Podcasts about monteverdi

durée : 01:28:34 - Relax ! du vendredi 13 février 2026 - par : Lionel Esparza - Plongez au cœur de l'âge baroque et embarquez pour un voyage musical de l'Angleterre à l'Italie. Purcell, Monteverdi, Haendel, Vivaldi... Une heure avec les compositeurs qui ont façonné l'oratorio, le concerto et le madrigal, et qui illustrent toute la richesse musicale des XVIIe et XVIIIe siècles. - réalisé par : Doria Zénine Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:34 - Relax ! du vendredi 13 février 2026 - par : Lionel Esparza - Plongez au cœur de l'âge baroque et embarquez pour un voyage musical de l'Angleterre à l'Italie. Purcell, Monteverdi, Haendel, Vivaldi... Une heure avec les compositeurs qui ont façonné l'oratorio, le concerto et le madrigal, et qui illustrent toute la richesse musicale des XVIIe et XVIIIe siècles. - réalisé par : Doria Zénine Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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Editor and singer Sally Dunkley joins Robert and Eamonn to understand why composers enjoy 'false relations', the major and minor chord at the same time. Music by Tallis, Shepherd, Byrd, Monteverdi with The Sixteen, The Cardinall's Musick, Gesualdo Six, I Fagiolini, Apollo 5 and more.Support this show http://supporter.acast.com/choral-chihuahua. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:16:59 - Disques de légende du vendredi 06 février 2026 - Pionnier du renouveau baroque, le maestro Raymond Leppard a participé à la redécouverte d'opéras de Monteverdi ou de Cavalli. II a aussi fait ses preuves dans le répertoire baroque anglais, avec notamment deux enregistrements de Didon et Enée de Purcell, dont voici le premier avec Tatiana Troyanos. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:16:59 - Disques de légende du vendredi 06 février 2026 - Pionnier du renouveau baroque, le maestro Raymond Leppard a participé à la redécouverte d'opéras de Monteverdi ou de Cavalli. II a aussi fait ses preuves dans le répertoire baroque anglais, avec notamment deux enregistrements de Didon et Enée de Purcell, dont voici le premier avec Tatiana Troyanos. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Countertenor Randall Scotting has quickly become a sought-after artist by many of the world's leading opera houses and concert halls. He's recently made standout debuts at The Royal Opera House, Bayerische Staatsoper, and Staatsoper Hamburg.  He also sang  first time at La Fenice in Venice in the major role of Adonis in Sciarrino's Venere e Adone, and he makes his Carnegie Hall debut in Handel's Messiah.  March 2026 also brings the release of his next album on the Signum label with the Academy of Ancient Music and Laurence Cummings, The Divine Impresario, featuring virtuoso castrato arias. Randall's breakthrough came in 2019 at London's Royal Opera House when he stepped in last-minute for Sir David McVicar's production of Britten's Death in Venice. His performance drew praise for “singing brilliantly,” and he went on to complete the run to sold-out houses, with the production also being broadcast on the BBC. That success led directly to his joining the Metropolitan Opera's roster, and he's since become a regular on the world's top stages. Randall's  portrayal of the Refugee in Jonathan Dove's Flight (Seattle Opera, 2021) drew glowing reviews—“marvelous,” “compelling,” “warm, focused, and fluid.” In 2023 he originated the role of Adonis in the world premiere of Sciarrino's Venere e Adone at Staatsoper Hamburg with Kent Nagano, earning praise as “vocally and physically muscular,” “wonderfully strong and supple,” and “luminous.” Randall is also making his mark as a recording artist. His 2022 debut solo album The Crown, recorded with the Orchestra of the Age of Enlightenment and conductor Laurence Cummings, introduced modern-day premieres of show-piece arias composed for the legendary castrato Senesino and he won international acclaim for “ravishing vocalism” and ““impressive beauty and warmth” tone. His follow-up, Lovesick with Grammy-winner and lutenist Stephen Stubbs, offered intimate lute and folk songs and drew glowing reviews from Gramophone, BBC Music Magazine, and Limelight, which called it “gorgeous” and “beautifully sung”. “Most recently, Infinite Refrain with the Academy of Ancient Music explores 17th-century works by Monteverdi and his contemporaries through the lens of gay love, praised as both “vibrantly seductive” and “a strikingly beautiful declaration of same-sex love”.

Das Wilhelma-Theater in Stuttgart hat eine bewegte Geschichte: 1840 als revolutionäres Bürger-Theater eröffnet, diente es zwischenzeitlich als Lichtspielhaus, stand in den 1970ern völlig heruntergekommen kurz vor dem Abriss und wurde dann – zum Glück – saniert. Heute wird das älteste Theater Stuttgarts von der Hochschule für Musik und Darstellende Kunst genutzt. Sophie-Caroline Menges war bei einer Probe für die aktuelle Produktion der Monteverdi-Oper „L'incoronazione di Poppea“ vor Ort.

