Podcasts about Mostly Mozart Festival

Louis Langree is a celebrated French Conductor. He's been the Musical DIrector of the Orchestre de Picardie, the Opera National de Lyon, the Orchestre Philharmonique de Liege, the Camerata Salzburg and the Theatre National de L'Opera-Comique. In the U.S. he's been the Conductor of the Mostly Mozart Festival and the Cincinnati Symphony. And he was made a Knight of the French Order of Arts and Letters.My featured song is “This Time” from the album Bobby M and the Paisley Parade. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------ROBERT'S RECENT SINGLES:“ROUGH RIDER” is Robert's latest single. It's got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview John Sebastian Vera and Nick Schwartz, trombonists and podcast hosts of The Trombone Retreat.  After you listen to this episode, head on over to The Trombone Retreat feed for the second half of this episode.  You can come see us at Booth #271 at the TMEA Convention, February 8th thru 10th, 2024 in San Antonio Texas.   About John Sebastian Vera John Sebastian Vera, a native of Texas, became the principal trombonist of the Pittsburgh Opera in 2010 and also joined the River City Brass as principal Trombone in 2015. He is also professor of trombone at Duquesne University and faculty member at the Cleveland Institute of Music where he teaches a course on Music Entrepreneurship and Digital Media as well as coach chamber music. In addition to the Pittsburgh Opera, Mr. Vera has played with the symphonies of Dallas, Detroit, Pittsburgh, Cleveland, the St. Paul Chamber Orchestra, Buffalo, Kennedy Center Opera House, Malaysian Philharmonic, New York City Ballet, Vermont, Harrisburg, Charleston, American Ballet Theatre, and Orquesta Sinaloa de las Artes in Mexico amongst others.  He began his studies with Jon Bohls in Texas and continued his education at Southern Methodist University where he studied with John Kitzman of the Dallas Symphony. He then spent a year studying with Ed Zadrozny as a graduate assistant at the University of Akron, and finished his graduate work in New York City at the Mannes College of Music studying with David Finlayson and James Markey of the New York Philharmonic.     In 2011, he spent the summer in Haiti volunteer teaching and performing in the Orchestre Philharmonique Sainte Trinite as well as the Ecole de Musique Dessaix Baptiste which became one of the more profound experiences of his life.   A dedicated chamber musician, he also was a founding member of the critically acclaimed Guidonian Hand Trombone Quartet in which he played from 2008-2014. With the quartet, John performed over 100 concerts and gave master classes all over the country. Heralded by the New York Times for their "expertly played performances" they have been recipients of numerous national grants which have enabled them to commission countless composers to create new and innovative works for four trombones.  In 2014 was the premiere of River of Fundament, a movie by film artist Matthew Barney, in which John recorded for and acted in along with the quartet.  Mr. Vera can also be heard on the HBO documentary The Words that Built America as well as on euphonium in the PBS documentary Abraham and Mary Lincoln, A House Divided as well as many commercial and video game soundtracks as well as James Markey's solo release, “On Base”. John is an Artist for Edwards Instruments and resides in Pittsburgh.  His favorite musicians include Sigur Ros, Radiohead, the Books, and Efterklang. When he can get away from the trombone he most enjoys basketball, traveling and reading about psychology and social science.  Check out his podcast he hosts with Nick Schwartz called the Trombone Retreat available everywhere you download your podcasts. Follow him on Instagram @js.vera.   About Nicholas Schwartz Nicholas Schwartz has a diverse career performing across North America, Europe, and Asia. After studying at The Juilliard School with then New York Philharmonic bass trombonist Don Harwood, he moved to San Francisco where he began freelancing throughout the Bay Area.  Since 2010, he has been the principal bass trombonist of the New York City Ballet Orchestra. He has also performed with the Pittsburgh Symphony, the New York Philharmonic, The Metropolitan Opera, The Philadelphia Orchestra, San Francisco Symphony, San Francisco Ballet, Orpheus Chamber Orchestra, St. Lukes Chamber Orchestra, the New York City Opera,  Atlanta Symphony, Minnesota Orchestra, The Malaysia Philharmonic, Mostly Mozart Festival, and Classical Tahoe.  Follow him on instagram @basstrombone444   About Third Coast Retreat The Third Coast Trombone Retreat is an 7-day trombone immersion welcoming talented college, high school, and amateur trombonists from across the country to the beautiful shores of Lake Michigan.   The Retreat takes place in the charming small town of Montague, MI. Truly an escape from the distractions of everyday life, the festival is nestled in a dense forest along the coast where happening across roaming deer is a common occurrence. The Retreat utilizes facilities all over the town from churches to coffee houses to historic barns to the beach.  We will perform not only for ourselves, but for the community. A fulfilling life of being a musician does not simply begin and end with winning an orchestral or teaching position. Mastering the instrument is only the first step.  Being an artist in the 21st century requires discovering one's unique voice and finding new ways to present the art-form to communicate and contribute to society.   Core to the retreat will be guest artist and faculty recitals, topical master classes including personal finance, performance anxiety and wellness as well as private lessons, orchestral section seminar, ensemble coachings, a trombone choir, a mock orchestral audition, and much more. In addition to the performance elements, the curriculum is expanded to include a talks about career-building, faculty bonfire Q&A, discussions on the mental approach to auditions and performances, wellness, meditation, and more.    

Interview with Louis Langrée, Music Director of the Cincinnati Symphony Orchestra, Mostly Mozart Festival at Lincoln Center, and Director of the Opéra Comique in Paris, France. "Music is not a job... music is a way of expression." - Langree Episode available everywhere you listen to podcasts! instagram - @detoursinmusicpodcast Facebook - Detours in Music Podcast YouTube - Detours in Music Podcast website - www.detoursinmusicpodcast.com email - detoursinmusicpodcast@gmail.com Podcast artwork - Ana Hart Podcast music - Jack Yagerline --- Support this podcast: https://podcasters.spotify.com/pod/show/detoursinmusic/support

Interview with Ilya Finkelshteyn, Principal Cellist of the Cincinnati Symphony Orchestra, Principal Cellist of the Mostly Mozart Festival, Adjunct Professor of Cello at the University of Cincinnati College- Conservatory of Music, chamber musician and much more! "An orchestra audition is not a marathon, it's a sprint." - Finkelshteyn "If you do very well that's great. But if you don't, that doesn't mean you're terrible. You're no better after winning an audition than you were the day before winning the audition." - Finkelshteyn Episode available everywhere you listen to podcasts! instagram - @detoursinmusicpodcast Facebook - Detours in Music Podcast YouTube - Detours in Music Podcast website - www.detoursinmusicpodcast.com email - detoursinmusicpodcast@gmail.com Podcast artwork - Ana Hart Podcast music - Jack Yagerline --- Support this podcast: https://podcasters.spotify.com/pod/show/detoursinmusic/support

