Podcasts about mozart

British actor Tim Curry died on August 26th at the age of 80. Celebrated for his infamous portrayal of Frank-N-Furter in the musical The Rocky Horror Picture Show, his decades-long career included many other roles on stage and screen. Among them, Mozart in Amadeus; King Arthur in the Monty Python musical Spamalot; and the evil clown, Pennywise, in a television adaptation of Stephen King's It. In a generous obituary, the BBC shared tributes from many friends and admirers in the arts. One was from comedienne Carol Burnett, who wrote on social media that "nobody could play lovable villains better than he could". And that is the Curry we are pleased to share with you in this special bonus podcast, in his deliciously chilling and seductive reading of Stephen O'Connor's "Ziggurat." Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

ENTRE NA LISTA DE ESPERA DO VIVER DE RENDA: https://r.vocemaisrico.com/2578c2bd18ABRA SUA CONTA NA COINBASE: https://r.vocemaisrico.com/72f2133408Ao longo da história, algumas mentes se destacaram tanto que passaram a ser lembradas como os maiores gênios da humanidade — indivíduos capazes de revolucionar a ciência, a arte, a filosofia e a forma como compreendemos o mundo.De Leonardo da Vinci a Einstein, de Mozart a Marie Curie, cada um deixou um legado que atravessa séculos e continua influenciando a vida de todos nós.Mas quem realmente merece o título de "maior gênio" de todos os tempos? Seria justo comparar um cientista como Newton com um artista como Shakespeare, ou cada área exige seus próprios critérios de genialidade?Quais nomes menos conhecidos, esquecidos pela história ou pouco celebrados no Ocidente, também deveriam estar nessa lista? E o que aprendemos, afinal, observando as trajetórias dessas mentes extraordinárias?Para conversar sobre isso e muito mais, convidamos Felipe Guisoli (Universo Narrado) para o episódio 313 do podcast Os Sócios. Falaremos sobre os maiores nomes da história humana, seus legados, suas histórias pessoais e por que continuamos fascinados por eles até hoje.Ele será transmitido nesta quinta-feira (27/08), às 12h, no canal Os Sócios Podcast.Hosts: Bruno Perini @bruno_perini e Malu Perini @maluperiniConvidados: Felipe Guisoli @universonarrado

When it comes to a piece like the Mozart Clarinet Concerto, a few words or phrases regularly come up: the concerto is described as "mellow" or Mozart's "swan song," but most often it is described as "perfect." Such a perfect piece as Mozart's Clarinet Concerto must have been hugely popular during Mozart's lifetime, right? It must have been played all over, by all the virtuoso clarinetists of the day. Well, that is not even close to the case. At the age of 35, Mozart was kind of old news in the economically depressed, repressed, and censored city of Vienna in 1790. There were very few concerts during this period, and Mozart's popularity had waned severely. The clarinet concerto, one of a wealth of brilliant (and yes, perfect) pieces Mozart wrote in the final year of his life, was performed once by the man for whom Mozart wrote it, Anton Stadler, before Mozart's death, but the location and the program of that concert are forgotten. The manuscript of the concerto is lost, which means we actually don't know a lot about it, especially considering it wasn't actually written for a standard clarinet, but for a basset clarinet (we'll get to that later). The piece was written just about two months before Mozart's death and was his last completed work, though there's absolutely no evidence that Mozart knew he was dying when he wrote it. All in all, there's actually a lot of mystery surrounding this perfect piece, and yet, when we hear the luminous music that Mozart wrote, all of this falls away. There is truly a kind of perfection to this music, a golden quality that is inescapable. There is no clarinet concerto that is performed more often or more recorded, and it remains a perennial favorite for clarinetists and orchestras around the world. Today, on this Patreon-sponsored episode, we'll talk about all these mysteries surrounding this concerto, Anton Stadler, the basset clarinet, and of course, the wonderful music itself, though, as always, Mozart sometimes defies description. Join us!