durée : 00:05:06 - Le Bach du matin du vendredi 23 janvier 2026 - Sous la baguette du chef anglais John Eliot Gardiner, les Solistes baroques anglais et le Chœur Monteverdi interprètent le premier chœur de la Cantate BWV 79 "Gott der Herr ist Sonn und Schild", composée à Leipzig en 1725 à l'occasion de la fête luthérienne de la Réforme. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:05:06 - Le Bach du matin du vendredi 23 janvier 2026 - Sous la baguette du chef anglais John Eliot Gardiner, les Solistes baroques anglais et le Chœur Monteverdi interprètent le premier chœur de la Cantate BWV 79 "Gott der Herr ist Sonn und Schild", composée à Leipzig en 1725 à l'occasion de la fête luthérienne de la Réforme. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:00:07 - Olivier Assayas, réalisateur - par : Priscille Lafitte - Réalisateur de cinéma à la filmographie fournie - dernier film en date "Le Mage du Kremlin" - Olivier Assayas a longtemps privilégié le rock, avant d'assumer une prédilection pour les musiques anciennes, de Bingen à Haendel en passant par Monteverdi, qui s'immiscent dans les bande-sons de ses films. - réalisé par : Claire Lagarde Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Maud Gnidzaz est cantatrice. Depuis déjà une vingtaine d'années, elle chante les repertoires baroques, classiques et modernes, avec une prédilection marquée pour la musique sacrée. Concertiste brillante, elle poursuit une carrière internationale qui la mène dans de nombreux pays.Depuis six ans, Maud Gnidzaz a répondu à l'appel de la Basilique de Vézelay. À quelques kilomètres de la colline, entourée de ses chats, au plus proche de la nature, elle vit dans sa maison presque en ermite dès qu'elle n'est pas en tournée. C'est là, entre deux représentations données l'une à Venise et à New York, qu'elle nous a reçu. Pour Maud Gnidzaz, l'âme humaine est une symphonie, et la voix humaine est, parmi tous nos dons, l'un des plus précieux pour harmoniser le corps et l'esprit. Pour elle, la relation entre le divin et le vivant passe par le corps, et la voix est une des voies privilégiées.Maud Gnidzaz se dit profondément inspirée par la rencontre avec le rayonnement si profond de Hildegarde de Bingen. De cette grande figure allemande du XIIème siècle, elle dit avoir beaucoup appris, de ses visions mystiques, de son art musical, de sa pratique thérapeutique inspirée par une prodigieuse connaissance des vertus médicinales des plantes. Tout cela a transformé la vie de la cantatrice qui, aujourd'hui, oriente de plus en plus son art vers le soin des souffrances humaines.Cette artiste belle et délicate est une femme puissante, reliée à l'invisible et au sacré, une thérapeute étonnante qui sillonne aussi la France en offrant des sessions de méditations et de soins par le son. Imprégnée par les spiritualités juives et chrétiennes, par les Dialogues avec l'Ange, par les plus grands musiciens parmi lesquels elle aime citer Monteverdi ou Purcell, connectée au vivant, à la nature et particulièrement à Vézelay, Maud Gnidzaz nous emmène en voyage de beauté, de profondeur et d'éternité.Pour dévouvrir Maud Gnidzaz, cliquer ici.quand la voix guéritChers amis, chers auditeurs de Zeteo,Il est presque étonnant qu'il ait fallu attendre le 366ème épisode de ce podcast audio pour évoquer les merveilleux bienfaits de la voix ! Il fallait, pour cela, recevoir Maud Gnidzaz. Depuis quelques années, particulièrement depuis sa découverte du génie musical et médical de l'immense Hildegarde de Bingen, cette cantatrice de grand talent a choisi de mettre son art au service de la guérison.En fait, le témoignage de Maud Gnidzaz met en valeur tous ceux qui, comme les invités de Zeteo, portent une lumière qu'ils communiquent aux autres. Surtout lorsque ce témoignage est inspiré comme celui de Maud. Sa vision, si forte et si belle, est émerveillée par l'omniprésence du sacré, du divin, du bon et du bien en toutes choses.La voix est créatrice, comme nous l'enseigne la Genèse, lorsqu'il y est rappelé que toute création est l'œuvre de la parole divine.La voix guérit, comme le prouve Maud Gnidzaz, comme tous ceux qui annoncent la Bonne Nouvelle. Nombreux sont les malades qui savent que leur chemin de guérison a commencé quand ils ont entendu les paroles d'un médecin, d'un prêtre, d'un visiteur médical, ou d'un proche ?Au moment où nous vivons des temps agités et parfois déroutants, où les puissants de ce monde n'ont que le mot de réarmement à la bouche, nous disposons d'une autre arme, autrement puissante. Notre voix. C'est elle qui nous met en relation avec les autres, et qui a le pouvoir d'apporter la guérison, la paix, la bienveillance et la beauté.La voix exprime le cœur.Qu'il est bon de finir ce message en exprimant toute ma gratitude aux invités de Zeteo qui, comme Maud Gnidzaz, sont les témoins des ressources infinies de la bienveillance divine.Et toute ma gratitude aux auditeurs et aux donateurs de Zeteo qui, si souvent, sont également les acteurs du monde meilleur qui enfante sous nos yeux.Fraternellement,Guillaume DevoudPour soutenir l'effort de Zeteo, podcast sans publicité et d'accès entièrement gratuit, vous pouvez faire un don. Il suffit pour cela de cliquer sur l'un des deux boutons ci-dessous, pour le paiement de dons en ligne au profit de l'association Telio qui gère Zeteo.Cliquer ici pour aller sur notre compte de paiement de dons en ligne sécurisé par HelloAsso.Ou cliquer ici pour aller sur notre compte Paypal.Vos dons sont défiscalisables à hauteur de 66% : par exemple, un don de 50€ ne coûte en réalité que 17€. Le reçu fiscal est généré automatiquement et immédiatement à tous ceux qui passent par la plateforme de paiement sécurisé en ligne de HelloAssoNous délivrons directement un reçu fiscal à tous ceux qui effectuent un paiement autrement (Paypal, chèque à l'association Telio, 76 rue de la Pompe, 75016 Paris – virement : nous écrire à info@zeteo.fr ).  Pour lire d'autres messages de nos auditeurs : cliquer ici.Pour en savoir plus au sujet de Zeteo, cliquer ici.Pour lire les messages de nos auditeurs, cliquer ici.Nous contacter : contact@zeteo.frProposer votre témoignage ou celui d'un proche : temoignage@zeteo.fr

durée : 01:29:01 - Relax ! du mardi 23 décembre 2025 - par : Lionel Esparza - Après une première session de rétrospective, continuons notre écoute des meilleurs disques de l'année avec l'inénarrable Alain Planès dans Satie, la somptueuse Joyce DiDonato dans Didon et Énée, ou encore un Emiliano Gonzalez Toro passé à la baguette dans Monteverdi. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:29:01 - Relax ! du mardi 23 décembre 2025 - par : Lionel Esparza - Après une première session de rétrospective, continuons notre écoute des meilleurs disques de l'année avec l'inénarrable Alain Planès dans Satie, la somptueuse Joyce DiDonato dans Didon et Énée, ou encore un Emiliano Gonzalez Toro passé à la baguette dans Monteverdi. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Con Isabel Juarez | En Antiguallas vuelve Leonor de Lera, violinista dedicada a la música antigua, para ilustrarnos cómo se hacían las disminuciones, una manera de ornamentar creativa y distintiva del estilo del Seicento instrumental. Con música de Monteverdi y Bardi. No te pierdas la mejor música antigua, en Antiguallas de Clásica FM.

