartet No. 6. Like Bach, some of Johann Pachelbel's children also became composers, and one of them, Karl Teodorus Pachelbel, emigrated from Germany to the British colonies of North America.  As “Charles Theodore Pachelbel,” he became an important figure in the musical life of early 18th century Boston and Charleston, and died there in 1750, the same year as J.S. Bach. Music Played in Today's Program George Rochberg (b. 1918) — Variations on the Pachelbel Canon (Concord String Quartet) RCA/BMG 60712 On This Day Births 1737 - Bohemian composer Josef Mysliveczek, in Ober-Sarka; He was a friend and colleague of Mozart; 1839 - Russian composer Modest Mussorgsky (Gregorian date: Mar. 21); 1910 - American composer Samuel Barber, in West Chester, Pa.; 1930 - American composer and jazz saxophonist Ornette Coleman, in Forth Worth, Texas; Deaths 1706 - Burial date of German composer Johann Pachelbel, age c. 52, in Nuremberg; Premieres 1740 - Handel: oratorio "L'Allegro, il Penseroso, ed il Moderato," and Organ Concerto in Bb, Op. 7, no. 1, in London (Julian date: Feb. 27); 1748 - Handel: oratorio "Joshua," in London at the Covent Garden Theater; The event possibly included the premiere of Handel's "Concerto a due cori" No. 1 as well (Gregorian date March 20); 1842 - Verdi: opera "Nabucco" (Nabucodonosor), in Milan at the Teatro alla Scala; 1844 - Verdi: opera "Ernani," in Venice at the Teatro La Fenice; 1849 - Nicolai: opera "Die lustigen Weiber von Windsor" (after Shakespeare's play "The Merry Wives of Windsor"), in Berlin at the Königliches Opernhaus; 1868 - Thomas: opera "Hamlet," (after Shakespeare's play "Hamlet") at the Paris Opéra; 1877 - Tchaikovsky: symphonic-fantasy "Fancesca da Rimini," in Moscow (Julian date: Feb. 25); 1924 - Prokofiev: Piano Sonata No. 5 (first version), in Paris, by the composer; A revised version of this sonata premiered in Alma-Ata (USSR) on February 5, 1954, by Anatoli Vedernikov; 1930 - Weill: opera "Die Aufsteig und Fall der Stadt Mahagonny" (The Rise and Fall of the City of Mahagonny), in Leipzig at the Neues Theater; 1941 - Cowell: Symphony No. 2 ("Antropos"), in Brooklyn; 1951 - Honegger: Symphony No. 5 ("Di tre re"), by the Boston Symphony, Charles Munch conducting; 1980 - Earle Brown: "Caldar Piece," for percussionists and mobile, in Valencia, Calif.; 1982 - Berio: opera "La vera storia" (The True Story), in Milan at the Teatro alla Scala; Others 1831 - Italian violin virtuoso Nicolo Paganini makes his Parisian debut a the Opéra; Composers in the audience include Meyerbeer, Cherubini, Halvéy; and Franz Liszt (who transcribes Pagnini's showpiece "La Campanella" for piano); Also in attendance are the many famous novelists and poets, including George Sand, Victor Hugo, Alfred de Mussset and Heinrich Heine. Links and Resources On Johann Pachelbel On George Rochberg

L'Africaine (The African Woman) is an 1865 French grand opéra in five acts with music by Giacomo Meyerbeer and a libretto by Eugène Scribe. Meyerbeer and Scribe began working on the opera in 1837, using the title L'Africaine, but around 1852 changed the plot to portray fictitious events in the life of the Portuguese explorer Vasco da Gama and introduced the working title Vasco de Gama, the French version of his name. The copying of the full score was completed the day before Meyerbeer died in 1864.Purchase the music (without talk) at:Meyerbeer: L'Africaine or Vasco de Gama (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