[@ 5 min] Alright, this week...it's part two of our coverage of the Santa Fe Opera ,starting with a Free Throw on the artistry of Iestyn Davies! [@11 min] Then, Handelian prima donna Lucy Crowe goes Inside the Huddle to champion the Experienced, Middle-Aged singer... [@ 29 min] AND then...a bonus Free Throw on the late Jessye Norman from her last recital partner, pianist and composer Damien Sneed! [@ 37 min] Plus, in the Two Minute Drill...recovery in Detroit, the latest installments of Kennedy Center buffoonery, and throngs of missing mini Mozarts! GET YOUR VOICE HEARD Stream new episodes every Saturday at 10 AM CT on amplisoundsradio.com operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

Voyager 1 and 2 have been flying through space for 49 years, with recordings of Bach, Mozart and Chuck Berry on them. Today I look at how this came to be, as well as the first flute to be played off planet. Grma xInline G Merch ⭐️www.Inlineg.myshopify.comInline G Patreon ⭐️www.patreon.com/TheInlineGFlutePodcastInline G will ALWAYS be free of charge, but signing up to the Patreon helps let this podcast reach new heights, if you can afford it. You'll also get to ask questions to upcoming guests as well as get early access to some episodes. Or if you'd rather not spend money, subscribing to my YouTube channel and following me on Facebook, Instagram and TikTok is a HUGE way to support the podcast. It'll cost you nothing, and it really makes a difference to the algorithm gods. So please interact however you can; like, comment, or subscribe, and help keep this podcast lit xIntro music: Rhythm=Power by Spodo Komodo. Used with permission. All rights reserved by the creator.Chapters:00:00 - Internet Fame and a Dutch Lad04:31 - Dirty Pics for Aliens12:35 - Music For Aliens19:01 - Brainwaves and ISS Flute Gigs

Sorry, folks! My USB mixer died a few days ago, and I had to order a new one, which is why you didn't get a new episode this week. So I'm posting this episode from last year, for the simple reasons that these four "ripe for reissue" box sets still remain out of print as of August 19th 2026!Enjoy the episode, and I plan to be back with fresh new stuff ASAP - thank you for your patience!Here are links to the releases I discuss:Milosz Magin plays Chopin (Accord, 10 CDs). A link to his Etudes: https://www.youtube.com/watch?v=TzArJYgJqdEAnnerose Schmidt plays Mozart's Complete Piano Concertos (Berlin Classics, 10 CDs). Link to purchase - https://www.amazon.com/Mozart-Piano-Concertos-Wolfgang-Amadeus/dp/B0036ULAY6France Clidat plays Liszt (Decca, 14 CDs). Link to listen to Hungarian Rhapsodies No.s 1-10 - https://www.youtube.com/watch?v=Afo2NTiZz2YRaymond Trouard: Une vie pour le piano (Sony Classical, 11 CDs). Links to purchase - https://www.ebay.com/itm/115569835636, https://www.amazon.com/Raymond-Trouard-Une-Pour-Piano/dp/B0017YZIIW. Link to Grieg Concerto - https://www.youtube.com/watch?v=uGVYdTY_uxMSeason 2 episode 60

Montevideo / Auditorio del Sodre Alejandro Dolina, Patricio Barton, Gillespi, “Trío Sin Nombre” Introducción • 0:00:00 Apertura por el festejo de los 40 años del programa y agradecimiento por el saludo del público • 0:01:20 Comentario sobre la costumbre de saludar y el valor del intercambio entre artista y público Segmento inicial • 0:04:22 Mención al restaurante Primuseum de Montevideo • 0:05:53 Presentación del tema sobre los esquimales o inuit y el turismo al Polo Norte Segmento dispositivo • 0:07:56 Vida de los inuit: nomadismo, caza, abrigo, alimentación y perros de trineo • 0:21:43 Iglúes, matrimonio, besos esquimales y costumbres sociales • 0:30:41 Tumbas de personajes famosos: Mozart, Genghis Khan, Atila, Cleopatra, Alejandro Magno, Lao Tse y el valor funerario en Egipto Cierre musical • 0:58:25 Canciones finales y despedida musical con varias interpretaciones • 1:16:20 Mención a Radio 750 y continuidad de la programación (Resumen generado automáticamente con IA, puede contener errores)

Dites moi, il y a pas des personnages historiques que vous trouvez forcément sympa vous ? C'est compliqué avec un chef de guerre comme César, Napoléon ou Churchill, et dans des circonstances tendues, même des “gentils” comme Gandhi ou Martin Luther King peuvent avoir un côté sombre. Par contre, qui a un problème avec Mozart, Einstein ou Marie Curie ? Tout le monde les aime ! Le meilleur dans le genre, c'est peut-être Danton. Lui, en plein contexte révolutionnaire hardcore, et malgré sa corruption, on a fini par tout lui pardonner. À l'inverse d'un Robespierre réputé froid et cruel, Danton c'est le mec sympa, bon vivant, franc du collier, victime innocente de la Révolution. Sauf que rappelez-vous : c'est pas si simple. On a déjà vu que Robespierre avait des bons côtés. Et désolé pour lui, mais notre “bon Danton”, il avait aussi des défauts ! Mais comme d'hab : ici on fait pas de procès, que des portraits !Bonne écoute !