Happy Holidays! Coventry Carol is a lullaby to a "little tiny child"...but surprisingly, that child is not Jesus. Learn more about this Christmas carol that was almost lost to time, including the history of modern Western Theatre and the origins of the picardy third, in this final episode of the second season of Folk Files. Host: Olivia Harding Support Folk Files: https://www.patreon.com/c/FolkFilesPodcast Special thanks to Aaron J. Morton   Musical excerpts: ARTIST: The Sixteen WORK: The Coventry Carol SOURCE: https://youtu.be/_jIYyPOoEc8?si=mgPi4WH4G9LUnMT7   ARTIST: Sting (from A Winter's Night Live from Durham Cathedral) WORK: Coventry Carol SOURCE: https://youtu.be/hahwYqQd_gA?si=wJR4Qz-ZmUW9IaD2   ARTIST: Nora Fischer and Marnix Dorrestein WORK:  Oblivion Soave from Monteverdi's L'Incoronazione di Poppea SOURCE: https://youtu.be/JTHQqJDV4os?si=820upsG60MJJyC5M   ARTIST: Jeanette Blakeley WORK: "Lullaby" from Menotti's The Consul SOURCE: https://youtu.be/nImWN8o1f-E?si=Coj_UsTcod6m1Bbr   ARTIST: Barry and Beth Hall WORK: Coventry Carol SOURCE: https://youtu.be/JCFg4S3kSV4?si=CleozvHduvVsAAxB   ARTIST: Chicago WORK: Wishing You Were Here SOURCE: https://youtu.be/Zv0OwvsP0ek?si=cVc25wbawFlT7pkw   ARTIST: The Zombies WORK: Time of the Season SOURCE: https://www.youtube.com/watch?v=T8ecsAI3FhY   ARTIST: Alison Moyet WORK: The Coventry Carol SOURCE: https://youtu.be/kcrYqDqCN_Y?si=DoKE80e3peRMtvSo   ARTIST: The Choir of Magdalen College Oxford WORK: Song of the Nuns of Chester SOURCE: https://www.youtube.com/watch?v=q0UtKzXb9Js   ARTIST: The Cambridge Singers WORK: Coventry Carol (composed by Kenneth Leighton) SOURCE: https://youtu.be/uAA0lZ1YG90?si=VQYE2a0KSeFhZGks   ARTIST: Sufjan Stevens WORK: Coventry Carol SOURCE: https://youtu.be/o6492UYw_hs?si=U0k6ZlmkfoIcULct

Joseph McHardy chooses his favourite recording of Monteverdi's L'Orfeo.

Que signifie « Magnificat », le titre du dernier album de Vald ? À quoi cette expression latine fait-elle référence ? Pourquoi on parle aussi de « cantique de Marie » ? Quel est le lien entre le cantique de Marie et le cantique d'Anne, dans l'Ancien Testament ?Réponse avec une cohorte de compositeurs et musiciens, à commencer par Vald, JS Bach, Vivaldi, Monteverdi et Georges Brassens ! Autant dire que ça va danser sec entre deux interstices d'analyse théologiques !!Bonus : on parlera aussi de Paul Claudel...Si vous le souhaitez, on vous invite à nous faire part de tous vos retours en commentaire de cet épisode, ou bien directement à notre adresse : contact@prixm.orgPRIXM est un média associatif, gratuit, indépendant et sans publicité. Notre association PRIXM-Bernardins repose exclusivement sur les dons de ses abonnés et mécènes. Pour nous soutenir, c'est ici : https://don.fondationnotredame.fr/prixm-bernardins-1-1Pour retrouver tous nos articles et s'abonner à notre pétillante newsletter hebdo, c'est là : https://www.prixm.org/articlesUn immense merci... et bonne écoute !!!Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:12:31 - Le Disque classique du jour du mercredi 10 décembre 2025 - Le ténor Rolando Villazón, l'ensemble musical L'Arpeggiata et sa fondatrice-directrice Christina Pluhar ont imaginé un programme conceptuel inspiré de la mythologie grecque. Cet album rassemble des œuvres de Monteverdi et de ses contemporains ainsi que de Gluck, Gardel et Bonfá. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:12:31 - Le Disque classique du jour du mercredi 10 décembre 2025 - Le ténor Rolando Villazón, l'ensemble musical L'Arpeggiata et sa fondatrice-directrice Christina Pluhar ont imaginé un programme conceptuel inspiré de la mythologie grecque. Cet album rassemble des œuvres de Monteverdi et de ses contemporains ainsi que de Gluck, Gardel et Bonfá. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Direttore, cantante, didatta e divulgatore musicale, Walter Testolin è stato tra i protagonisti della trama L'eco di Monteverdi, ospitata da una recente edizione di Trame Sonore, Mantova Chamber Music Festival. Alla guida di un imponente ensemble vocale e strumentale, che ha visto uniti RossoPorpora, De labyrintho, La Pifarescha e More Antiquo, sua è stata la lettura del Vespro della Beata Vergine di Claudio Monteverdi nella mantovana Basilica di Santa Barbara… Occasione in cui, a 380 anni dalla scomparsa di Monteverdi, il suo monumentale capolavoro, ha rivisto la luce in uno di luoghi più significativi della sua vita. In quella Mantova che lo ha accolto al servizio dei Gonzaga dal 1590 al 1612.Testolin ci accompagna alla scoperta del monteverdiano Vespro, pagina tra le più importanti e solenni della musica sacra del XVII secolo, data alle stampe nel 1610 con dedica al Papa Paolo V e scritta sopra canti fermi a 6 voci e 6 strumenti. Proprio come indicato nel titolo Vespro della Beata Vergine da concerto composto sopra canti fermi sex vocibus et sex instrumentis. Abbiamo incontrato Walter Testolin, nella sacrestia della Basilica di Santa Barbara proprio in occasione di questa imponente esecuzione.