After the brilliant success of their grand opera Les Huguenots (1836), Meyerbeer and his librettist Scribe decided to collaborate again on a piece based on a historical religious conflict. Meyerbeer's great personal wealth and his duties as official court composer to King Frederick William IV of Prussia meant that there was no hurry to complete the opera, and it was more than a decade in the composition and planning. Le prophète was first performed by the Paris Opera at the Salle Le Peletier on 16 April 1849. In the audience at the work's premiere were Chopin, Verdi, Théophile Gautier, Delacroix, Ivan Turgenev and Berlioz, among others. The production featured costumes by Paul Lormier and sets by Charles-Antoine Cambon and Joseph Thierry (acts 1 and 4), Charles Séchan (acts 2 and 5), and Édouard Desplechin (act 3). It involved the first use ever on stage of Léon Foucault and Jules Duboscq's electric arc light (régulateur à arc électrique), imitating the effect of sunlight.Purchase the music (without talk) at:Meyerbeer: Le prophète (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Les Huguenots was some five years in creation. Meyerbeer prepared carefully for this opera after the sensational success of Robert le diable, recognizing the need to continue to present lavish staging, a highly dramatic storyline, impressive orchestration, and virtuoso parts for the soloists – the essential elements of the new genre of Grand Opera. Meyerbeer and his librettist for Robert le Diable, Eugène Scribe, had agreed to collaborate on an epic work concerning the French Wars of Religion, with a drama partly based on Prosper Mérimée's 1829 novel Chronique du règne de Charles IX.  Coming from a wealthy family, Meyerbeer could afford to take his time, dictate his own terms, and be a perfectionist. The very detailed contract which Meyerbeer arranged with Louis-Désiré Véron, director of the Opéra, for Les Huguenots (and which was drawn up for him by the lawyer Adolphe Crémieux) is a testament to this.Purchase the music (without talk) at:Myerbeer: Les Huguenots (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Robert le diable (Robert the Devil) was immediately successful from its first night on 21 November 1831 at the Opéra; the dramatic music, harmony and orchestration, its melodramatic plot, its star singers, and its sensational stage effects compelled Frédéric Chopin, who was in the audience, to say, "If ever magnificence was seen in the theatre, I doubt that it reached the level of splendor shown in Robert...It is a masterpiece...Meyerbeer has made himself immortal".  Robert initiated the European fame of its composer, consolidated the fame of its librettist, Scribe, and launched the reputation of the new director of the Opéra, Louis-Désiré Véron, as a purveyor of a new genre of opera. It also had an influence on the development of ballet and was frequently mentioned and discussed in contemporary French literature.Purchase the music (without talk) at:Meyerbeer: Robert le diable (Robert the Devil) (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

This episode introduces Giacomo Meyerbeer, our featured opera composer for the month of February 2022.Meyerbeer is almost a completely unknown opera composer in today's world, although he was the most internationally famous opera composer of his day.  However, thanks to the politically driven "cancel culture" of his day - Wagner and the Nazi regime, his extraordinary and beautiful operas are rarely performed today, and yet, they are some of the greatest operas that exist.Join us as we resurrect 4 of his most popular operas this month.In this broadcast, we also perform for you, "The Skaters" by Meyerbeer.Purchase the music (without talk) at:Meyerbeer: The Skaters (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Gioachino Antonio Rossini was Born 29 February 1792, Died 13 November 1868, was an Italian composer who gained fame for his 39 operas. He also wrote many songs, some chamber music , piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians. His father was a trumpeter and his mother a singer. Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere. His productivity necessitated an almost formulaic approach for some components , such as overtures and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola. His works of this period brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Otello, Tancredi and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims , later cannibalised for his first opera in French, Le comte Ory. Revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained. Contributary factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. . In the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays. Regularly attended by musicians and the artistic and fashionable circles of Paris. for which he wrote the entertaining pieces Péchés de vieillesse. Guests included Franz Liszt, Anton Rubinstein, Giuseppe Verdi, Meyerbeer and Joseph Joachim. Rossini's last major composition was his Petite messe solennelle (1863). He died in Paris in 1868.

Dans ce chef-d'œuvre musical, Offenbach raille l'Antiquité et le Second Empire et parodie, au passage, Rossini et Meyerbeer.

The ladies are very much WTF this week as they discuss Meyerbeer's epic Robert le diable. There's a Stefon homage, a nakey scale, 80s flashbacks and another reason to really, really hate Richard Wagner (as though you needed another one, right?).

Die Sopranistin Andrea Chudak erzählt von ihrer Begeisterung für Giacomo Meyerbeer, warum sie ein festes Liedduo mit einer Gitarristin bildet und warum sie am ersten Weinachtstag im Berliner Dom auftritt. Und sie schwärmt von ihrer Ave-Maria-Sammlung, die längst viel mehr Stücke umfasst als die 68 Werke, die sie auf fünf CDs aufgenommen hat.

Recuperamos una de nuestras secciones favoritas, aquella que estudia la importancia y significación de una gran figura del canto, en este caso el bajo cantante italiano Ezio Pinza (1892-1957), que nos recibe con Ah! del tebro de Norma de Bellini. A continuación, Fin ch’han dal vino, Metà di voi qua vadano y Deh, vieni a la finestra de Don Giovanni, Se vuol ballare signor contino y Tuto è disposto de Las bodas de Fígaro, óperas de Mozart; Il santo speco de La forza del destino y O, tu, Palermp de Las vísperas sicilanas de Verdi; Se opprese ognor de La judía de Halévy y la Invocación de Roberto el Diablo de Meyerbeer. Terminamos con la escena de las apariciones de Boris Godunov de Musorgski, asimismo en versión italiana. Escuchar audio