Amy Kaiser, Director of the St. Louis Symphony Chorus, stopped by to talk to Nancy about her 50 year plus long career, as well as the The Arts and Education Council lifetime achievement award that she recently received.  Also discussed is her radio show, Musical Moments on Classic 107.3 fm. Amy Kaiser Director of the St. Louis Symphony Chorus since 1995, Amy Kaiser is one of the country's leading choral directors. She has conducted the St. Louis Symphony Orchestra in Handel's Messiah, Schubert's Mass in E-flat, Vivaldi's Gloria, and sacred works by Haydn and Mozart, as well as Young People's Concerts. Guest conductor for the Berkshire Choral Festival in Massachusetts, Santa Fe and at Canterbury Cathedral and Music Director of the Dessoff Choirs in New York for 12 seasons, she led many performances of major works at Lincoln Center. Other conducting engagements include Chicago's Grant Park Music Festival, Peter Schickele's PDQ Bach with the New Jersey Symphony, and more than 50 performances with the Metropolitan Opera Guild. Principal Conductor of the New York Chamber Symphony's School Concert Series for seven seasons, Kaiser also led Jewish Opera at the Y, and many programs for the 92nd Street Y's acclaimed Schubertiade. She has prepared choruses for the New York Philharmonic, Ravinia Festival, Mostly Mozart Festival, and Opera Orchestra of New York. Kaiser is a regular pre-concert speaker for the SLSO and presents popular classes for the Symphony Lecture Series and Opera Theatre of St. Louis. A former faculty member at Manhattan School of Music and The Mannes College of Music, she was a Fulbright Fellow at Oxford University and holds a degree in musicology from Columbia University. A graduate of Smith College, she was awarded the Smith College Medal for outstanding professional achievement.   Podcast Curator and Editor: Jon Valley with Technical Support by Mid Coast Media  

Play: Straight Out of the ClosetSynopsis: None, so that the twist isn't revealed. Playwright Long Bio: Trish Ayers is an award winning playwright with play readings and productions across the United States and Japan including at Live Girls!, Hedgerow Theatre, Iowa State University, Berea College, and Manhattan Theatre Source. She is resident playwright for Mountain Spirit Puppets and has received three Kentucky Foundation for Women (KFW) grants and was honored to be the recipient of the 2011 Sallie Bingham Award from KFW. She was the founder of Kentucky Women Playwrights Seminar, a ten-year playwriting project.Tim: You may have seen Timothy on tour, in NYC, or perhaps more recently in the comfort of your own home via zoom.Actor Long Bio: Brandy Chapman is an actress and singer from Kentucky, having performed in the United States, Ireland, and Italy. Her experience draws from the teachings of Chekov and Stanislavski, as well as her own independent devising of pieces and projects throughout the past ten years. With an MFA from the National University of Ireland in Galway, she has appeared in several Irish television shows including An Klondike and Jack Taylor (both available on Netflix). Recent stage performances include Harvey and South Pacific. Jacqueline Youm is a Senegalese American actor, lawyer, and French|English|Spanish teacher. She also coaches mediation and negotiation. She thanks her family & friends for continuously listening to her acting wails and tears. Since the pandemic has started, she has produced, directed, and acted in a myriad of plays and monologues, which you can watch on YouTube. Marina Rebecca Chan is a Brooklyn-based performer, playwright (Dramatists Guild member) and producer. A graduate of Columbia University with a Drama & Theatre Arts major and playwriting concentration, Marina went on to conceive and produce the Asian Americans in Theatre: Art and Activism panel discussion series at Asia Society and Barnard College, involving theater scholars and professionals—including Tony Award winners David Henry Hwang and Bartlett Sher—examining issues of diversity, equity and inclusion. Post-series, Marina refocused on her training in singing (she’s a recipient of Columbia’s Dolan Prize for Voice), dance (professional credits include Il Re Pastore in the Mostly Mozart Festival at Lincoln Center, and the Family Matters Series at Dance Theater Workshop) and acting. Marina also completed a rigorous rewrite of her play Elizabeth’s Wonderland, two readings of which (one staged and one on Zoom) she has produced, cast, directed and starred in. Recently, her Covid play Tomorrow, And Tomorrow, And Tomorrow was Zoom produced by Little & Fierce Theatre Company. marinachan.com

Our guest is the renowned orchestral conductor Gerard Schwarz, who will lead the Tulsa Symphony Orchestra in a special broadcast-only concert to be aiared on our sister station, Classical 88.7 KWTU-FM, on Saturday the 27th at 8pm -- with a rebroadcast happening on Sunday the 28th at 4pm. (In both cases, the over-the-air concert can be live-streamed online at publicradiotulsa.org .) Schwarz has had a pioneering, quite remarkable career in music, which he tells us about. Now serving as the Artistic and Music Director of the Palm Beach Symphony as well as the Music Director of the Frost Symphony Orchestra at the University of Miami, Schwarz was previously the Music Director of the Los Angeles Chamber Orchestra (1978 to 1986), the Music Director of New York's Mostly Mozart Festival (1982 to 2001), and moreover the Music Director of the Seattle Symphony (1985 to 2011). The concert he'll soon be conducting with the Tulsa Symphony will include works by Richard Wagner, Max Bruch, and Johannes

Synopsis:A new teacher at Happy Hill Pre-K discovers philosophical differences with an experienced associate: Should the children be taught World Peace or “The Farmer In The Dell?” The dispute escalates, ending as the two discover sisterhood in their common rejection of the minimum-wage child-care jobs.Carrie Wesolowski (Director/Erica) Born and raised in NYC, Carrie is a NYC-based Actor, Director, Host, and Singer who has appeared in international news programs, film, television and Off Broadway/theatre productions. Carrie is a graduate of the Gushee/Anania Studio where she studied with Phil Gushee and Joe Anania. Carrie hosted “Movie Talk Show” from 2014-2018 and served as its Associate Producer, interviewing indie film actors, writers, and directors and giving them a platform for their work. Carrie’s recent credits include directing and playing Destiny in Coni Koepfinger’s SIMON SAYS which was 1 of 11 finalists in Playbill’s VTF Live and was most recently streaming worldwide as part of Manhattan Rep’s STORIES Film Festival. Carrie's most recent project was playing Mandy in Dermalogic as part of Theater for the New City's "On the Air'' series which can still be seen on Theater for the New City's YouTube Channel: https://www.youtube.com/watch?v=J0WP3ZVOAaY&t=355s It's always such a joy for Carrie co-hosting, directing, and acting on AirPlay. Carrie would like to thank the playwright Dean Bevan and the actors who helped bring this to life. Marina Rebecca Chan (Linda) is a Brooklyn-based performer, playwright (Dramatists Guild member) and producer. A graduate of Columbia University with a Drama & Theatre Arts major and playwriting concentration, Marina went on to conceive and produce the Asian Americans in Theatre: Art and Activism panel discussion series at Asia Society and Barnard College, involving theater scholars and professionals—including Tony Award winners David Henry Hwang and Bartlett Sher—examining issues of diversity, equity and inclusion. Post-series, Marina refocused on her training in singing (she’s a recipient of Columbia’s Dolan Prize for Voice), dance (professional credits include Il Re Pastore in the Mostly Mozart Festival at Lincoln Center, and the Family Matters Series at Dance Theater Workshop) and acting. Marina also completed a rigorous rewrite of her play Elizabeth’s Wonderland, two readings of which (one staged and one on Zoom) she has produced, cast, directed and starred in. Currently, she’s in rehearsals for a Zoom staged reading of her play Tomorrow, And Tomorrow, And Tomorrow, set during Covid and produced by the Little & Fierce Theatre Company; you can catch the performance live on YouTube Monday, March 29th at 7 pm. marinachan.comTimothy Regan (Mr Evans) is a graduate of Kean University and worked on several national tours upon graduating. Timothy is a seasoned TV, film, and stage actor and now comes to you via Zoom and other various facetime platforms! https://www.timothy-regan.com/Jacqueline Youm (Mother) is a Senegalese-American actor, lawyer, and French|English|Spanish teacher. She also coaches mediation and negotiation. She thanks her family & friends for continuously listening to her acting screams and tears. Since the pandemic has started, she has produced, directed, and acted in a myriad of plays and monologues, which you can watch here: https://www.youtube.com/watch?v=BMP7Wn5hXuo…Christy Donahue (AirPlay Co-Host) Acting is a lifelong love for Christy, who first stepped onstage at the age of 11. Christy’s acting credits span traditional theater, interactive dinner theater, commercial and film work, and staged readings - in person, online, and via livestream. Favorite credits include Carol Grady in Brooke and Carly, Evy Meara in Neil Simon’s The Gingerbread Lady, Karen in Dinner with Friends, and Annette in God of Carnage.