Okay, I confess that the title of this week's episode is intentionally misleading, but if I told you what it actually was outright, you might not listen, and that would be a great loss! On Monday I celebrated Larry Kert for World AIDS Day, and today, I have made a selection of musical settings of the Marian Antiphon Salve Regina, which translated means, “Hail, Queen,” so there you have the inspiration for the episode. In fact, this is an episode chock-full of particularly glorious singing, and I don't think you'll regret spending the time with these glorious Queens of Song (with a few Kings tossed in)! The 11th-century Salve Regina text, far from being dry and dull, provided inspiration for a wide range of composers, primarily of the Baroque (Handel, Vivaldi, Hasse, the Scarlattis, Monteverdi, and a number of others), but also of later vintage (Mozart, Johann Christian Bach, Schubert, and even Puccini). The singers who perform these works are a Who's Who of Countermelody favorites (Helen Donath, Rachel Yakar, Margaret Marshall, Francisco Araiza, Elly Ameling, and Roberta Alexander) and new friends, including three countertenors (Gérard Lesne, John Angelo Messana, and Jochen Kowalski) who provided inspiration to me as a young singer. Dive right in to this episode, my friends, and never fear: would I steer you wrong? Never! The episode begins with a tribute to Madeline Kahn, who died 26 years ago this week. 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 author 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.

Lundi 27 Octobre 2025Frédérick HAAS - Musique baroque ? Conférence avec clavecinBelles LettresEn collaboration avec les Pieux Établissements de la FranceMUSIQUEAux XVIIe et XVIIIe siècles, l'Europe se remplit de musique. Partout, la pratique musicale s'organise, se déploie, se structure, portée par la présence de grands fondateurs : Monteverdi, « Inventeur de l'Opéra », Rameau, « Fondateur de l'Harmonie », J.S. Bach, « Père de toute la Musique », et d'autres noms bien connus : Couperin, Vivaldi, Handel, Purcell, Lully…La musique de cette époque, qualifiée entre temps de « musique baroque », a connu un important mouvement de renouveau au XXe siècle et se trouve aujourd'hui plus jouée que jamais. Elle occupe une place importante dans la programmation des salles de concert, des radios, et touche un public éclectique et nombreux. Face à cet engouement, le moment est venu de faire le point : Pouvons-nous précisément définir ce qu'est la musique baroque ? Pourquoi la jouer aujourd'hui ? Sur quoi fonder la régénération des pratiques qui pourront continuer de nourrir la fascination des musiciens et des auditeurs ?Frédérick Haas est claveciniste. Il vit à Avignon et enseigne le clavecin au Conservatoire royal de Bruxelles. Depuis des années, il explore le répertoire et les bibliothèques, rencontre experts et facteurs d'instruments à la recherche des fonctionnements intimes permettant à une musique ancienne de nous toucher aujourd'hui. Sa discographie comprend des oeuvres de F. Couperin, J.S. Bach, D. Scarlatti, J.-H. d'Anglebert, J.J. Froberger, J.-Ph. Rameau.

durée : 00:06:30 - Le Bach du matin du lundi 24 novembre 2025 - Ce matin nous entamons la journée avec le premier chœur de la cantate "Wachet auf, ruft uns die Stimme" BWV 140 interprété par le Chœur Monteverdi et les English Baroque Soloists, sous la baguette du chef John Eliot Gardiner. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:06:30 - Le Bach du matin du lundi 24 novembre 2025 - Ce matin nous entamons la journée avec le premier chœur de la cantate "Wachet auf, ruft uns die Stimme" BWV 140 interprété par le Chœur Monteverdi et les English Baroque Soloists, sous la baguette du chef John Eliot Gardiner. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Join The Revd Dr Jeff Lake, Associate Priest of St Bride's, and St Bride's Choir for this week's reflection in words and music. Today is the feast of Christ the King which brings to an end the church's year as we proclaim Christ enthroned in heaven as sovereign king over all creation. The cycle then begins anew with Advent – that season of expectation and preparation for Christmas and the birth of Christ as a helpless baby, born to save us all. St Bride's Choir opens this reflection with Monteverdi's moving devotional motet "Christus, adoramus te" – "Christ, we worship and bless thee, because by thy holy Cross thou hast redeemed the world." After the Gospel reading from Luke, our associate priest Jeff considers the growing relevance the feast of Christ the King has had for him over time especially in an age when national power is increasingly elevated above moral responsibility. We end with one of our most popular hymns "Glorious things of thee are spoken" to the rousing tune, Abbot's Leigh. The text is by John Newton whose notorious early years included being captain of a slave ship; after his conversion he became an ardent abolitionist in association with William Wilberforce. Information about our weekly Sunday services in St Bride's of Choral Eucharist at 11am (https://www.stbrides.com/worship-music/worship/regular-services/choral-eucharist/) and Choral Evensong at 5:30pm (https://www.stbrides.com/worship-music/worship/regular-services/choral-evensong/) can be found on the website. Find out what's happening at St Bride's at https://www.stbrides.com/whats-on If you enjoy listening, please leave a comment below or subscribe to our channel. It is great to get your feedback. SUPPORT ST BRIDE'S ================== We are hugely grateful for people's generosity which we wholly rely on to continue our work, maintain our wonderful architectural heritage and support world-class music-making. People are often surprised to learn that St Bride's receives no external funding. If you would like to make a donation, you can do so at https://www.justgiving.com/stbrideschurchfleetstreet