Hailed by the New York Times as a soprano of “gleaming sound, free and easy high notes, agile coloratura runs and lyrical grace,” Jessica Pratt is considered one of today's foremost interpreters of some of bel canto's most challenging repertoire.Since her European debut in 2007 as Lucia di Lammermoor, Ms Pratt's schedule has included performances at opera theatres and festivals such as the Teatro alla Scala of Milan, Zurich Opera, Deutsche Oper Berlin, the Vienna State Opera and the Royal Opera House Covent Garden, working with conductors such as Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Christian Thielemann, Donato Renzetti, Pier Giorgio Morandi, Carlo Rizzi, Antonino Fogliani, Wayne Marshall and David Parry.The 2012/13 season brought several acclaimed debuts at Festival Verdi in Parma, including Gilda to Leo Nucci's Rigoletto, at Deutsche Oper Berlin as Lucia, at Vlaamse Opera in New Year's Eve Concert, at Teatro de la Maestranza in Sevilla (Gilda, once more next to Leo Nucci), in the role of Matilde in Guillaume Tell next to Juan Diego Florez interpreting Arnold in Lima, Giulietta in I Capuleti e i Montecchi in Reims, in the role of Lisinga in Demetrio e Polibio of Rossini in Neaples, and in the role of the protagonist in Giovanna d'Arco at Festival della Valle d'Itria in Martina Franca.In the 2013/14 season Ms Pratt could be heard in new productions of Lucia di Lammermoor at La Scala and in Amsterdam, as Amina in La sonnambula in Bari, Gilda in Padova, in the season opening of La Fenice as Inès in Meyerbeer's L'Africaine, as Musetta in La Bohème in Salerno, in her role debut as Violetta in La Traviata in Melbourne, as Zenobia in Aureliano in Palmira at the Pesaro Rossini Opera Festival as well as in recitals in Tokyo and Florence with Vincenzo Scalera.In 2014/15 the soprano made her role debuts as Cleopatra in Handel's Giulio Cesare at the Teatro Regio in Turin and as Amenaide in Rossini's Tancredi at the Opéra de Lausanne. Other performances included Donna Anna in Don Giovanni and Giulietta in I Capuleti e i Montecchi at the Teatro La Fenice in Venice; Elvira in I Puritani in Florence and in Melbourne; Lucia di Lammermoor at the Rome Opera House and at the Festival Granda in Lima; her role and festival debut as Rosina in Il barbiere di Siviglia at the Arena di Verona, where she could also be heard as soprano soloist in Carmina Burana; the soprano solo in Rossini's Messa di Gloria alongside Juan Diego Florez and La morte di Didone at the Rossini Opera Festival; as well asconcerts in Milan, Bonn, and London.Performances of the 2015/16 season included Jessica Pratt's returns to Florence, Turin and Melbourne as Lucia di Lammermoor, her debuts at the Gran Teatre del Liceu Barcelona as Desdemona in Rossini's Otello, at the Palau de les Arts Reina Sofia Valencia in Mozart's Davidde penitente and at the ABAO Bilbao as Amina in La sonnambula, her role debuts as Semiramide at the Opéra de Marseille and later at the Washington Concert Opera and as Linda di Chamounix at the Rome Opera House; and concerts in Oviedo and Moscow.More recently, Semiramide and Rosmonda d'Inghilterra at the Florence Opera House, a concert with the Queensland Symphony Orchestra, Rosmonda d'Inghilterra at the Donizetti Festival Bergamo, her debut at the Metropolitan Opera House New York as Queen of the Night in The Magic Flute, and Rigoletto in Oviedo.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

Donald Macleod explores the life and music of the 19th-century French singer, pianist, composer and influential society figure, Pauline Viardot. “When I want to do something, I do it in spite of water, fire, society, the whole world”, an indicator if ever there was one, of the inner steel of this week's composer. Born in 1821, Pauline Viardot possessed an array of exceptional qualities. As one of the opera stars of her age, she was admired from Paris to St Petersburg as a sublime interpreter of Rossini, Bellini, Handel and Gluck. Beyond her incomparable voice, her twice weekly artistic salons were a high point in Parisian cultural life. She knew, and was admired by Chopin, George Sand, Delacroix, Liszt, Fauré, Tchaikovsky, and Saint-Saëns to name but a few. While having, according to Saint-Saëns, an unnecessarily modest view of her talent, she was also an accomplished composer. A talented linguist with five languages at her command, her compositions include a substantial body of songs, one or two instrumental works and a series of highly appealing operettas. This week Donald Macleod will be exploring different facets of her extraordinary life. We'll be hearing from a range of Viardot's compositions as well as some of the operatic roles she made famous. He'll be examining her role in Parisian cultural circles, and her friendships with leading writers among them Charles Dickens, and in particular Ivan Turgenev, and composers such as Berlioz, Saint-Saens, Meyerbeer and Gounod, all of whom created roles specifically for her incredible voice. Music Featured: Les filles de Cadix Scène d'Hermione, Act IV: Je ne t'ai point (pas), Cruel? Manuel Garcia Snr: La figlia dell'aria: È non lo vedo…. Son regina Liszt: El Contrabandista Rondo Fantastique sur Un Thème Espagnol, S.252 Rossini: Il barbiere di Siviglia, Act 2, Don Basilio! Cosa veggo? …… briconi, birbanti Rossini: Otello, Act 3, Sc 1, Canzone del Salice: Assisa a pie d'un salice Madrid Hai luli Six Morceaux (I Romance; II Bohèmienne; III: Berceuse) Rossini: Il Barbiere di Siviglia, Act 2, Ah! qual colpo inaspettato! Plainte d'amour (Mazurka in F sharp minor, Op 6, No 1) L'Oiselet (Mazurka Op 68, No 2) La Séparation (Mazurka no 14 in G minor Op 24, No 1) Rossini: La Cenerentola, Overture 3 Mörike Songs (no 1. In der Frühe; No 2. Nixe Binsefuss) Berçeuse-cosaque Golden glow of the mountain peaks Do not sing, my beauty, to me Rossini: Il barbiere di siviglia, Act 1, No 5,Una voce poco fa Le dernier sorcier, Act 1, No 1 Par ici; No 2 Chanson de Lelio; No 3 Romance de la Reine 12 songs of Pushkin, Fet and Turgenev (No 1, Tsvetok) 5 poems of Lermontov & Turgenev (No 1, Na zare) 10 poems of Pushkin, Lermontov, Koltsov, Tyutchev and Fet (No 3, Ya lyubila yego) 12 poems of Pushkin, Fet and Turgenev (No 4, Polunochnyye obrazy) Bellini: La sonnambula, Act 1 (excerpts) Évocation Le dernier sorcier, Act 2 Finale Gounod: Sapho, Act 3, O ma lyre immortelle…. Saint-Saens: Samson et Dalila, Act 1, Printemps qui commence (Dalila, The Old Hebrew) Meyerbeer: Le prophète, Act 5 Sc 2, 3 & 4 Fauré: Puisqu'ici-bas toutes âme Wagner: Tristan und Isolde, Act 2, O sink herneider, Nacht der liebe Brahms: Alto Rhapsody Violin Sonatina in A Minor (Allegro finale) Cendrillon (excerpts) Gluck, ed Berlioz: Orphée, Act 1, Sc 4, Amour, viens rendre à mon âme Presented by Donald Macleod Produced by Johannah Smith For 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 Pauline Viardot and Her Circle https://www.bbc.co.uk/programmes/m000wysc 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