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

WQXR host Terrance McKnight joins us to discuss the Mostly Mozart Festival on WQXR, which ran August 10 to 16 and is available to stream through September 12.

This week you can join James Bennett in his conversation with Icelandic composer Anna Thorvaldsdottir about her chamber opera UR_ (which was due to have its US premiere at this year's Mostly Mozart Festival at Lincoln Center which has since been cancelled), the role technology played in this collaboration with International Contemporary Ensemble and Nokia Bell Labs in enhancing the musical experience, what it means to be a composer during a pandemic and of course taking inspiration from nature.    James Bennett, HostLuka Vasić, Assistant ProducerRosa Gollan, ProducerLukas Krohn-Grimberghe, Executive Producer    

Maestro Roger Nierenberg made his New York conducting debut at Avery Fisher with the Pro Arte Chorale and Orchestra. He was soon invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center. Thereafter followed long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, the Saint Louis Symphony, the Baltimore Symphony, the Indianapolis Symphony, the San Diego Symphony, and many other great American orchestras. Abroad he has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He has collaborated with many of the most renowned solo artists and composers of our time.  During his tenure with the Jacksonville Symphony, the seeds were planted that would lead Maestro Nierenberg to a startling departure from the conventional, through the unparalleled creation of The Music Paradigm. Through his experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. He quickly realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, which has taken Mr. Nierenberg to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening which was honored in 2009 as the Best Leadership Book from 800-CEO-READ.  Roger Nierenberg makes his home in New York City and has two children, a son who is a professional pilot and a daughter who is studying French horn. Connect with Roger Nierenberg Website: https://www.musicparadigm.com/ Twitter: https://twitter.com/rogernierenberg Facebook: https://www.facebook.com/themusicparadigm LinkedIn: https://www.linkedin.com/in/rogernierenberg/   Connect with Jon Dwoskin: Website: http://jondwoskin.com/ Twitter: @jdwoskin Facebook: https://www.facebook.com/jonathan.dwoskin Instagram: https://www.instagram.com/Thejondwoskinexperience/ LinkedIn: https://www.linkedin.com/in/jondwoskin/ Email: jon@jondwoskin.com  

In this episode, international soloist Stefan Jackiw talks to us about his journey overcoming a serious injury.  He tells us how he got injured, the steps he took to heal, the mental impact it had on him, and how he stays injury free. He also elaborates on: What his musicology studies brought to his playing What collaborating with other musicians mean to him Establishing strong fundamentals on the instrument How he maximizes his practice time His injury story: How it happened Facing the stigma attached to being an injured musician The mental impact it had on him and the new mindsets he developed as a result The reflection he did, the changes he implemented and how he overcame it How he modified his setup and technique as a result How he remains injury free The very important concept of surrendering in practicing How our level of stress and the amount of pressure we tolerate affects our playing How to plan practice     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we're currently discussing The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT STEFAN JACKIW: Website: https://stefanjackiw.com/ YouTube: https://www.youtube.com/results?search_query=stefan+jackiw Instagram: https://www.instagram.com/stefanjackiwviolin/ Facebook: https://www.facebook.com/StefanJackiw/   Stefan Jackiw is one of America's foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold's Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin.  Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more. Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev's Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra play-directing Mendelssohn. He also gave the world premiere of American composer David Fulmer's Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston's Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields. Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York's Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam's Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. At the opening night of Carnegie Hall's Zankel Hall in New York, Jackiw was the only young artist invited to perform, playing alongside such artists as Emanuel Ax, Renée Fleming, Evgeny Kissin, and James Levine. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

TBJ122: Shelagh Abate on playing horn on Broadway, meeting Sting and the importance of networking. She gives us a great overview of life in a Broadway pit and what it takes to get (and stay) there. From her bio: SHELAGH ABATE is unquestionably one of New York’s most sought-after musicians. Shelagh’s love for the horn is almost as old as her love for music itself. Known for her simultaneously warm and assertive sound, her versatility and musical intuition has earned her a place in the lexicon of NYC’s busiest performers. Shelagh has opened more than one dozen Broadway productions. Among them are Mary Poppins, A Gentleman’s Guide to Love and Murder, South Pacific, Honeymoon in Vegas, Evita, Fiddler on the Roof, Anastasia, and most currently Disney’s Frozen. Since arriving in New York in 2006, she has performed regularly with The Metropolitan Opera Orchestra, The Mostly Mozart Festival, The American Ballet Theater, The American Symphony Orchestra, The Opera Orchestra of New York, is third horn with the Greenwich Symphony Orchestra and has been principal horn of the Vermont Symphony Orchestra under the artistic direction of Jaime Laredo since 1999. During the course of her career, she has been conducted by some of the great musicians of our time; Seiji Ozawa, Simon Rattle, Andre Previn, James Conlon, Gunther Schuller, James DePriest, Robert Spano, Carl St. Clair, John Williams, Marin Alsop, Jaime Laredo, Keith Lockhart, and Placido Domingo, to name a few. Shelagh has established fluency in the commercial realm as well as the classical, having performed as part of the Lincoln Center Jazz Orchestra with Wynton Marsalis, Michel Legrand, the ensembles of Earl McDonald, Gary Morgan, Jamie Baum, John Allmark, John Vanore and Greg Hopkins. Shelagh has recorded, performed live in concert, as well as on televised events with Sting, The Who, Tony Bennett, Rufus Wainwright, Lady Gaga, Barry Manilow, Joni Mitchell, Trey Anastasio, Club d’Elf, Josh Groban, Brian Wilson, Linda Ronstadt, and most recently with the 2019 Tony Awards at Radio City Music Hall. Chamber music has been at the very core of Shelagh’s success as a musician. A winner of the Coleman Competition (2000), and a founding member of the award-winning Triton Brass (Fischoff, Lyon & Concert Artist’s Guild, 2005), Shelagh has collaborated with her world-class and longtime colleagues in order to achieve what is only artistically possible through such an intimate medium. Together they have shared their gifts with many thousands of others through live performances, recordings, and through education. Shelagh will be returning as faculty with Triton Brass to the Boston University Tanglewood Institute for their 2019 season. She also served as faculty for more than a decade with the renown Atlantic Brass Quintet International Summer Seminar.  Through these summer programs, Shelagh is proud to have influenced, shaped and enriched the lives of many dozens of tomorrow’s musicians. Shelagh is an Artist in Residence at Boston College, and The Boston Conservatory of Music where she has performed and conducted clinics and masterclasses on a regular basis since 2003. Shelagh’s early musical influences include extensive study with the Boston Symphony Orchestra’s Richard Sebring, Toronto Symphony’s principal horn Neil Deland, and renowned pedagogue and performer Laura Klock. She has been a fellow at the Tanglewood Music Center and with The National Repertory Orchestra. Shelagh holds a B.A. from Boston College, an M.M. from The University of Massachusetts at Amherst where she was a recipient of the Howard W. Lebow Scholarship, and an Artist Diploma from The New England Conservatory of Music, where she was a Walkenier Scholar. Shelagh is proud to be a Stephens Horns artist, playing one of the very first horns handcrafted by Stephen Shires https://www.stephenshorns.com.   In this fun and lively discussion, we cover: In the Lexicon! Fun with pronunciations Amhad Rashad Baseball cards Erasers and jewelry Going to school with Andy Bove Trent Austin's bio writer Playing on Broadway eight times a week Playing Disney's Frozen Name-dropping  How playing on Broadway works Dealing with repetition How the sub pool works and how to get started as a player Dormant subs Networking The impact of social media on networking Jeff Nelsen Be nice Pit orchestra size and the state of the industry Horn job pool on Broadway Horn writing rant Horn: The Cornstarch of the Orchestra Triton Brass Working with Sam Pilafian Playing with famous people from Trey Anastasio to Barry Manilow and Sting Being married to Tony Kadleck Facebrace LINKS: Shelagh's site Triton Brass Vermont Symphony Orchestra Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies! Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