Welcome to Provocative Conversations from Twice 5 Miles Radio. I'm your host, James Navé, and today you're in for something rare — a conversation where music, mastery, presence, and spiritual curiosity meet in one sweeping arc. My guest is Deborah Domanski, the internationally acclaimed mezzo-soprano praised by The New York Times for her “luscious sound and lyrical refinement.” I met Deborah at the 2025 LEAF Festival in North Carolina, where — by pure serendipity — she ended up onstage with guitarist and longtime friend, Walter Parks. What unfolded that night was more than a performance. It was an act of instant creative communion, two artists from different worlds dropping into a shared field of presence, improvisation, and trust. In this conversation, Deborah talks openly about what it takes to reach that level of effortless mastery — the thousands of hours of training, yes, but also the deeper practice of getting out of your own way, listening for what wants to come through, and letting the art work on you as much as you work on it. We talk about creativity, collaboration, Monteverdi, meditation, belonging, grief, loneliness, home, and that rare moment when an artist dissolves into something larger than themselves — and brings an audience with them. Settle in. Enjoy.

Polifonia futurista entre tenebres. Crítica teatral de l'obra «Nauta», de David Costa i Franc Aleu. Intèrprets Cor de Teatre: Sara Costa, Martina Majó, Ànnia Pons (sopranos),: Sara Gómez i Natàlia Menció (mezzosopranos), Mariona Callís i Nuri Hernàndez (contralts), Jordi Forcadell, Nasi Marco i Martí Serrallonga (tenors), Gerard Capdevila i Aleix Fernàndez (barítons), Lluís Gratacós i Joan Rigat (baixos). Música: Monteverdi, Purcell, Rameau, Händel, Scarlatti, Haydn, Mozart, Grieg, Mahler i Leontòvitx. Composició de l’espai sonor i arranjaments: Dani López. Videocreacions i espai escènic: Franc Aleu. Moviment escènic i coreografies: Leo Castro. Programació i disseny tècnic: Marc Aleu. Il·luminació: August Viladomat, ‘Gutty’. So: Joan-Carles Ros, ‘Rosky’, Abdon Compta i Panxii Badii. Vestuari: TXU Studio – Joana Poulastrou i Chu Uroz. Producció tècnica: Llorenç Gómez. Producció: Somfònics, El Canal – Centre de Creació d’Arts Escèniques de Salt / Girona i Temporada Alta. Direcció musical: David Costa. Direcció: David Costa i Franc Aleu. Companyia Cor de Teatre, El Canal - Centre de Creació d'Arts Esceniques, Salt (Gironès), 8 novembre 2025. Teatre Condal, Barcelona, 14 al 16 de novembre 2025. Veu: Andreu Sotorra. Música: Schedryk. Interpretació: AlissaLytvak, Choeur Music Chain for Ukraine. Composició: Mykola Léontoytch. Àlbum: Shchedryk, 2016.

Operaregisseur Pierre Audi, geboren in Beiroet (Libanon) en internationaal bekend, was een belangrijke man in het Nederlandse muziekleven. Hij was artistiek leider en directeur van de Nederlandse Opera (nu de Nationale Opera) en artistiek directeur van het Holland Festival. Hij vestigde hier zijn naam met zijn regie van de Monteverdi-cyclus, de Mozart-cyclus en vooral Wagner''s Der Ring des Nibelungen. Journalist Botte Jellema praat met opera- en muziektheaterregisseur Lisenka Heijboer Castañón, vanaf 2017 Audi's assistent en vriend van de familie. Ook komen aan het woord Mischa Spel, chef cultuur NRC die sinds 1998 alles van Audi heeft gezien en Klaus Bertisch, voormalig dramaturg bij de Nederlandse Opera,  die veel met hem heeft samengewerkt. ‘Hij kreeg voor elkaar waar anderen niet eens van durfden te dromen,' schreef de Groene na Audi's plotselinge dood. 

Today's potpourri episode is a special one for anyone who has ever studied voice in a college, university or conservatory. One of the primary sources of repertoire for instructors of singing has been a book first published by G. Schirmer in 1894 entitled Twenty-Four Italian Songs and Arias, consisting primarily of arie antiche, i.e. songs from the Italian baroque (Caldara, Monteverdi, Scarlatti, Durante, and others), heavily edited, and often virtually rewritten, by musicologist Theodore Baker. Many of the works were also falsely attributed to composers (Pergolesi, Stradella, and Marcello in particular) who had nothing to do with the pieces in question. In spite of those editorial issues, these songs have figured prominently ever since in the early repertoire of most young singers. They have also been a staple of the concert platform for as long (and, truth be told, even longer), and remain so to this day. Today's episode focuses on this repertoire as recorded by some of the greatest singers of the twentieth century. Some of these artists are Countermelody favorites (Claudia Muzio, Elly Ameling, Igor Gorin, Roberta Alexander, Irina Arkhipova, Gérard Souzay) but many others have, in spite of their stature, received relatively little exposure on the podcast (Luciano Pavarotti, Suzanne Danco, Roland Hayes, Georges Thill, Montserrat Caballé, John McCormack, Dmitri Hvorostovsky, Nigel Rogers, and Beniamino Gigli, among many others presented in the episode). And let us not forget to raise a glass to Joan Sutherland, whose 99th birthday is observed today, and whose voice is the last one heard on the episode, in a rare 1960 radio recording, stunningly vocalized, that might surprise you. 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 author 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.  