Daniel-François-Esprit Auber (1782-1871) was one of the most famous composers of the 19th century. Working with his lifelong collaborator, the renowned dramatist and librettist Eugéne Scribe, he gave definitive form to the uniquely French genres of grand historical opera (La Muette de Portici) and opéra-comique (Fra Diavolo). His overtures were famous all over the world, as much for their engaging titles (The Bronze Horse, The Black Domino, The Crown Diamonds) as for their dancing elegance and fluent melodies. Raymond Bisha introduces a new programme of overtures and entr'actes from Auber's stage works conducted by Dario Salvi, a specialist in the restoration and performance of rare works, in particular those of Meyerbeer and Auber.

Primera visita a la música vocal basada en temas y textos de Heinrich Heine, un literato que abasteció durante años y años a los más diversos compositores. Escuchamos, en primer lugar, siguiendo el anecdotario del poeta, un fragmento de Roberto el Diablo de Meyerbeer y a continuación momentos estratégicos de las óperas El Holandés errante de Wagner (con Klemperer en el foso) y Guglielmo Ratcliff de Mascagni, inspirados en sus textos. Nos acercamos después al mundo del lied a través de pentagramas de Liszt (con Fischer-Dieskau) y Schubert (dos números de Canto del cisne en la voz de Thomas Quasthoff). Escuchar audio

A century before crowds of extras and gigantic sets first filled the silver screen of Cecil B. DeMille’s Hollywood extravaganzas, the Paris Opera brought similar resources to the stage for their historical operas—offering shipwrecks, explosions, massacres, and other crowd-pleasing spectacles. For example, on today’s date in 1849, the premiere of Giacomo Meyerbeer’s opera “The Prophet,” included a ballet sequence that made audiences gasp in surprise when the dancers—supposed skating on a frozen lake—glided across the stage on roller skates! Roller skates had been invented in Paris in 1790 but were considered a useless curiosity—after Meyerbeer’s opera, however, there was a booming demand for what was marketed as "Prophet Skates." Meyerbeer’s opera also included an on-stage sunrise, employing , for the first time at the Paris Opera, state-of-the art electric lights. And just to prove that there is nothing new under the sun—electric or otherwise–in 1984, Andrew Lloyd Webber’s “Starlight express,” a rock musical about roller-ball competitors, had singers racing around the stage on roller-skates. The musical proved a big hit in London, New York and Las Vegas, and, reminiscent of Meyerbeer’s frozen pond ballet, there has even been a version of “Starlight Express—On Ice.”

Seguimos de nuevo a Sir Rudolf en su habitual y pormenorizada narración de sus años al frente del Metropolitan de Nueva York, sus relaciones con los cantantes, sus problemas y sus cuitas diarias y sus proyectos. Hoy, después de despedir a Maria Callas en Vissi d’arte de Tosca, escuchamos al dúo –no siempre bien avenido- Leontyne Price-Franco Corelli en el final de Ernani de Verdi, en donde aparece asimismo el gran bajo Cesare Siepi. Luego a la mezzo Christa Ludwig, en el papel travestido de Octavian, en el dúo del segundo acto de El Caballero de la Rosa, junto a la soprano Hilda de Groote. Enseguida, el tenor Ramón Vinay nos ofrece un momento cumbre del tercer acto de Tristán e Isolda. Más tarde otro tenor, Albert Da Costa, se luce en una breve y brillantísima página de El Profeta de Meyerbeer. Por último, Birgit Nilsson nos asombra de nuevo con el Liebestod de Tristán. Y se cuenta una curiosa anécdota ocurrida durante una representación de esa ópera wagneriana, en la que tuvieron que intervenir tres tenores distintos. Escuchar audio