American conductor Roger Nierenberg is the creator of The Music Paradigm which has brought him to the podium of The London Philharmonic, The Residentie Orkest, The New Zealand Symphony, The National Symphony, the symphony orchestras of Pittsburgh, Atlanta, and Baltimore. He has collaborated with musicians from more than one hundred orchestras around the world. Nierenberg enjoyed long tenures as Music Director of both The Jacksonville Symphony (Florida) and the Stamford Symphony (Connecticut). His career began with an auspicious debut at Lincoln Center with the Pro Arte Chorale and subsequent performances at the Mostly Mozart Festival. Numerous guest conducting engagements followed with many of the great American orchestras, including the symphony orchestras of Austin, Baltimore, Charleston, Columbus, Detroit, Indianapolis, Kansas City, New Jersey, San Diego, St. Louis, and Utah, as well as New York's American Symphony Orchestra, Washington D.C.'s National Symphony Orchestra, the Buffalo Philharmonic, and the Chamber Music Society of Lincoln Center. Abroad, he has recorded with the London Philharmonic and has conducted concerts at the Prague Spring Festival with the Czech Radio Orchestra and at the Beijing Festival with the Shanghai Broadcasting Symphony Orchestra. Other performances include engagements with the London Mozart Players, Mexico's National Symphony Orchestra, the Nova Scotia Symphony, and the Tallinn Chamber Orchestra.Nierenberg has conducted operatic performances with the Opera Theatre of St. Louis, the Chautauqua Opera, the American Opera Center at Lincoln Center and opera in concert with the Dallas Opera (with Frederica von Stade) and the Santa Barbara Symphony (with Ms. Von Stade and Thomas Hampson). He has appeared at numerous summer festivals including the Tanglewood Institute, the Grand Teton Music Festival, the Colorado Festival, the National Repertory Orchestra, and the Madeira Bach Festival. The Music Paradigm is a powerful learning experience that uses symphonic music to illuminate compelling insights about people at work. Participants are seated directly amongst the orchestra musicians where they gain fresh understandings about the opportunities and challenges faced by their own organization. Over the past twenty years, Nierenberg has presented to hundreds of different organizations, from civic groups to Fortune 500 companies, in two dozen different countries. Show Highlights I don't have a single mentor, but there are many many people who I've learned from. Both musicians and businesspeople —Roger NierenbergAs a conductor, you get a lot of feedback instantaneously, so you see the impact of your leadership in real time, and you have time to contemplate why did that not work or why did that work? —Roger NierenbergYou want people who believe in themselves and have strong ideas, so you have to view big egos as an asset. The challenge is to get them to buy in and understand the big picture. —Roger Nierenberg It's not about me, it's about them. I'm an agent in helping businesses collaborate. I help people expand their circle of awareness. —Roger NierenbergChallenges are an inevitable part of life. It happens to everyone. When it happens, don't feel like it's the end of the world, this is part of the process of making something good. —Roger NierenbergIt will likely take time to learn lessons from a setback. Allow yourself that time and the space to be curious. —Roger Nierenberg When something goes wrong, the first thing to ask is "what happened?" The second thing is, "What role did I play?" —Roger Nierenberg I look for opportunities to grow and they're abundant. I stay alert for that and that's a good attitude. —Roger NierenbergIf you want to keep mental acuity growing, study a musical instrument. And do it as an adult. —Roger NierenbergFill your life with the right people. Locate the people who are bringing you down and eliminate them if you can. —Roger Nierenberg

Roger Nierenberg made his New York conducting debut at Avery Fisher with the Pro Arte Chorale and Orchestra. He was soon invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center. Thereafter followed long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, and many others. Abroad he has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He is the creator of The Music Paradigm, which has taken him to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening. In this episode we discuss; Finding blind spots in your organization Getting to the point of Zen Mind The importance of Music in schools Creating an accelerated learning environment through music Asking what is a success to you? Adapting to change and diversity Roger’s book Maestro: A Surprising Story About Leading by Listening Creating an attitude of curiosity How to create your own vision Going into imagination and exploring “What if” The lie of the hamster wheel Embracing the places that are not safe The importance of observing The importance of listening Why music is a natural gift and why you shouldn’t set the bar incredibly high Website: http://www.mattbelair.com/ sign up for the email list and most importantly do 1 act of kindness today!

Maestro Roger Nierenberg is an orchestral conductor, leadership consultant, and founder of The Music Paradigm. He made his New York conducting debut at Avery Fisher with the Pro Arte Chorale and Orchestra. He was soon invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center, followed by long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, the Saint Louis Symphony, the Baltimore Symphony, the Indianapolis Symphony, the San Diego Symphony, and many other great American orchestras. Abroad Roger has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He has collaborated with many of the most renowned solo artists and composers of our time. During his tenure with the Jacksonville Symphony, the seeds were planted that would lead Maestro Nierenberg to a startling departure from the conventional, through the unparalleled creation of The Music Paradigm. Through his experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. He quickly realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, which has taken Mr. Nierenberg to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening which was honored in 2009 as the Best Leadership Book from 800-CEO-READ. In today’s conversation, Maestro Roger Nierenberg, guides us on a tour of the Music Paradigm; how he is able to reveal valuable insights to business leaders through music. It’s a different kind of learning that is not only highly effective, but also almost instantaneous, such that participants are able to recognize distinctions in leadership and self-awareness within minutes. He is passionate about helping leaders see the impact they have on people without judgment or being singled out. The music paradigm is truly a revolutionary way to empower leaders and their teams to greatness. Key Takeaways Music converts behavior into results almost instantaneously. So you can try on one behavior and immediately you hear the result. As a leader, if you feel like your job is to fix things when they go wrong or solve problems when they come up, you will never draw out the best in your people. Only a leader that sees what the potential could be and drives the organization towards that success will bring that about. Really deep insights about organizational leadership in a way transcend the ability to ‘talk’ about it. Even ‘real life’ unfolds too slowly, whereas music allows one to experience it almost instantaneously. The more the musicians in the orchestra gain insights about themselves, the better they play. The business leaders get to see it first hand and then relate it to their own organization. It’s not that people in organizations don’t want to change; they can’t visualize it or imagine what that is like. Similarly, often the state that we’re trying to move to, we just can’t imagine it yet. Skepticism is often unconscious – that you could actually create something that you’ve never experienced or visualized before. Business organizations don’t routinely practice the way athletes or musicians do. Leadership is hard to practice and therefore hard to learn as a skill. So leaders are often completely unaware of the effect they’re having on their people. Resources Book: Maestro: A Surprising Story About Leading by Listening Blogs, Videos & Event Calendar: http://www.musicparadigm.com Connect With Roger Nierenberg Website: http://www.musicparadigm.com Linkedin: https://www.linkedin.com/in/rogernierenberg