Andrés Amorós continua el ciclo dedicado a Mozart.

Helms, Franz Paul www.deutschlandfunkkultur.de, Studio 9

On the latest episode of ‘New Classical Tracks,' pianist Stephen Hough talks about his latest recording, featuring music from ‘Mary Poppins' film, along with other songs and melodies from places he's traveled to over the years. Listen now with guest host Melissa Ousley.

AP correspondent Charles de Ledesma reports a mini-Mozart heist has blighted an anniversary tribute as thieves make off with over 200 statuettes.

In this episode, Christoph Wichert shares his journey from classical beginnings to a professional career in music, offering valuable insights into orchestra life, practicing, and performance etiquette. Discover practical tips for musicians and get a glimpse of upcoming concerts and tours with the Singapore Symphony Orchestra. Christoph shares insights on contemporary music, the importance of cultural diversity in composition, and practical advice for young musicians navigating their careers. Discover how to foster creativity, build networks, and embrace experimentation in the world of classical and contemporary music.Biography:Austrian bassoonist and artistic researcher Christoph Karl Wichert has been a member of the Singapore Symphony Orchestra since 2008. He graduated from the Conservatory of Vienna, where he studied Bassoon Performance under Michael Werba (Principal Bassoon, Vienna Philharmonic Orchestra) and Music Education, further enhancing his training through masterclasses with leading musicians.In Vienna, Christoph was regularly invited to work with prominent Viennese ensembles such as the Wiener Kammerorchester. He also worked as a substitute musician for the Vienna State Opera and the Vienna Philharmonic Orchestra, collaborating with renowned conductors like Zubin Mehta, Seiji Ozawa, Mariss Jansons, Riccardo Muti, and Nikolaus Harnoncourt. An active soloist, Christoph has performed in various recitals and with orchestras, showcasing concertos by Mozart, Weber, Pauer, and Hartl, among others. Before relocating to Singapore, he served as Principal Bassoonist with the Orchester der Vereinigten Bühnen Wien for their productions and taught bassoon, music theory, and symphonic wind band at the music school in Tulln. There, he successfully prepared students for admission to prestigious music universities and co-founded a composition workshop with his colleague Cordula Bösze.Beyond his role with the Singapore Symphony Orchestra, Christoph teaches at the Yong Siew Toh Conservatory of Music in Singapore Contemporary and Experimental Music and is a guest artist at the Princess Galyani Vadhana Institute of Music in Bangkok.In 2015, Christoph co-founded SETTS, Singapore's first fully professional contemporary music ensemble, alongside other dedicated musicians.Chapters00:00 Introduction to Christoph Wichert's Musical Journey02:19 Starting with Classical Music and Early Influences04:16 The Sound That Inspired a Career in Bassoon05:00 Moving to Vienna and Studying the Bassoon07:00 Transition from Austria to Southeast Asia08:50 Balancing Freelance Work and Orchestra Positions11:44 Auditioning in Frankfurt and Singapore12:43 The Singapore Symphony Orchestra Opportunity14:22 Deciding to Stay in Singapore15:04 Memorable Concerts with the Singapore Symphony16:55 Upcoming Tours and Concerts20:52 Working with the New Chief Conductor, Hannu Lintu23:06 Tips for Second Bassoon Players37:26 Encouraging Students and Practice Mindset39:01 Handling Mistakes and Performance Anxiety40:24 The Power of Frustration and Growth Mindset41:18 The Joy of Improvisation and Experimental Music

We meet a percussionist from the famous LaGuardia High School for the Performing Arts who gives a tour of the marimba to Peter Dugan, a 13-year-old cellist who loves both ballet and music, and a pianist who relates with the emotions of Schubert.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Andrés Amorós inicia un ciclo dedicado a Mozart.