durée : 00:25:30 - La création de Robert le Diable de Meyerbeer à Paris en 1831 - par : Anne-Charlotte Rémond - Il est souvent difficile d'imaginer la destinée d'une oeuvre à l'accueil qui lui est fait pour sa création. Prenez par exemple le premier grand opéra français de Meyerbeer : Robert le Diable est méconnu et pourtant, l'oeuvre a reçu un accueil triomphal lors de sa création en novembre 1831 à Paris. - réalisé par : Philippe Petit

On today's date in 1865, the hottest ticket in Paris was for the premiere of Giacomo Meyerbeer's long-awaited grand opera "L'Africaine," or "The African Maid," at the Paris Opera. And when I say "long-awaited," I mean long-awaited. Meyerbeer had begun work on "L'Africaine" some 25 years earlier. It had become something of a standing joke in the French press to rib Meyerbeer about the "imminent" completion of this long-standing project. There was no shortage of reasons for the delay. Meyerbeer was a slow-worker, a perfectionist; he was sidelined by ill-health, he was waiting for better singers, more sympathetic management at the Opera, etc. etc. etc. Many opera fans back then must have all but given up hope that Meyerbeer would ever finish "L'Africaine" when he finally did just that, and the work was slotted for production at the Paris Opera. At that point, as luck would have it, Meyerbeer died, and his widow entrusted another composer to supervise the rehearsals for the premiere on today's date in 1865. Meyerbeer's grand operas were the 19th century equivalent of the movies of Cecil B. DeMille. Both Meyerbeer and DeMille favored sweeping historical costume epics, lots of extras, and a tragic love story. "L'Africaine" was no exception: the hero is the explorer Vasco da Gama, and one of the opera's more spectacular scenic effects involved a Portuguese ship running aground on an exotic reef and being taken over by a swarm of natives.

Venture into a twilight world with Natalie Dessay singing the “Shadow Song” from Meyerbeer’s Dinorah. Peter Pears delves into the “Foggy, Foggy Dew” and Fred Astaire quite enjoys “A Foggy Day (In London Town).” All alone, Judy Garland offers a heartfelt “Me and My Shadow.” The post Shadows and Fog appeared first on WFMT.

In Paris gelang Giacomo Meyerbeer der große Durchbruch - er schrieb die besten Grand Opéras seiner Zeit. In der Deutschen Oper präsentiert der italienische Dirigent Enrique Mazzola sein "Best of Meyerbeer". Gestern war die Opéra comique "Dinorah ou Le Pardon de Ploërmel" zu hören. Unser Kritiker Kai Luehrs-Kaiser war dabei.

Lenneke Ruiten.

Også en Klassisk på nettet er på her i juleugen og op til nytåret – Ild, flammer og fyrværkeri’ er temaet, både festligt og dramatisk. Vi spiller fyrværkerimusik af Debussy og Stravinsky, ilddans af Manuel de Falla og fakkeldans af Meyerbeer og Don Juans dramatiske endeligt hos Mozart og meget mere.

Også en Klassisk på nettet er på her i juleugen og op til nytåret – Ild, flammer og fyrværkeri’ er temaet, både festligt og dramatisk. Vi spiller fyrværkerimusik af Debussy og Stravinsky, ilddans af Manuel de Falla og fakkeldans af Meyerbeer og Don Juans dramatiske endeligt hos Mozart og meget mere.

Også en Klassisk på nettet er på her i juleugen og op til nytåret – Ild, flammer og fyrværkeri' er temaet, både festligt og dramatisk. Vi spiller fyrværkerimusik af Debussy og Stravinsky, ilddans af Manuel de Falla og fakkeldans af Meyerbeer og Don Juans dramatiske endeligt hos Mozart og meget mere.

Escucha con nosotros las mejores "escenas de locura", las arias pensadas para el lucimiento vocal de las divas y los divos, repletas de virguerías y gorgoritos finamente hilados, utilizando como coartada la inestabilidad mental de los personajes, inmersos en tramas descabelladas ¡Deléitate con lo mejor de Bellini, Donizetti, Verdi, Meyerbeer y muchos más!

Repassem algunes de les

Repassem algunes de les

Hogueras, antorchas, incendios, llamas mágicas... La ópera, y la música clásica en general, han sucumbido a la fascinación del fuego en muchas ocasiones, y en el programa de hoy os traemos los mejores ejemplos: escucharemos a Wagner, a Verdi, a Stravinski, a Meyerbeer, a Rebel...