photo by Alan Kimara Dixon Laurel Jenkins’ choreography emerges from rigorous experimentation and interdisciplinary dialogues in the realms of contemporary dance, opera, music and theater. She engages with the choreographic process as a radical space for reimagining our collective human experience. Her work has been presented by Lincoln Center, Disney Hall, REDCAT, Automata, the Getty Center, Show Box LA, Danspace, Berlin’s Performing Presence Festival, and Tokyo’s Sezane Gallery. She recently choreographed Bernstein’s MASS with the LA Phil and the Mostly Mozart Festival Orchestra. In addition, she has choreographed for LA Contemporary Dance Company, The Wooden Floor, California State University, Long Beach, and the University of Nebraska-Lincoln. Jenkins was a member of the Trisha Brown Dance Company from 2007-2012, and developed original roles in Brown’s final works. Jenkins also danced in New York with Vicky Shick and Sara Rudner. She performed the role of Ismene in Peter Sellars’ staging of Oedipus Rex conducted by Esa-Pekka Salonen. This spring she will perform solos by Merce Cunningham in Los Angeles as a part of the Night of 100 Solos: A Centennial Event. Jenkins is the recipient of a Vermont Arts Council Grant, an Asian Cultural Council Grant, holds a BA from Sarah Lawrence, and an MFA from UCLA. She is currently an Assistant Professor of Dance at Middlebury College in Vermont. The book mentioned in the interview is RIE Manual: Resources for Infant Educarers edited by Magda Gerber, Mothering from your Center: Tapping into your Body's Natural Energy for Pregnancy, Birth, and Parenting by Tami Lynn Kent Nmon Ford, the Celebrant, and dancers in Lincoln Center’s production of Leonard Bernstein’s MASS at the 2018 Mostly Mozart Festival. © Richard Termine. Mostly Mozart Festival Orchestra Music Director Louis Langrée and the orchestra and cast of Lincoln Center’s production of Leonard Bernstein’s MASS. © Richard Termine.

Roger Nierenberg is a longtime conductor of symphony orchestras around the world. A conductor of opera, he conducted at the Mostly Mozart Festival and was the director for many years of the Stamford Symphony and the Jacksonville Symphony. A TEDx speaker, Roger founded The Music Paradigm and teaches leadership training to Fortune 500 companies via an interactive orchestra experience.

Listen now as Roger Nierenberg explains how The Music Paradigm helps you see your organization with fresh eyes!   We are delighted to have with us today Roger Nierenberg, an exceptional conductor and innovator who has taken his musical passion and skills and become a “go-to” inspiration for businesses. Through the metaphor of music, Maestro Nierenberg helps organizations “see, feel and think” about themselves with fresh eyes. Quite amazing. Very anthropological, which as you know, is right up our alley! Wait til you hear—and I mean hear—this pioneering musical genius.  A Unique Learning Experience for Any Type of Organization  What Roger Nierenberg and I discuss in this podcast is the way in which music, and the performance of music, can often be seen as a foreign culture but can also be a powerful metaphor for the organizations in which we work, or work with. As Roger describes his experiences conducting orchestras all over the world, he shares with us how during each performance, the musicians are listening, understanding, sharing, visualizing and changing their performances, not so much in response to him but to each other. Through Roger's descriptions, we too can see our own methods of interacting with others more clearly by watching performers collaborate in a musical experience. It isn’t because they are just talented performers. Rather, they have learned how to work together to bring out each one's skills and create an amazing performance. Might this apply to your organization? The Music Paradigm Through Roger's experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. Again, right up our alley—at SAMC we're all about change. He realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, a highly effective learning experience that uses symphonic music to illuminate compelling insights about people at work. Participants are seated directly among the orchestra musicians, observing them as they perform. Up close, they see fascinating and unexpected organizational dynamics taking place within the group. It soon becomes clear that this is not a demonstration but a powerful forum where observers gain fresh understanding about the opportunities and challenges faced by their own organization. Over the past 20 years, Roger has presented The Music Paradigm to hundreds of different organizations, from civic groups to Fortune 500 companies, in 23 different countries. He explains many of the lessons learned in his book, "Maestro: A Surprising Story About Leading by Listening," which was honored in 2009 as the Best Leadership Book from 800-CEO-READ.  Andy and I are both fans of philharmonic concerts and we find The Music Paradigm to be really quite amazing. It allows you to bring something that often is not well attended (symphony orchestra performances) into your workplace as a magical method for improving your team, your organization, your relationships with clients, and your culture.  Who is Roger Nierenberg?  Maestro Roger Nierenberg made his New York conducting debut at Avery Fisher Hall with the Pro Arte Chorale and Orchestra, and soon thereafter was invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center. Numerous guest conducting engagements followed with many of the great American symphony orchestras, including those of Austin, Baltimore, Charleston, Columbus, Detroit, Indianapolis, Kansas City, New Jersey, San Diego, St. Louis and Utah, as well as New York’s American Symphony Orchestra, Washington D.C.’s National Symphony Orchestra, the Buffalo Philharmonic and the Chamber Music Society of Lincoln Center. Abroad, Roger has recorded with the London Philharmonic and conducted at both the Prague Spring Festival with the Czech Radio Orchestra and the Beijing  Festival with the Shanghai Broadcasting Symphony Orchestra. Other performances include engagements with the London Mozart Players, Mexico’s National Symphony Orchestra, the Nova Scotia Symphony and the Tallinn Chamber Orchestra.  Roger has appeared at numerous summer festivals, including the Tanglewood Institute, the Grand Teton Music Festival, the Colorado Festival, the National Repertory Orchestra and the Madeira Bach Festival. He has also collaborated with many of the most renowned solo artists and composers of our time. Roger makes his home in New York City and has two children, a son who is a professional pilot and a daughter who is studying French horn. You can watch video clips from The Music Paradigm workshops here:  Flutist speaks on micromanaging Tuning In 9 separate workshops including How Good Directions Liberate Leadership, The Consequences of Mixed Messages and Building Community Blogs, a podcast and a video you might enjoy:  Blog: Change Might Be Exactly What Your Organization Needs to Be Successful Blog: Five Ways to Make Your Team Awesome Agents of Change Podcast: Steve Harper: The Ripple Effect  Video: How Can Corporate Anthropology Help Your Business Grow?  Additional resources: The Music Paradigm Roger's book: "Maestro: A Surprising Story About Leading by Listening" My book: "On the Brink: A Fresh Lens to Take Your Business to New Heights" Our website: Simon Associates Management Consultants    Download the 1-page synopsis of my book, "On the Brink: A Fresh Lens to Take Your Business to New Heights" here