What if the life you are living is only one version of what is possible—and every moment gives you another opportunity to rewrite it?After three near-death experiences, Masati returned with an extraordinary perspective on consciousness, identity, death, and what he describes as the hidden mechanics behind the reality we experience. In this conversation, we explore what happens when consciousness leaves the body, why he believes the traditional “life review” is actually a life relive, and how unconscious patterns from family, society, previous experiences, and our own identities may keep recreating the same reality again and again.Then the conversation takes an unexpected turn. Masati guides me through a live exercise that brings forward multiple versions of myself—the filmmaker, father, entrepreneur, storyteller, and eventually the young kid who first fell in love with movies in a video store. What followed became one of the most personal moments I've experienced on the show. We also explore quantum jumping, fragmented identities, genius and altered states, Tesla and Mozart, the nature of the timeless self, and the possibility that awakening isn't about becoming something new at all. Perhaps it is simply remembering what was there before everything else told us who we were supposed to be.Become a supporter of this podcast: https://www.spreaker.com/podcast/next-level-soul-podcast-with-alex-ferrari--4858435/support.Take your spiritual journey to the next level with Next Level Soul TV — our dedicated streaming home for conscious storytelling and soulful transformation.Experience exclusive programs, original series, movies, tv shows, workshops, audiobooks, meditations, and a growing library of inspiring content created to elevate, heal, and awaken. Begin your membership or explore our free titles here: https://www.nextlevelsoul.tv

David K. Israel, one of the contributors to my anthology On Being Jewish Now: Reflections from Authors and Advocates, has a quirky, dry sense of humor that permeates his latest release, The Lost Mozart. A composer, David shared fun details about his entry into the world of symphonies and sounds, how it felt to lose his home in the Palisades where we were neighbors, and the creativity involved in music versus writing.** Want more? Become a part of my community! Sign up for Zibby's Highlights, which includes a free weekly newsletter, event livestreams, most anticipated book lists, personal essays, and a new essay platform with stories from all of you about what chapters you're in (inspired by my upcoming book Between Chapters: How I Started Over, Took Some Chances, and Found the Plot, 9/22/26). And follow me on Instagram @zibbyowens. But really, keep listening here. If you love my show, please tell a friend! Hosted on Acast. See acast.com/privacy for more information.

Spider-Man: Brand New Day. Movie Shills: 'One Night Only'. Chicken amusement park shut down. Jordan leaves a concert early. New music to us. Who was Kavinsky? Carousel of Progress. Richard Cheese. VIDEO EPISODE on  YOUTUBE  www.youtube.com/@itseriknagel AUDIO EPISODE: IHeartRadio | Apple | Spotify Socials: @itseriknagel

Kate Molleson tells Mozart's story through five of the relationships that shaped the composer and his music - from his friends and family to a mentor and a supposed rival.Symphony no. 35, K385 ‘Haffner' Violin Concerto No. 1 in B flat, K207 Concerto for Flute Harp and orchestra in C, K299 Symphony no. 31 D major, K297 'Paris' Idomeneo Piano Concerto No. 20 in D minor, K466 Concerto for Two pianos no. 10 in E flat major, K365 Exsultate Jubilate Symphony No. 29 in A major, K201 Vespers sollennes de confessore in C, K339 Sonata for Piano Four hands in D major, K381 String Quartet no. 20 in D Major, K499 ‘Hoffmeister' Symphony no. 36, K425 ‘Linz' String Quartet no. 19 in C major, K465 ‘Dissonance' Fantasia in C minor, K475 Symphony no. 41 in C Major, K551 'Jupiter' Die Entfuhrung aus dem Serail - Overture Der Schauspieldirektor, K486: Da Schlägt die Abschiedsstunde Piano Concerto no. 24 in C minor, K491 Così fan tutte Chamber Orchestra of Europe Clarinet concerto in A major, K622 Masonic funeral music in C minor, K477 Trio in E flat for clarinet viola and piano, K498 'Kegelstatt' The Magic Flute: Overture The Magic Flute: Finale Requiem in D minor. K626Presented by Kate Molleson Produced by Megan Jones for BBC Wales AudioFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Wolfgang Amadeus Mozart (1756-1791): https://www.bbc.co.uk/programmes/m002ztshAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z.