Banquetes, celebraciones, tardes de taberna, brindis... siempre dan mucho juego en una ópera: suponen una oportunidad sensacional para los compositores para crear escenas complejas acompañadas de músicas brillantes. Por nuestro programa desfilarán las melodías más juerguísticas de Mozart, Meyerbeer, Verdi, Rossini u Offenbach, entre otros ¡Salud!

durée : 00:59:56 - Le meilleur de Meyerbeer - par : Lionel Esparza - En direct et en public depuis l'Hôtel Bedford - réalisé par : Antoine Courtin

Today we dive into the glorious DINORAH by Meyerbeer - and we are joined by a guest who, we think, is the only soprano to have ever sung the title role in the past several decades on this continent, the wonderful Laura Strickling! The plot includes a goat, a mad scene, a run away groom, and so much more... this is an episode not to be missed!

5 September birthday of Giacomo Meyerbeer http://bit.ly/2wFRL2g

Oper ist verstaubt? Aber überhaupt nicht - einige technische Innovationen verdanken wir einem Deutschen mit aus Marketing Gründen italienisierten Namen. Giacomo Meyerbeer machte ab 1830 „Opera Great again“. Neuartige Bühnenmaschinen, farbiges Gaslicht, knappere Kostüme für Balletttänzerinnen, die erste Pressekonferenz der Operngeschichte machten Oper spektakulär für alle. Und dann wollten alle nach Paris! Verdi schrieb „Gérusalemme“, Halévy „La Juice“, Donizetti „Roberto Devereux“ und auch ein Deutscher pilgerte nach Paris und wurde von Meyerbeer ausgehalten… Eleonore Marguerre und ihr Opernkater Fidelio leben an einem lauen Sommerabend wie Gott in Frankreich. Du willst auch Oper unter freiem Himmel hören? dann schau bei www.eleonore-marguerre.de nach dem 1. oder 17. September in Dortmund und Köln.

Diana Damrau is an opera star – a German soprano – and a total delight. Jay sat down with her in New York for this “Q&A.” They talk about her new album – a compilation of Meyerbeer – and many other things: her children, her favorite singers, her technique, her dancing (including Michael Jackson routines). No one can resist this soprano onstage. She is pretty irresistible in interviews, too. Source

439: Mellow Drama - chapter 53 Articles on how the industry is changing , , and . Book Talk • 8:51 The Opera: By Anonymous print - User scan of Fontaine, Gérard (2004). Charles Garnier's Opéra: Architecture and Interior Decor, translated by Charles Penwarden. Paris: Éditions Patrimoine. . Original: Bibliothèque-Musée de l'Opéra, Public Domain, Degas (damning?) take on the crowd “watching” the Ballet of the Nuns (or the daemons… I never was clear on this bit: By - , Public Domain, By - Scan from the original work: Letellier, Robert Ignatius (2012). Meyerbeer's Robert le Diable: The Premier Opéra Romantique. Cambridge Scholars Publishing. ., Public Domain,

Born in Jessup, Pennsylvania, Cossa studied with Anthony Marlowe in Detroit, Michigan, Robert Weede in Concord, California, and Armen Boyajian in New York City. He made his debut at the New York City Opera as Morales in 1961, and a week later sang Sharpless with the company. He won the American Opera Auditions in 1964 and was sent to Italy for debuts at the Teatro Nuovo in Milan and Teatro della Pergola in Florence.[2] He made his debut at the San Francisco Opera in 1967 as Zurga in Les pêcheurs de perles. His Metropolitan Opera debut took place on January 30, 1970 as Silvio in Pagliacci. Other roles there were Figaro in Il barbiere di Siviglia, Lescaut in Manon Lescaut, Marcello in La bohème, Mercutio in Romeo and Juliette, Masetto in Don Giovanni, Valentin in Faust, Yeletsky in Pique Dame, Germont in La traviata, and Albert in Werther. In 1976 he created the role of David Murphy in the world premiere of Gian Carlo Menotti's The Hero with the Opera Company of Philadelphia.[3] Cossa's left a few notable recordings of his best roles such as Belcore in L'elisir d'amore opposite Dame Joan Sutherland and Luciano Pavarotti, Achillas in Handel's Giulio Cesare opposite Norman Treigle and Beverly Sills, Nevers in Meyerbeer's Les Huguenots, again opposite Sutherland, Martina Arroyo and Huguette Tourangeau, and the baritone solo part in Roger Sessions' When Lilacs Last in the Dooryard Bloom'd. He can also be heard on the Classical Record Library's A Celebration of Schumann and Schubert with the Chamber Music Society of Lincoln Center. He has sung as soloist with the New York Philharmonic, the Boston Symphony, the Chicago Symphony, the Israel Philharmonic, and the National Symphony. He was chosen by Licia Albanese to be the recipient of the Puccini Foundation's Bacccarat Award in 2004, and in 1993 was inducted into the Hall of Fame for Great American Singers at the Academy of Vocal Arts in Philadelphia. Cossa taught at the Manhattan School of Music and in 1988 he accepted a position as Professor of Music at the University of Maryland, College Park, where he became chair of Voice/Opera.   Also, a SWEET GUY!!!!!!!!!!!!!!!!!!!!!!!

Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, Wagner revolutionized opera through his concept of the Gesamtkunstwerk, by which he sought to synthesize the poetic, visual, musical and dramatic arts, with music subsidiary to drama. - Wikipedia

Den ryske pianisten Josef Lhévinne studerade vid Moskvakonservatoriet från elva års ålder. Efter att ha varit pianolärare 1900-06 gav Lhévinne konserter och bodde då mest i Berlin. Före Första världskrigets utbrott 1914 gjorde han sex konsertturnéer i USA, dit familjent Lhévinne emigrerade efter krigets slut. Båda makarna blev lärare vid Juilliard i New York. Josef Lhévinne är berömd för sin enastånde teknik och utomordentliga kontroll av ton och frasering, som möjliggjorde hans visioner av musiken. Mer information på sverigesradio.se/p2

On this day in 1829, the German composer Giacomo Meyerbeer signed a contract with the Paris opera house -- marking the beginning of the brief golden age of French Grand Opera. On today's "A Classical Day in the Life," journey along with us as we explore "The Huguenots," "The African Woman," and more!

Semiramide-Arien von Caldara, Porpora, Jommelli, Bernasconi, Traetta, Paisiello, Bianchi, Borghi, Nasolini, Di Donato, Catel, Meyerbeer, Rossini, Garcia, Vinci | Anna Bonitatibus, Mezzosopran | Accademia degli Astrusi | La Stagione Armonica | Leitung: Federico Ferri

 I hope I am not inundating you too much with all these compilations, but I do think they are fun. 1. Fedora Barbieri                       Trovatore   "Stride la vampa." 2. Daniele Barioni                         La Rondine aria (with nice interpolation at end.) 3. Lina Bruna Rasa                       Cavalleria Rusticana   "Voi lo sapete" ( Insane chest!) 4. Grace Bumbry                           Don Carlo     "Oh don fatale." 5. Maria Callas                               La Gioconda     "Suicidio" 6. Enrico Caruso                            "Vesti la giubba" 7. Regine Crespin/Carlo Bergonzi        Ballo in Maschera Duet 8. Gilda Cruz-Romo                         Attila Cabaletta 9. Giuseppe de Luca                        Tanhauser Evening Star   (in Italiano.) 10.Bernardo de Muro                      Isabeau (Mascagni) aria 11.Ghena Dimitrova                         "Vissi d'arte" 12.Placido Domingo                         Tanhauser Rome Narrative 13.Nicolai Gedda/Fernando Corena       Elisir Duet 14.Mario Filippeschi                          "Messun Dorma"   (LOUD!) 15.Elina Garanca                                Cosi Fan Tutte"   Dorabella aria 16.Leyla Gencer                                  Adriana Lecouvreur Act 3 Phedre Narration 17.Marcello Giordani                           Huguenots aria 18.Thomas Hampson/Sam Ramey     Duet from Verdi's "Un Giorno di Regno" 19.Susan Graham                                   Komponist aria from Ariadne 20.Hei-Kyung Hong                                "Che bel sogno di Doretta" (Rondine) 21.Marilyn Horne                                     Cabaletta from Meyerbeer's "Le Prophete" 22.Kiri Te Kanawa                                     "Summertime"

Rare historical recordings from volumes 47 and 48 of the "Record Collector" series. 1.Meta Seinemeyer (1929)      "Die Nacht" (Rubenstein)  (Tragic death at 33) 2-3. Heinrich Schlusnus (1920)   "Zueignung" (R.Strauss) and Hamlet aria 4-5.  Marcel Journet (1912 and 1916) Robert le Diable aria (Meyerbeer) and Cleopatre aria (Massenet) 6-7.  Nino Piccaluga (1925 and 1928)  Arias from La Fanciulla del West and Andrea Chenier 8. Anne Roselle   (1926)    "O Patria mia." 9-10. Leon Campagnola (1922 and 1911)   Walkure  "Ein Schwert" and Favorite aria (en Francais) 11. Antonio Pini-Corsi (1907)   Fra Diavolo (Auber) "Del Capitano alla Salute." 12.  Gaetano Pini-Corsi  (1909) (His brother)  Siegfried Forging Song 13.  Umberto Pini-Corsi  (1904)  (Their cousin, possibly age 14.)  "Una Furtiva lagrima" 14.  Ninon Vallin  (1939)   "Mailied"  (Beethoven) 15. Franz Voelker  (1937)  "Staendchen' (Schubert)  (One of Charlie's top favorite tenors.) 16. Julius Patzak    (1932)    Faust aria  (In Deutsch) 17.  Ettore Bastianini   (1953,live perf.)   Il Tabarro aria

Donald Macleod explores the life and work of Giacomo Meyerbeer in conversation with one of the composer's leading advocates, Robert Letellier

A gauche du tableau, Henri III roi de France s’assurant de la mort de son rival dont il a commandité l’assassinat avec ses sbires, - à droite : le duc de Guise effondré et mort de fait. Mme Garnier, conservatrice au musée de Chantilly, décrypte cette peinture [mise en scène, structuration, inspiration (l’opéra à la mode de Meyerbeer, les Huguenots)], commentaire illustré par les mouvements et effets de la caméra.