Listen now as Roger Nierenberg explains how The Music Paradigm helps you see your organization with fresh eyes!   We are delighted to have with us today Roger Nierenberg, an exceptional conductor and innovator who has taken his musical passion and skills and become a “go-to” inspiration for businesses. Through the metaphor of music, Maestro Nierenberg helps organizations “see, feel and think” about themselves with fresh eyes. Quite amazing. Very anthropological, which as you know, is right up our alley! Wait til you hear—and I mean hear—this pioneering musical genius.   A Unique Learning Experience for Any Type of Organization  What Roger Nierenberg and I discuss in this podcast is the way in which music, and the performance of music, can often be seen as a foreign culture but can also be a powerful metaphor for the organizations in which we work, or work with. As Roger describes his experiences conducting orchestras all over the world, he shares with us how during each performance, the musicians are listening, understanding, sharing, visualizing and changing their performances, not so much in response to him but to each other. Through Roger's descriptions, we too can see our own methods of interacting with others more clearly by watching performers collaborate in a musical experience. It isn’t because they are just talented performers. Rather, they have learned how to work together to bring out each one's skills and create an amazing performance. Might this apply to your organization? The Music Paradigm Through Roger's experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. Again, right up our alley—at SAMC we're all about change. He realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, a highly effective learning experience that uses symphonic music to illuminate compelling insights about people at work. Participants are seated directly among the orchestra musicians, observing them as they perform. Up close, they see fascinating and unexpected organizational dynamics taking place within the group. It soon becomes clear that this is not a demonstration but a powerful forum where observers gain fresh understanding about the opportunities and challenges faced by their own organization. Over the past 20 years, Roger has presented The Music Paradigm to hundreds of different organizations, from civic groups to Fortune 500 companies, in 23 different countries. He explains many of the lessons learned in his book, "Maestro: A Surprising Story About Leading by Listening," which was honored in 2009 as the Best Leadership Book from 800-CEO-READ.  Andy and I are both fans of philharmonic concerts and we find The Music Paradigm to be really quite amazing. It allows you to bring something that often is not well attended (symphony orchestra performances) into your workplace as a magical method for improving your team, your organization, your relationships with clients, and your culture.  Who is Roger Nierenberg?  Maestro Roger Nierenberg made his New York conducting debut at Avery Fisher Hall with the Pro Arte Chorale and Orchestra, and soon thereafter was invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center. Numerous guest conducting engagements followed with many of the great American symphony orchestras, including those of Austin, Baltimore, Charleston, Columbus, Detroit, Indianapolis, Kansas City, New Jersey, San Diego, St. Louis and Utah, as well as New York’s American Symphony Orchestra, Washington D.C.’s National Symphony Orchestra, the Buffalo Philharmonic and the Chamber Music Society of Lincoln Center. Abroad, Roger has recorded with the London Philharmonic and conducted at both the Prague Spring Festival with the Czech Radio Orchestra and the Beijing  Festival with the Shanghai Broadcasting Symphony Orchestra. Other performances include engagements with the London Mozart Players, Mexico’s National Symphony Orchestra, the Nova Scotia Symphony and the Tallinn Chamber Orchestra.  Roger has appeared at numerous summer festivals, including the Tanglewood Institute, the Grand Teton Music Festival, the Colorado Festival, the National Repertory Orchestra and the Madeira Bach Festival. He has also collaborated with many of the most renowned solo artists and composers of our time. Roger makes his home in New York City and has two children, a son who is a professional pilot and a daughter who is studying French horn. Watch video clips from The Music Paradigm workshops here:  Flutist speaks on micromanaging Tuning In 9 separate workshops including How Good Directions Liberate Leadership, The Consequences of Mixed Messages and Building Community Blogs, a podcast and a video you might enjoy:  Blog: Change Might Be Exactly What Your Organization Needs to Be Successful Blog: Five Ways to Make Your Team Awesome Agents of Change Podcast: Steve Harper: The Ripple Effect  Video: How Can Corporate Anthropology Help Your Business Grow?  Additional resources: Roger's book: "Maestro: A Surprising Story About Leading by Listening" My book: "On the Brink: A Fresh Lens to Take Your Business to New Heights" Our website: Simon Associates Management Consultants    Download the 1-page synopsis of my book, "On the Brink: A Fresh Lens to Take Your Business to New Heights" here Want to be featured on an upcoming Podcast episode?  Tell us more about you and you too can be on the brink of "soaring!"

Maestro Roger Nierenberg made his New York conducting debut at Avery Fisher with the Pro Arte Chorale and Orchestra. He was soon invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York's Lincoln Center. Thereafter followed long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, the Saint Louis Symphony, the Baltimore Symphony, the Indianapolis Symphony, the San Diego Symphony, and many other great American orchestras. Abroad he has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He has collaborated with many of the most renowned solo artists and composers of our time. During his tenure with the Jacksonville Symphony, the seeds were planted that would lead Maestro Nierenberg to a startling departure from the conventional, through the unparalleled creation of The Music Paradigm. Through his experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. He quickly realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, which has taken Mr. Nierenberg to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening which was honored in 2009 as the Best Leadership Book from 800-CEO-READ. Roger Nierenberg makes his home in New York City and has two children, a son who is a professional pilot and a daughter who is studying French horn. Learn more about your ad choices. Visit https://megaphone.fm/adchoices (megaphone.fm/adchoices)