Im ersten Corona-Sommer 2020 wurde in Salzburg unter anderem Mozarts "Cosi fan tutte" in der Regie von Christoph Loy und in einer gekürzten Version aufgeführt. Gestern Abend war nun die Wiederaufnahme ohne Kürzungen zu sehen.

Was, wenn du genau die gleichen 24 Stunden hast wie Einstein, Da Vinci oder Mozart? Die meisten Menschen konsumieren von außen nach innen. Aber was, wenn der eigentliche Weg genau umgekehrt läuft — von innen nach außen?   Dieses Gespräch existiert bereits in seiner ursprünglichen Form. Diese Episode hebt noch einmal die wichtigsten Kernaussagen hervor und bringt sie in neu aufbereiteter Form auf den Punkt.   In dieser Folge spricht Curse mit Maxim Mankevich — Experte für Erfolgswissen und Host des Podcasts "Die Köpfe der Genies" — über Essenz, das Unterbewusstsein als Programmierbarkeit und warum die größten Genies der Geschichte alle das Gleiche taten.   Du erfährst: - Wie du bewusst deine letzten Gedanken vor dem Einschlafen wählst und warum genau diese 15 Minuten dein Unterbewusstsein über Nacht prägen - Warum Leonardo da Vinci trotz widrigster Startbedingungen zu einem der größten Genies aller Zeiten wurde und was das für deinen eigenen Weg bedeutet - Warum sehr erfolgreiche Menschen zu fast allem Nein sagen und wie ein Ja zu allem anderen immer ein Nein zu dir selbst ist   Eine inspirierende Folge über Fokus, das eigene innere Genie und die Frage, ob du dein Leben von außen nach innen konsumierst oder von innen nach außen erschaffst.   Viel Freude damit. Maxim's Webseite: ⁠https://maximmankevich.com⁠ Das neue Buch „Bad Meditators Club“ jetzt vorbestellen: ⁠https://wonderl.ink/@bmcbuch⁠     Wir haben einen neuen YouTube Kanal!!!! Gerne folgen, liken, teilen, Liebe da lassen:   ⁠https://www.youtube.com/@MeditationCoachingLife⁠     ⁠www.curse.de⁠ Curse auf Instagram: ⁠www.instagram.com/cursezeit⁠ Curse auf Facebook: ⁠www.facebook.com/curseofficial⁠ Curse auf TikTok: ⁠https://www.tiktok.com/@curseofficial⁠ Curse auf YouTube: ⁠https://www.youtube.com/@Curseofficial⁠

„Man kann nicht immer schweren, dunklen Bordeaux trinken“, findet Max Reger – und greift zu Mozart. Seine Mozart-Variationen zeigen den vermeintlichen Schwergewichtler von seiner leichtesten Seite. Von Christoph Vratz.

Spätburgunder, Flaschenwolken und Mozart – das große Finale am Kaiserstuhl Ein Novembertag im Wald. Dunkle Beeren, Balsamisches, Trüffel, Leder. So klingt ein Spätburgunder vom Kaiserstuhl – und so schmeckt er auch. In dieser letzten Folge unserer kleinen Kaiserstuhl-Trilogie bringt Martin Schmidt die roten Weine ins Glas und erklärt, warum sein Spätburgunder kein Allerweltswein ist – und warum er das auch gar nicht sein will. Drei Spätburgunder, drei völlig unterschiedliche Charaktere: der tiefe, würzige Zwölf-Ender, die reife, samtweiche Spätlese und der elegante Drei-Sterne aus der Höchstlage direkt am Waldrand auf Vulkanverwitterungsboden. Dazu die Antwort auf die Frage der letzten Folge – was passt bloß zu diesem Rosé? – und eine Kombination, die uns sofort zum Grill zieht. Außerdem: eine Vinothek mit 65 offenen Weinen, eine Flaschenwolke aus 8000 Flaschen an der Decke, ein Innenhof mit Regenhimmel aus Weinreben – und ein Winzer, der nebenbei Big Band spielt und seinen Lieblingswein mit Mozart vergleicht. Kaiserstuhl, wie er sein soll.   Weingut Schmidt | Bio-Weingut für Rotwein und Weißwein   ************************************************ Abonniere jetzt den Podcast bei Spotifyund verpasse keine Folge mehr! Mehr findest du auch auf den Social-Media-Kanälen Facebook Youtube Instagram Feinschmeckertouren ************************************************

Rossinis Oper "Il viaggio a Reims" ist ein Riesenspaß. Bei den Salzburger Pfingstfestspielen brachte Cecilia Bartoli eine Neuproduktion auf die Bühne, sie selbst natürlich in einer Hauptrolle mit dabei. Gestern Abend war Wiederaufnahme im Haus für Mozart.