The great French soprano Rachel Yakar died on 24 June 2023 at the age of 87. As she frequently performed opposite our last subject, Swiss tenor Eric Tappy, this episode makes a suitable pendant to that one. Celebrated for her transcendent performances of Baroque music, (Monteverdi and the French Baroque in particular), Yakar was (like previous podcast subjects Eugene Holmes, Oralia Domínguez, Hana Janků, Gwendolyn Killebrew, and Teresa Żylis-Gara) also a member of ensemble of the Deutsche Oper am Rhein in Düsseldorf and Duisburg, with which company she performed for more than 25 years, singing a dizzying range of repertoire, everything from Mélisande to Arabella, Liù to Rusalka, Euridice to Desdemona. She also performed Donna Elvira and the Marschallin at Glyndebourne; and was an unforgettable Poppea in the Ponnelle-Harnoncourt Monteverdi cycle filmed for Unitel. In her prime she was also a frequent visitor to the recording studio, singing everything from Rameau to Varèse, Mozart to Messiaen, with conductors from Harnoncourt to Boulez, Leonhardt to Nagano. She was also a devoted song recitalist and in the later years of her career, she made two recordings of melodies for Virgin Records with the admirable support of her long-term accompanist Claude Lavoix. For the majority of this episode, I have chosen excerpts from both of those recordings, featuring the songs of Fauré and Hahn, which include settings of poets central to their output, including Paul Verlaine, Armand Silvestre, Léconte de Lisle, and Théodore de Banville, supplementing it with additional material in French by Ravel, Lekeu, Clérambault, Messiaen, and Poulenc. Yakar, who, like Régine Crespin and Nadine Denize, studied under the French dramatic soprano Germaine Lubin, was renowned for her faultless technique, her acting prowess, her peerless French diction, and her communicative artistic sensibility, traits of which are all in evidence in all of her recordings from the 1960s through the end of her career in the mid-1990s. Yakar was especially treasured by her colleagues, friends, and students for the warmth and effervescence of her personality, and her devotion to passing on her knowledge and experience to a younger generation of singers. May you delight in the delicacy, humor, precision, and pathos of one of the most prodigiously gifted and versatile vocal artists of her generation. 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 author 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.

Swiss tenor Eric Tappy (19 May 1931 – 11 June 2024) excelled in so many different musical styles, eras, and genres, that when one considers his artistic achievement systematically, as a whole, one is positively stunned at all that he achieved, and that within a relatively short international career that extended barely 20 years. In addition, at the beginning of his career, his voice was that of a light lyric tenor, but gradually he came to sing heavier roles such as Idomeneo and Tito. The episode considers his biography and the trajectory of that career, touching upon his opera and concert work which ranged from early Baroque through contemporary. For the first ten years of his adult life, he worked as a teacher, gradually gaining enough exposure that he was able to fully devote himself to his singing career after he won several international singing competitions. Tappy is heard in the episode in concert work of Bach, Berlioz, Haydn, and contemporary Dutch composer Rudolf Escher; art songs by both Franz Schubert and Lili Boulanger; and operas by Monteverdi, Gounod, Mozart, and Debussy (his Pelléas was as legendary as his Monteverdi and Mozart impersonations). In addition, Tappy is heard in live and radio recordings of work by his fellow Swiss compatriots Arthur Honegger, Frank Martin, Constantin Régamey, and Hermann Suter. Guest singers include Countermelody favorites Ileana Cotrubaș, Rachel Yakar, Hugues Cuénod, Edda Moser, and Gino Quilico; musical collaborators include Ernest Ansermet, Michel Corboz, Nino Sanzogno, John Pritchard, Armin Jordan, Hans Münch (brother of Charles), Colin Davis, Hans Vonk, and Jean Françaix, among others. Prepare to be surprised and delighted by this great singer, who ended his active singing career at the age of only 50 but who continued as a formative and beloved teacher well into his old age. 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 author 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.

durée : 01:28:38 - En pistes ! du jeudi 30 octobre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Il n'y a pas que les "Pins de Rome" dans l'œuvre de Respighi ! Découvrez ce matin une des rares partitions religieuses du maître italien autour de la nativité. Il ne sera pas le seul compositeur de son pays au programme, avec des œuvres de Monteverdi et de Puccini. - réalisé par : Doria Zénine Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:38 - En pistes ! du jeudi 30 octobre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Il n'y a pas que les "Pins de Rome" dans l'œuvre de Respighi ! Découvrez ce matin une des rares partitions religieuses du maître italien autour de la nativité. Il ne sera pas le seul compositeur de son pays au programme, avec des œuvres de Monteverdi et de Puccini. - réalisé par : Doria Zénine Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Departing from episode 148, Renaissance Music Pt.2 (Late), we now arrive at the Early Baroque period! Up for discussion will be some pioneer composers of this period such as Gabrieli, Monteverdi, Frescobaldi and Strozzi! We will also talk about the dawn of opera, the aria and the recitative. We will see how the rise in use of instrumental music also carried with it fugues, dance suites and a new appreciation for virtuosic performance!

durée : 00:12:31 - Le Disque classique du jour du mercredi 22 octobre 2025 - Enregistré au milieu d'une tournée européenne en décembre 2024, ce disque marque les débuts du Monteverdi Choir et des English Baroque Soloists sous la direction du célèbre chef d'orchestre français Christophe Rousset. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:12:31 - Le Disque classique du jour du mercredi 22 octobre 2025 - Enregistré au milieu d'une tournée européenne en décembre 2024, ce disque marque les débuts du Monteverdi Choir et des English Baroque Soloists sous la direction du célèbre chef d'orchestre français Christophe Rousset. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Le philosophe stoïcien et sa femme se sont suicidés ensemble sur ordre de Néron, symbolisant la vertu morale face à la tyrannie. Un moment historique qui a inspiré Monteverdi dans Le Couronnement de Poppée. Qu'y a-t-il de vrai derrière la légende ? Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Listen as host Sebastian Calmes, Wellness Specialist, and Dr. Beth Arnold, Associate Dean and Professor of Music Performance and Voice, explore the deep relationship between our emotional well-being and the arts. Dr. Beth Arnold and her colleague, Dieter Yeomans, also perform Monteverdi's Laudate Dominum from Selva morale e spirituale (SV 287).