Reid and Jack are still upstate. Backstage at Bard they chat with Melissa Toogood and Dylan Crossman before Four Quartets. They discuss stuff, but mainly one of our favorite queens of the dance: Merce Cunningham. Links: Merce Cunningham. Available Light. Lucinda Childs. Mostly Mozart Festival. July 12–13, 2018. Mark Morris. Mostly Mozart Festival. August 9-12, 2018. New York City Ballet. Saratoga. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Underbarnet som vid 60 år fortfarande konserterar lokalt och globalt. Michala Petri har gjort mer än 70 CD-inspelningar och 4 000 konserter sedan hon var 11 år. Michala Petri är en av de främsta blockflöjtvirtuoserna i världen och har en enorm repertoar av klassiska och nutida kompositioner. Kuriosa: Vivaldis Blockflöjtskonsert i C-dur, har hon spelat över tusen gånger på konserter. Hennes första CD-inspelning gjorde hon efter en konsert i London med Academy of St. Martin-in-the-Fields, endast 17 år gammal. Nyfiken och öppen för alla musikaliska genrer har hon spelat med så olika artister som Sir Neville Marriner, Keith Jarrett, Gidon Kremer och Bjørn Svin. När Michala Petri var 11 år fanns det ingen i Köpenhamn som kunde lära henne något mer på blockflöjten, så hennes mamma Hanne Petri, som själv är pianist, tog med Michala till professor Ferdinand Conrad i Hannover. Han bad henne omgående starta sina studier vid Musikkonservatoriet där. Michala Petri slutade genast sin skolgång i Danmark för att satsa helt på sin professionella bana som musiker. Varje måndag morgon tog hon och hennes mamma nattåget till Hannover. Lektioner väntade på eftermiddagen och under tisdagen. På onsdagen for de hem för att öva och sedan vidtog samma procedur varje vecka. - Du måste ha både råstyrka och vara intuitiv och mottagande för att gå upp på en scen, uppträda och sända ut så mycket energi till en publik, säger hon. Det är energi jag förmedlar med blockflöjten. Att spela svagt kan också vara otroligt energiskt, säger Michala Petri, som spelat instrumentet sedan hon var 3 år. 12 år gammal fick hon en tvärflöjt, men hon kände sig som en lurendrejare när hon spelade på den eftersom tvärflöjten är betydligt lättare att intonera på. För Michala Petri var blockflöjten en utmaning hon inte kunde motstå. Hon spelar på fyra olika storlekar, sopraninon, sopranen, som är den vanligaste, och så alt- och tenorblockflöjten. Hon har många exemplar av varje storlek. Jag räknade till ett fyrtiotal hemma hos henne. Michala Petri köper ständigt nya flöjter, eftersom hon byter hela tiden. Efter ett par timmars spel tar en flöjt skada om den inte får vila. Hon vet aldrig från början om en flöjt kommer att hålla måttet eller inte. Kanske känns den bra i starten, men efter några månader kan den utveckla en usel klang. Å andra sidan kan en flöjt som inledningsvis inte klingar särskilt bra plötsligt utveckla en mycket fin klang efter ett halvår. Kanske är blockflöjter precis som människor. När Michala Petri gav konsert i samband med Mostly Mozart Festival i Lincoln Center i New York tog Keith Jarrett kontakt med henne. Hon kände honom bara till namnet, hade inte hört honom spela. Men det visade sig att Keith Jarrett även spelade blockflöjt och cembalo. De träffades i hans hem och spelade några Händelsonater och några Bachsonater. Senare tog Michala Petri kontakt med Jarrett som tackade ja till den här inspelningen. - Keith Jarrett är en otroligt fin musiker, säger Michala Petri. Han lyssnar intensivt och fångar upp de signaler man sänder ut för att omgående svara på dem. Jag har spelat med klassiska musiker som har samma begåvning för att uppfånga musikaliska intentioner. Jag lyssnade mycket på vad Keith Jarrett gjorde och tänkte mindre på vad jag själv hade förberett. När hon var barn kände hon att musiken var det enda som gav henne identitet. Hade hon inte musiken så var hon ingenting. -När jag har utvecklat mig, fött mina två döttrar och mognat som människa så har även spelet förändrats, säger hon. Michala Petri har bl a fått Léonie Sonnings Musikpris, Europeiska solistpriset, Nordiska Rådets musikpris och 2016 vann hon priset som bästa barock-instrumentalist vid International Classical Music Awards. Michala Petri är fortfarande mycket aktiv och ger både lokala och globala konserter. Den 7 juli 2018 fyller hon 60 år och Tivoli i Köpenhamn firar henne den 1 juli 2018 med en Festkonsert. Alexander Shelley dirigerar då Tivoli Copenhagen Phil.   LÅTLISTA:   Yemandja Angelique Kidjo, sång, m fl Aye Island Records Mango 74321 16646 2   Partita in c BWV 1013 - 1 Allemande J S Bach Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. JS Bach   Souvenir RCA Victor 09026 62530 2   Concerto For Piano And Orchestra No. 1 Rondo. Allegro Non Troppo, Brahms Nikolaj Koppel, piano. DR's Symfoniorkester. Thomas Dausgaard, dir Retrospect EMI CLASSICS 50999 6287362 8       Fem Klaverstykker, Op. 3 Mignon Carl Nielsen Nikolaj Koppel, piano. Retrospect  EMI CLASSICS 50999 6287362 8   Intermezzi, Op. 117 - 2. Andante Non Troppo Johannes Brahms Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Piano Concerto #1 In D Minor, Op. 15 - 2. Adagio Johannes Brahms Nikolaj Koppel, piano. Thomas Dausgaard: Danish National Radio Symphony Orchestra Retrospect EMI CLASSICS 50999 6287362 8   Préludes, Book 1 - La Sérénade Interrompue       Claude Debussy Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Scarlatti (D): Harpsichord Sonata In E, K 20 Domenico Scarlatti Nikolaj Koppel, piano. Retrospect EMI CLASSICS 50999 6287362 8   Rong (Fusion) Yao Hu Michaela Petri Recorders. Chen Yue Xiao & Dizi Dialogue East Meets West OUR Recordings 6.220600   Ancient Chinese Beauty- Clay Figurines Chen Yi Michala Petri. Copenhagen Philharmonic; lan Shui Chinese Recorder Concertos OUR Recordings 6.220603   Flute Quartet In G Major K.285a - 2. Tempo Di Menuetto W A Mozart Michala Petri (Re), Carolin Widmann (Vn), Ula Ulijona (Va), Marta Sudraba (Vc) Mozart Flute Quartets OUR Recordings 6.220570   Nele's Dances - 10 In a symphony of galloping hooves Thomas Koppel Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir RCA Victor 09026 62530 2                   Nele's Dances - 3 And I'm still feeling you in my arms Thomas Koppel Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir  RCA Victor 09026 62530 2   Sonata G RV 59 - 2 Allegro ma non presto Vivaldi Michala Petri, blockflöjt. Lars Hannibal, gitarr, luta. Souvenir     RCA Victor 09026 62530 2   Concerto C-Major; Largo Vivaldi Michala Petri, blockflöjt. Kremerata Baltica Michala Petri 50th Birthday Concert OUR Recordings 8.226905

Iconic American conductor Gerard Schwarz offers his insights about music and conducting gained from an illustrious career at the pinnacle of the classical music world. Topics: Maestro Schwarz' musical beginnings, the American Brass Quintet, and the New York Philharmonic Four steps to success: Talent, Hard Work, Say Yes, Stay Positive Tips for conductors including thoughts about becoming more artistic, even with young ensembles and score preparation The importance of listening to learn styles and listening to your own old performances to gain insight on the music The All Star Orchestra and the Khan Academy Keep analyzing yourself and the perception of your career to keep improving. The conducting institute at the Eastern Music Festival Jerry's Experiences with conducting wind band, particularly the Marine Band Schwarz' new book Behind the Baton: An American Icon Talks Music The relevance of music in modern society and the importance of music in education  Links: Gerard Schwarz Eastern Music Festival All Star Orchestra Khan Academy Mahler: Symphony no. 8 Schwarz: Above and Beyond Behind the Baton: An American Icon Talks Music Biography: Internationally recognized for his moving performances, innovative programming and extensive catalog of recordings, American conductor Gerard Schwarz serves as Music Director of The All-Star Orchestra an ensemble of top musicians from America’s leading orchestras featured in twelve television programs that have aired throughout the United States on public television, worldwide by internet streaming and is the basis for their Khan Academy education platform that has already reached over 4 million students. As in baseball, Schwarz created an “all-star” team of top musical athletes to encourage a greater understanding and enjoyment of classical music. All programs are now released by Naxos on DVD and are awarded four Emmy Awards and ASCAP Award. Schwarz also serves as Music Director of the Eastern Music Festival in North Carolina and Conductor Laureate of the Seattle Symphony. His considerable discography of over 350 showcases his collaborations with some of the world’s greatest orchestras including Philadelphia Orchestra,  London Symphony,  Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Seattle Symphony among others. Schwarz began his professional career as co-principal trumpet of the New York Philharmonic and has held leadership positions with Mostly Mozart Festival, Royal Liverpool Philharmonic and Los Angeles Chamber Orchestra and New York Chamber Symphony. As a guest conductor of both opera and symphony, he has worked with many of the world’s finest orchestras and opera companies. Schwarz, a renowned interpreter of 19th century German, Austrian and Russian repertoire, in addition to his noted work with contemporary American composers, completed his final season as music director of the Seattle Symphony in 2011 after an acclaimed 26 years a period of dramatic artistic growth for the ensemble. In his nearly five decades as a respected classical musician and conductor, Schwarz has received hundreds of honors and accolades including Emmy Awards, GRAMMY nominations, ASCAP Awards and the Ditson Conductor’s Award. He was the first American named Conductor of the Year by Musical America and has received numerous honorary doctorates. The City of Seattle and named the street alongside the Benaroya Hall “Gerard Schwarz Place.