7:00 - Tom Riello on the Declaration of Independence7:20 - John Cuddeback on his article "Leave the shallows behind, read together"7:40 - Brad Miner covers "Mozart, freemasonry, and the synodal way"

¿Qué pasaría si supieras que estás escribiendo tu última obra?En este episodio de A Pie de Letra, Pato nos lleva por un camino poco habitual al elegir una de las composiciones más enigmáticas y trascendentales de la música clásica: el Réquiem de Wolfgang Amadeus Mozart.Comenzamos explorando la fascinante historia que rodea esta obra: el misterioso encargo, los últimos días de Mozart y el contexto histórico que dio origen a una de las piezas más célebres de todos los tiempos. Pero, como suele suceder en A Pie de Letra, la conversación pronto deja la historia para convertirse en un espejo.Hablamos de la muerte. Del miedo, de la aceptación y de cómo el final de la vida puede cambiar la forma en que elegimos vivir. ¿Pensamos lo suficiente en nuestra propia finitud? ¿Le tememos? ¿O es precisamente ella la que da sentido a todo lo demás?Y entonces Hazel nos deja con una pregunta que sigue resonando mucho después de terminar el episodio:¿Cuál sería tu réquiem?Mándanos un mensaje.Agrégate nuestros playlists a tu Spotify: 'A Pie De Letra Temporada 1' y 'A Pie De Letra Temporada 2' y Temporada 3, para que nos acompañes cada semana con una nueva canción.

Consider taking out a paid subscription to The Piano Maven podcast via our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenHere are links to some of the performances of Mozart's Piano Concerto No. 20 in D Minor K. 466 that Jed mentions during the course of this episode. These are only suggestions, for the catalog abounds in excellent versions. Do you have favorites that Jed missed? Let us know!Edwin Fischer (1954) - https://www.youtube.com/watch?v=fBa6W_RwkI8Clara Haskil (Fricsay DG) - https://www.youtube.com/watch?v=coBhUvFgR5UClara Haskil (Markevitch Philips) - https://www.youtube.com/watch?v=5Owbr_sfxEIYvonne Lefebure (Casals Sony) - https://www.youtube.com/watch?v=JEelBfqRB6MMartha Argerich (Rabinowitz Teldec) - https://www.youtube.com/watch?v=UGldgW6mDnYBruno Walter (NBC) - https://www.youtube.com/watch?v=axcdYP9MinUAndré Previn - https://www.youtube.com/watch?v=OF9C_KOeYssArturo Benedetto Michelangeli (Garben DG) -https://www.youtube.com/watch?v=M3rpMk44K5cVera Gornostaeva - https://www.youtube.com/watch?v=iBIELDZg_NsCyprien Katsaris - https://www.youtube.com/watch?v=gTzkbqMqGxkAlfred Brendel (Mackerras Philips) https://www.youtube.com/watch?v=VvEOJEhU7TY&list=PLoasmABcHZdGdphk7QiXk7eWJKVhhIB_D

A teen quartet plays Mozart, a 15-year-old flutist shares why her instrument is a dependable friend, and a violinist plays a Kreisler arrangement and draws connections between science and art.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Mozart'ın saraydan dövülerek atılması neden normaldi? Bach'ın belediye memurluğundan Beethoven'ın prenslerini mahkemeye verdiği güne uzanan üç kuşaklık bir kopuşu izliyoruz. Maaş bordrosundan telif hakkına giden bu yolda "bağımsız sanatçı" fikrinin nasıl icat edildiğini inceliyoruz. Bu bölümde: (00:00) Intro (02:39) Bağımsız Sanatçı Diye Bir İcat (06:26) Babasını Dirilten Oğul (09:58) Tarihin İlk Freelancer'ı (14:14) Sopalarla Dövülen Yazar (18:10) Deha Fikrinin Doğuşu (21:16) Prensleri Mahkemeye Vermek Sunan: Barış Özcan Yapımcı: Podbee Media Tüm bölümler, videolar ve daha fazlasına Podbee App ve podbee.com'dan ücretsiz olarak ulaşabilirsiniz. Bu bölüm reklam ve sponsorluk içerebilir.