Scenes from Meyerbeer's "Les Huguenots," featuring Nicolai Ghiaurov, Tancredi Pasero, Nicolai Gedda, Sergei Lemeshev, Herman Jadlowker, Lili Lehmann, Joan Sutherland, Rita Shane, Marcel Wittrisch, Margarete Teschemacher, Marisa Galvany, Enrico di Giuseppe, Maria Llacer, John O'Sullivan, Franco Corelli, and Giulietta Simionato.  (71 min.)

Twenty Tenors who may not be as well-known as others, but who nevertheless sang beautifully and had major careers, mostly in the earlier part of the 20th century:       Contents as follows: 1.Silvano Isalberti  "Stelle d'oro" (Denza)2.Carlo Dani   "Le Reve"  (Manon)3.Giulio Crimi  "O mio picciolo tavolo" (Zaza)4.Carlos Mejia  "Ecco ridente"   (Barbiere)5.Wilhelm Herold   Fra Diavolo Aria  (Auber)6.Bjorn Talen    Barber of Bagdad aria  (Cornelius)7.Carl Martin Oehmann  "Prize Song" (Meistersinger)  8.Karl Jorn     "Ah quel plaisir"  (La Dame Blanche) 9.Karel Burlan (in photo)  "My colleague Caruso" (Burlan)10.Stanislaw Gruszczynski  "Eternamente"  (Mascheroni)11.Petra Raitscheff     "E canto il grillo"12.Ignacy Dygas    Aria from "Haunting Manor"     13 Giuseppe Krismer   Damnation of Faust Aria (Berlioz) 14.Tadeusz Liliwa       Aria from "Halka" (Moniusko)15.Andrei Markovitch Labinski    Dubrovsky Song16.David Juzhin     Le Prophete aria  (Meyerbeer)17.Alexander Bogdanovich   "Love is a delightful dream (Bleichman)18.Alexander Davydov         "Leave me"  (Davydov)19.Modest Menzinsky          "Barcarolle"20.Ivan Erschov          Tannhauser Act One Aria  (Wagner)   (If you can spell every name without looking, I will give you a gift of     all my Sarah Brightman CD's.)   .                                   (74 min.)

Raoul de Nangis – Marcello Giordani, Valentine – Annalisa Raspaglosi, Marguerite di Valois – Diana Damrau, Le Comte de Saint-Bris – Frode Olsen, Nevers – Zeljko Lucic, Urbain – Sara Alegretta, Marcel – Soon-Won Kang, De Cosse – Jacek Pazola, Maurevert – Simon Bailey, Tavannes – Peter Marsh, November 26, 2002. Frankfurter Museumsorchester, Conductor: Guido Johanes Rumstadt.

Raoul de Nangis – Marcello Giordani, Valentine – Annalisa Raspaglosi, Marguerite di Valois – Diana Damrau, Le Comte de Saint-Bris – Frode Olsen, Nevers – Zeljko Lucic, Urbain – Sara Alegretta, Marcel – Soon-Won Kang, De Cosse – Jacek Pazola, Maurevert – Simon Bailey, Tavannes – Peter Marsh, November 26, 2002. Frankfurter Museumsorchester, Conductor: Guido Johanes Rumstadt.

Raoul de Nangis – Marcello Giordani, Valentine – Annalisa Raspaglosi, Marguerite di Valois – Diana Damrau, Le Comte de Saint-Bris – Frode Olsen, Nevers – Zeljko Lucic, Urbain – Sara Alegretta, Marcel – Soon-Won Kang, De Cosse – Jacek Pazola, Maurevert – Simon Bailey, Tavannes – Peter Marsh, November 26, 2002. Frankfurter Museumsorchester, Conductor: Guido Johanes Rumstadt.

Elizabeth Futral (Catherine) Vladimir Ognev (Peter the Great) Aled Hall (Danilowitz) Christopher Maltman (Gritzenko) Darina Takova (Prascovia) Juan Diego Florez (George) Agnete Munk Rasmussen (Natalie) Patrizia Cigna (Ekimona) Robert Lee (Ismailov) Fernand Bernardi (Reynolds) Luis Ledesma (Yermolov). Wexford Festival Opera, October, 1996. Wladimir Jurowski, Conductor.

Elizabeth Futral (Catherine) Vladimir Ognev (Peter the Great) Aled Hall (Danilowitz) Christopher Maltman (Gritzenko) Darina Takova (Prascovia) Juan Diego Florez (George) Agnete Munk Rasmussen (Natalie) Patrizia Cigna (Ekimona) Robert Lee (Ismailov) Fernand Bernardi (Reynolds) Luis Ledesma (Yermolov). Wexford Festival Opera, October, 1996. Wladimir Jurowski, Conductor.

Elizabeth Futral (Catherine) Vladimir Ognev (Peter the Great) Aled Hall (Danilowitz) Christopher Maltman (Gritzenko) Darina Takova (Prascovia) Juan Diego Florez (George) Agnete Munk Rasmussen (Natalie) Patrizia Cigna (Ekimona) Robert Lee (Ismailov) Fernand Bernardi (Reynolds) Luis Ledesma (Yermolov). Wexford Festival Opera, October, 1996. Wladimir Jurowski, Conductor.