When George Benjamin's Written on Skin had its American stage premiere at the Mostly Mozart Festival on August 11, it became an unlikely summer blockbuster: a complex, contemporary opera with an abstract storyline and a dense, modernist musical language. The work got standing ovations from audiences and rave reviews from critics – but not all of them. This summer also saw another big premiere: Cold Mountain, by American composer Jennifer Higdon, at Santa Fe Opera. That work features a more accessible language, with traditional melodies and a conventional linear storyline, though reviews were somewhat more mixed. This week's podcast explores which approach works best in contemporary opera, and what has "sticking power." Joining host Naomi Lewin are Marc Scorca, president and CEO of Opera America, which represents North American opera companies, Cori Ellison, dramaturg at the Glyndebourne Festival in England; she also teaches at Juilliard and the American Lyric Theater; and David Gockley, who is entering his 10th and final season as general director of San Francisco Opera. From 1972-2005 he ran Houston Grand Opera, where he commissioned a lot of new work. Gockley is unconvinced by the popularity of Written on Skin. "It's a connoisseur's piece," he said. "Its musical language is extraordinarily complicated. I mean, are you going to sit down and play [a recording of] that at dinner?" As someone whose job includes filling a 3,200-seat house every night, Gockley says that he looks for works with a certain "bourgeois" appeal. "That is what we are – a bourgeois art form," he said. And if audiences don't immediately embrace a new work, "they're not going to come back." Ellison points out that a very different situation exists in Europe. On a list of some 60 notable modern operas recently compiled by Washington Post readers, only about 15 of them are by non-American composers. "Those 15 operas are in a much more modernist style or spectralist style," she said. European opera houses are generally smaller, benefit from government funding and can afford to take more risks stylistically. "It's a different landscape." A scene from Jennifer Higdon's 'Cold Mountain' (© Ken Howard for Santa Fe Opera) But if traditional American opera audiences balk at a complex, modern work, how do we account for the warm reception Written on Skin received, and the cooler one for Cold Mountain? All three guests acknowledge that while Higdon's first opera wasn't perfect, it showed considerable promise. "I left Cold Mountain really wanting to hear Jennifer Higdon's next opera," said Scorca. He adds, "The challenge for today's composers is to find their own sweet spot between being truly contemporary, and writing in the moment of 2015, and finding a way to connect with the audience." And then there are regional tastes – and rivalries. "I think New York feels envious in one way and critical in another way of all the new operatic activity taking place outside of New York," said Gockley. "They are willing to dismiss it as being pap, and therefore, when something like the Benjamin comes along they can jump on that and think it's the bee's knees. As far as I'm concerned, it's just rehashing the modernism that has bit the dust again and again over the last 50 years." To hear our guest's comments on operas based on novels and films, and why that can help their success, listen to the full segment at the top of this page.

The Russian-born violinist Alina Ibragimova in recent years has developed a following in Europe, especially in the U.K., where she studied and came of age. She appears poised to have a bigger following in New York, too, after her recent performances at the Mostly Mozart Festival and in the studio at WQXR. She came to the WQXR performance studio to present two pieces, starting with Eugène Ysaÿe's Sonata No. 3. Watch the video below and listen to the full segment at the top of this page. This past June, Ibragimova, 29, released a recording of Ysaÿe's six violin sonatas, known as some of the most treacherous solo works in the repertoire. They are portraits, of a sort, of six violinists whom the composer knew in the 1920s: Joseph Szigeti, Jacques Thibaud, Georges Enescu, Fritz Kreisler, Mathieu Crickboom and Manual Quiroga. "You hear the personalities," said Ibragimova. "They feel like proper little dedications." Ibragimova arrived at the station early one August morning after having performed a late-night (10 pm) recital at Lincoln Center's Kaplan Penthouse—one of at least two such performances this summer, another being at London's Royal Albert Hall in July. The violinist believes the late shift helps put audiences in a more contemplative mindset for listening. "I think the atmosphere changes for the time of day," she said. "People listen differently." For her second performance, Ibragimova offered the Largo from J.S. Bach's Solo Violin Sonata No. 3. Ibragimova's still-young career is notable for the sheer breadth of her repertoire interests. She has also formed an all-female string quartet called Chiaroscuro that uses period instruments, though she herself opts for an unorthodox approach to equipment, changing strings, pitch and bows on her (comparably modern) 1780 Anselmo Bellosio violin. "Whilst it works, I find it's not ideal," she said. "Now I'm going to try a different violin to use with the quartet just so I don't have to put my violin through this all the time." When she isn't touring, Ibragimova lives in Greenwich, England with her husband, the Guardian music critic Tom Service. The couple married in the spring, having first met when he interviewed her. She says it isn't difficult having a critic around who is constantly evaluating music. And there are perks: "There are so many books now at home. It's great. He knows all the opus numbers." Video: Kim Nowacki; Audio: Irene Trudel; Interview: Jeff Spurgeon; Text & Production: Brian Wise

Today Laura Theodore, the Jazzy Vegetarian welcomes Lisette Oropesa to hear great music and chat about eating vegan “on the road.” Laura will share her Jazzy Tips for snacks and meals that travel well! Soprano Lisette Oropesa has been hailed by The New York Times as an artist with a “magnetic” stage presence, and an “attractively silky, and flexible timbre.” The 2011-12 season sees her debut with the San Francisco Opera as Romilda in Xerxes, followed by Miranda in the new Baroque pastiche The Enchanted Island with the Metropolitan Opera (conducted by William Christie), Konstanze in Die Entführung aus dem Serail with Pittsburgh Opera and Ismene in a revival of Mitridate, rè di Ponto with the Bayerische Staatsoper, Munich. In concert, Ms . Oropesa appeared in Messiah (Part I) with the New Choral Society, made a notable debut with the Chicago Symphony Orchestra in Carmina Burana conducted by Riccardo Muti, and presented a duo recital with baritone Brian Mulligan for the George London Foundation at the Morgan Library. In the summer she will perform Schubert’s Der Hirt auf dem Felsen with the Mostly Mozart Festival at Lincoln Center. Be sure to catch Jazzy Vegetarian on Television too!! 

On The Guest List this week Anne-Marie Minhall talks to the principal conductor of The Royal Liverpool Philharmonic Vasily Petrenko . Hear what the orchestra have been up to so far this year as they hit the half way point in the city’s celebrations as the ‘European Capital of Culture ‘08’. Also on the show is actress Zoe Wanamaker who is taking part in a performance at the Mostly Mozart Festival next week. Zoe is appearing in ‘Truth About Love’ , a programme exploring the theme of love through Mozart’s operatic repertoire.

Welcome to another scintillating edition of the Classic Newsnight podcast. All right then, let’s cut the hyperbole and tell you what’s in it. The fifth Mostly Mozart Festival has just got underway at the Barbican in London, and Bob Jones has been investigating a project in which Mozart’s music is used as the starting point for improvisation. We have our regular weekly check-up with the Classic FM doctor, Rob Hicks; and we meet the Welsh soprano, Elin Manahan Thomas, whose debut CD has just hit the shops. And speaking of Wales, one of Chris Powling’s book choices this week involves a Welsh author he tells me writes like a dream. So stop dreaming and start clicking!

Welcome to the 2nd edition of the Classic FM Newsnight Podcast presented by John Brunning. In this podcast, our resident GP, Dr Rob Hicks, gives us some timely advice on hayfever and how best to survive the season. Continuing the summer theme, Bob Jones gets an expert guided tour of ‘Constable – The Great Landscapes’, which is on now at Tate Britain. Then we mark the opening of the fifth Mostly Mozart Festival by talking to the director of Europa Galante, Fabio Biondi, about the genius of the young Mozart. We also take a look at a remarkable initiative called ‘The Singing Estate’, whereby residents on one of Britain’s toughest housing estates are encouraged to raise up their voices in song.