durée : 00:19:29 - Disques de légende du vendredi 17 octobre 2025 - Considéré comme l'un des premiers opéras de l'histoire, "L'Orfeo" de Monteverdi est créé en 1607 à Mantoue. Près de quatre siècles plus tard, en 1987, John Eliot Gardiner reprend cette œuvre dans un mouvement global de renouveau baroque, avec le ténor Anthony Rolfe Johnson dans le rôle-titre. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Send us a textFirst I have a confession to make. I plan to do an episode regarding a musician every day, but my right hand started hurting and I mean excruciating painful. I worried about what to do, and realized if I continue to overdo it on an already injured hand/ I would have serious problems. I thought about giving up this podcast altogether but eventually decided to take a day by day approach. It seems to be getting much better than it was yesterday, so if I notice improvement I will certainly do a podcast/. I have already written the Scripps with voice control on the Macintosh, so I didn't really need to use my hands that much in what I consider the hardest part of doing a podcast, but there's no way that you can really use Voice control with an audio program.  So I'll just take it one day at a time, and I'm asking you to bear with me.Second,When I recorded my episode on Monteverdi, something unexpected happened. I'd worried I might not have enough to say, but as I began speaking in his rhythm — my approximation of his  lilting Italian cadence — the words seemed to sing themselves. I found myself moving my hand in slow circles as I spoke, and somehow the motion gave the voice its own kind of melody. The pauses stretched naturally, almost like rests in a score. What I thought would be a short reflection became nearly forty minutes, not because of the facts or analysis, but because Monteverdi's spirit reshaped the way I spoke.That experience stayed with me. It reminded me that a voice can be musical, even when it isn't singing — that the phrasing, the breath, the stillness between words are as expressive as the words themselves. And that's the insight I've carried with me into Purcell — another composer who understood that silence, rhythm, and human feeling are inseparable.”Today, we move forward in time — from Venice to London — to meet another spirit who carried that torch into a new century. Henry Purcell took the lessons of Monteverdi and shaped them into something deeply English yet profoundly human: the marriage of reverence and drama, sacred and stage.If Monteverdi taught us how to breathe through music, Purcell teaches us how to speak through it — to find the eternal note that echoes across time.Support the showThank you for experiencing Celebrate Creativity.

German-British soprano Ilse Wolf (07 June 1921 – 06 September 1999) was another fine lyric soprano active primarily in Britain from the 1950s through the early 1980s. One of the reasons she is remembered today is because she recommended a very young Janet Baker to her own teacher, Helene Isepp, which began a long association between the two which lasted until Isepp's death in 1968. But Wolf was a fine singer in her own right and was a particularly cogent and expressive singer of Lieder as well as Baroque music. My listeners may remember that during Holy Week this year I played a live recording of Wolf singing the Johannes-Passion under the baton of Pablo Casals. I knew of Wolf because she is the soprano on a delightful 1967 recording of Monteverdi madrigals led by Raymond Leppard. In 1969 she also made a delightful recording of Lieder, her one solo disc, with Martin Isepp, Helene Isepp's son and also an early collaborator of Janet Baker's. I decided to scour the interwebs to see what other Ilse Wolf material I could come up with to feature her in her own episode. The answer, beyond these few examples, is: not much, but there were a few additional choice items, and in listening and relistening to the Lieder recording in particular, I discovered that Ilse Wolf was a very fine interpreter, indeed. Her life story is also a compelling one, and I'm privileged to share it (and her delectable singing) with my beloved listeners. 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 author 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.  

Talk Art Live in Berlin. Season 26 of Talk Art begins!!!!This episode is a special Paid Partnership collaboration with Berlin Art Week, who flew Russell & Robert to Berlin. Recorded live, in front of an audience, outside the Neue Nationalgalerie in September 2025. Special guests Peaches @peachesnisker (musician, producer, director, performance artist) and Klaus Biesenbach @klausbiesenbach (Director, Neue Nationalgalerie) join the conversation about art, music, and the Berlin art scene.An iconic feminist musician, producer, director, and performance artist, Peaches has spent nearly two decades pushing boundaries and wielding immeasurable influence over mainstream pop culture from outside of its confines, carving a bold, sexually progressive path in her own image that's opened the door for countless others to follow. She's collaborated with everyone from Iggy Pop and Daft Punk to Kim Gordon and Major Lazer, had her music featured cultural watermarks like Lost In Translation, The Handmaid's Tale, and Broad City among others, and seen her work studied at universities around the world.Dubbed a “genuine heroine” by the New York Times, Peaches has released five critically acclaimed studio albums blending electronic music, hip-hop, and punk rock while tackling gender politics, sexual identity, ageism, and the patriarchy. Uncut has raved that her work brought together "high art, low humour and deluxe filth [in] a hugely seductive combination,” while Rolling Stone called her “surreally funny [and] nasty.”An equally prolific visual artist, Peaches has directed over twenty of her own videos, designed one of the most raw and creative stage shows in popular music, and has appeared at modern art's most prestigious gatherings, from Art Basel Miami to the Venice Biennale. On top of it all, she mounted a one-woman production of 'Jesus Christ Superstar'—redubbed ‘Peaches Christ Superstar'—which earned international raves, composed and performed the electro-rock opera 'Peaches Does Herself,' which premiered at the Toronto International Film Festival, and sang the title role in a production of Monteverdi's epic 17th-century opera 'L'Orfeo' in Berlin. Visit: https://www.teachesofpeaches.com/Klaus Biesenbach began his career in Berlin 30 years ago aged 25, when he was one of a group that set up the KW Institute for Contemporary Art in a former margarine factory. In 2004, he became a curator at the Museum of Modern Art in New York, where he rose to the position of chief curator and founded a new department for media and performance art. In 2010, he became director of MoMA PS1, the museum's outpost in Queen's. At MOCA in Los Angeles, he introduced free admission, expanded the collection and navigated the museum through the pandemic. Hosted on Acast. See acast.com/privacy for more information.