The late South African pianist and composer Abdullah Ibrahim (aka "Dollar Brand") had a notable career, helped early on by Duke Ellington, and  acknowledged later by Nelson Mandela, who called Ibrahim “our Mozart.” In 2019, Abdullah Ibrahim became a National Endowment for the Arts Jazz Master, and he released an album titled The Balance, (which was his 70th or 71st LP, and that's not including his work as a sideman, which might push the total album credits to over 100!). The Balance is full of "lush horn lines, lilting melodies, and uplifting chord progressions, characteristic of Abdullah's own particular brand of Township Jazz," and on this episode of Soundcheck, which was recorded in August 2019, Abdullah Ibrahim performs some solo piano works, in-studio.  Setlist: 1.Dreamtime 2.Nisa 3.The Balance Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Join Alex and Dr. Annie Ditta as they giggle along with Mozart in Miloš Foreman's masterpiece Amadeus (1984)! The film follows Antonio Salieri, played wonderfully by F. Murray Abraham, as he recounts his adoration turned jealousy turned pity toward Wolfgang Amadeus Mozart, played brilliantly by Tom Hulce. The episode focuses on the role of creativity in creating such music that stands the test of time. The idea is that Amadeus is the full package when it comes to creative thinking, and while Salieri was creative, he is missing some aspects that were found within Mozart. And one of the best creative choices for this film: the laugh that Tom Hulce developed for Mozart! It truly is infectious... Please leave your feedback on this post, the main site (cinemapsychpod.swanpsych.com), on Facebook (@CinPsyPod), or Threads/Instagram (@cinemapsych_podcast). We'd love to hear from you! If you like this content, you might like my new Audible audiobook/course, A Psychologist Goes to the Movies, available now! It features six films that have been on this show, condensed into 25-30 min essays, researched and analyzed. Don't forget to check out our Paypal link to contribute to this podcast and keep the lights on! Don't forget to check out our MERCH STORE for some great merch with our logo and other designs! Legal stuff: 1. All film clips are used under Section 107 of Title 17 U.S.C. (fair use; no copyright infringement is intended). 2. Intro and outro music by half.cool ("Gemini"). Used under license. 3. Film reel sound effect by bone666138. Used under license CC-BY 3.0. Episode Transcription Go to this link to read a transcript generated by Whisper AI Large V3 Model. Disclaimer: It is not edited and may contain errors!

Is de muziek van vroeger echt beter dan die van nu? In ieder geval is die eenvoudiger geworden, zeggen recente studies. Data-analisten onderzochten duizenden liedjes uit de afgelopen eeuwen en ontdekten dat de complexiteit in de melodie afneemt. Is muziek daarmee slechter geworden? Hoe meet je dat? En waarom zou je dat eigenlijk doen?Heeft u vragen, suggesties of ideeën over onze journalistiek? Mail dan naar onze redactie via podcast@nrc.nlDe muziek die in deze aflevering te horen is:‘Grace' – Jeff Buckley‘Feel good Inc.' – Gorrilaz, De la Soul‘What is it about men. Live at North Sea Jazz Festival' – Amy Winehouse‘Altijd is Kortjakje ziek' – Loulou en Lou‘Komm, süsser Tod BWV478' – Johann Sebastian Bach door Leopold StokowskiGasten: Berend Nieuwhof en Peter van der PloegPresentatie: Karlijn SarisRedactie en montage: Rosa van ToledoProductie: Rhea StroinkZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Allison Charney is a Grammy® nominated soprano opera singer. She has performed dozens of leading roles with opera companies across the United States. she's been a soloist with major orchestras, and she has recorded worldwide. She made her debut at the New York City Opera in La Bohème. She also sung Puccini's Madam Butterfly and Tosca. She has sung Mozart's Figaro and Don Giovanni. Other performances include Offenbach's Tales of Hoffmann, Die Fledermaus, Carmen, La Traviata and The Merry Widow. She has performed with the Atlanta Opera, Florida Grand Opera, Utah Opera, Nashville Opera, and Opera Memphis among many others. My featured song is “March Of The Diplomats”, from the album Trippin' by my band Project Grand Slam. Spotify link. —------------------------------------ The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for Start Here Click here for All Episodes  Click here for Guest List  Click here for Guest Testimonials Click here for Pillars Click here for Robert's Project Grand Slam Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH ALLISON:www.preformances.org —------------------------------------ ROBERT'S NEWEST RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally Different CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- Audio production: Jimmy RavenscroftKymera FilmsConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com    