Autumn season! Robert and I Fagiolini are busy in Scotland with Purcell, Monteverdi and their first 40th anniversary outing. How do you put together three shows at the same time? Contributors: Nicholas Mulroy, Martha McLorinan, Julia Doyle/Donk and plenty more.Support this show http://supporter.acast.com/choral-chihuahua. Hosted on Acast. See acast.com/privacy for more information.

I'm on holiday this week, but it would be most unGundlachian of me not to provide an episode to sustain my listeners in my absence. I recently purchased a mammoth 13-LP set on the Concert Hall Society label. The release promises a variety of excerpts that illustrate the history of opera from Monteverdi through Puccini. As such it makes use of a number of complete operatic recordings made for the now-nearly-forgotten label, as well as some impressive individual performances recorded in the early 1960s. One of the attractions of this release to me is that it presents rare recordings by three of the supreme African American divas of that era: Mattiwilda Dobbs, Reri Grist, and Felicia Weathers, the latter two at the very beginning of their international careers in the early 1960s, when they were both fest at the Zürich Opera (where, my astute listeners will remember, contralto Carol Smith) was also ensconced. None of these recordings has received wide distribution (in fact, to my knowledge the majority of them were never re-released in any form). So it is my particularly pleasure to present to you each of these three estimable artists in peak form on recordings that I (at least) had never before encountered: Dobbs as Zerlina in Don Giovanni and Olympia and Antonia in Tales of Hoffmann; Grist as Norina in Don Pasquale; and Weathers as Dido, Manon (by Massenet, not Puccini!), and Butterfly! A number of interesting male singers are nearby to provide assistance in duets: the Swiss tenor Fritz Peters, the American Glade Peterson (both of whom were also fest in Zürich at that time), the legendary French-Canadian Léopold Simoneau and Italian dramatic baritone Scipio Colombo. Far be it from me to throw together an episode that was not as fascinating as some of my more deeply-researched efforts! I'm also celebrating this week 100,000 downloads of the podcast. I've often referred to Countermelody as “the Little Podcast that Could,” so this milestone is particularly gratifying to me. Finally, this episode also serves as a belated birthday tribute to Felicia Weathers, who just last week turned 88 years old. 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 author 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.

durée : 01:28:06 - En pistes ! du mardi 03 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On découvrira le quintette de Florence Price et une étonnante suite pour clavecin de Fernande Decruck. On voyagera aussi du côté du baroque avec Monteverdi et Lully, et de la musique contemporaine avec un Requiem du compositeur allemand Sven Helbig...

durée : 01:28:06 - En pistes ! du mardi 03 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On découvrira le quintette de Florence Price et une étonnante suite pour clavecin de Fernande Decruck. On voyagera aussi du côté du baroque avec Monteverdi et Lully, et de la musique contemporaine avec un Requiem du compositeur allemand Sven Helbig...

durée : 01:28:21 - En pistes ! du mercredi 28 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le dernier disque des Arts Florissants nous propose une balade chantée dans de grandes pages de Monteverdi, Haendel et Vivaldi. La musique du XXe siècle occupe aussi une place de choix dans notre émission avec le double concerto de Britten et des mélodies de Komitas.

This is the second part of an episode begun last week featuring the cream of the crop of today's young artists. As with the performers heard last week, they represent the finest opera and classical singers working today; it is my distinct pleasure (and honor) to present them to you. They include sopranos Francesca Pia Vitale and Ewa Płonka; mezzo-soprano Beth Taylor; countertenors John Holiday, Key'mon Murrah, and Reginald Mobley (pictured); tenors Laurence Kilsby and Zachary Wilder; baritones Artur Ruciński and Theo Hoffman; and bass-baritones Philippe Sly, Joseph Parrish, and Georg Zeppenfeld in repertoire ranging from Monteverdi and Vivaldi to Rebecca Clarke, Hall Johnson, and Paul McCartney. It has been my pleasure to hear many of these singers live and I look forward to hearing them all again in person (and as soon as possible!) 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.

Sarah Hart investigates the mathematical structures underlying musical compositions and literature. Using examples from Monteverdi to Lewis Carroll, Sarah explains to Steve how math affects how we hear music and understand stories.    SOURCE:Sarah Hart, professor emerita of mathematics at the University of London. RESOURCES:Once Upon a Prime: The Wondrous Connections Between Mathematics and Literature, by Sarah Hart (2023)."Ahab's Arithmetic: The Mathematics of Moby-Dick," by Sarah B. Hart (Journal of Humanistic Mathematics, 2021)."Online Lecture: The Mathematics of Musical Composition," by Sarah Hart (Gresham College, 2020).Black Mirror: Bandersnatch, film (2018).The Luminaries: A Novel, by Eleanor Catton (2013).Not Quite What I Was Planning: Six-Word Memoirs by Writers Famous and Obscure, edited by Rachel Fershleiser and Larry Smith (2008).Les Revenentes, by Georges Perec (1972).A Void, by Georges Perec (1969).Cent Mille Milliards de Poèmes, by Raymond Queneau (1961).Through the Looking-Glass, and What Alice Found There, by Lewis Carroll (1871).Alice's Adventures in Wonderland, by Lewis Carroll (1865).OuLiPo. EXTRAS:"The Joy of Math With Sarah Hart," by People I (Mostly) Admire (2023)."Mathematician Sarah Hart on Why Numbers are Music to Our Ears," by People I (Mostly) Admire (2021).