At age 16, violinist Ariana Kim made her debut with the St. Paul Chamber Orchestra and at age 24, she was appointed acting concertmaster of the Louisiana Philharmonic.  Ariana made her New York recital debut at Carnegie's Weill Hall during her doctoral studies at Juilliard and she is now a tenured professor at Cornell University.  Equally devoted to contemporary and long-established literature, Ariana held a 10-year position with the New York New Music Ensemble Ne(x)tworks and she is currently in her 19th season with The Knights. The 2024-2025 season brought a 6-performance residency at the Minneapolis Institute of Art, and she gave a rare performance of Bartok's Violin Concerto No. 1 at Jordan Hall in Boston with the Cornell Symphony.  Her solo album, (un)common thread, explores improvisation through the lens of Mozart and Beethoven sonatas alongside world folk music, with collaborators Roger Moseley (fortepiano) and Shane Shanahan (percussion) was recently released on Tiger Turn Records.  

High school wind players Samantha Pezacki, Camille Stephens, Nicolás Moen, Soren Hillesland and Tom Wang bond as they prepare music from Mozart.

Il existe de très nombreux mystères sur la mort de Mozart, des théories les plus sérieuses aux plus invraisemblables. Mais quel est le véritable récit de ses dernières heures ?Plongez dans les derniers jours de la vie du génie Mozart, alors qu'il compose son célèbre Requiem, une œuvre enveloppée de mystère. Franck Ferrand nous emmène dans l'atmosphère crépusculaire de l'automne 1791 à Vienne, où le compositeur, miné par la maladie, se bat pour achever cette commande énigmatique. Entouré de sa femme Constance et de sa belle-sœur Sophie, Mozart lutte contre le temps pour donner vie à cette partition qui semble hanter ses derniers instants. Entre les visites d'un mystérieux commanditaire et les délires fiévreux du compositeur, cet épisode captivant révèle les coulisses de la création d'un chef-d'œuvre qui a traversé les siècles. Un récit passionnant sur le génie et la tragédie qui ont marqué les derniers jours de Wolfgang Amadeus Mozart.Plongez dans l'histoire des grands personnages et des évènements marquants qui ont façonné notre monde ! Avec enthousiasme et talent, Franck Ferrand vous révèle les coulisses de l'histoire avec un grand H, entre mystères, secrets et épisodes méconnus : un cadeau pour les amoureux du passé, de la préhistoire à l'histoire contemporaine.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Bach, Beethoven und Mozart waren Meister einer Kunst, die heute in der Klassik kaum noch jemand beherrscht: der Improvisation. Warum die Spontaneität aus der klassischen Musik verschwunden ist - und was Helge Schneider damit zu tun hat.

Con David Gómez Peris | Viajamos hasta Viena, solo con billete de ida. Una ciudad donde los cafés guardan conversaciones de artistas y la música parece surgir de cada rincón. A través de la obra de Strauss, Mozart y Beethoven, nos adentramos en un retrato sonoro donde conviven el esplendor imperial y la memoria de generaciones enteras. Desde el Danubio Azul hasta la Oda a la Alegría, descubrimos cómo una ciudad convirtió la música en su forma de vida. Bienvenidos a Solo Billete de Ida, el programa de Clásica FM para viajar con la música como guía.

REDIFF - Grâce à la présence dans l'émission de Thomas Solivérès, qui incarne actuellement Mozart au théâtre Marigny dans "Amadeus", les questions sur le compositeur furent nombreuses. Et on a notamment appris qu'il avait été soutenu à un moment de sa vie par la Dame de fer ! Fous rires, réponses inattendues, nouvelles rencontres, redécouvrez cet été les meilleurs moments de cette saison 2025-2026 !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Bradley Gibson is starring as Hercules in Disney's Hercules at the Theatre Royal Drury Lane.Inspired by the 1997 Disney film, Hercules features music by Alan Menken, lyrics by David Zippel and a book by Robert Horn and Kwame Kwei-Armah. Directed and choreographed by Casey Nicholaw, with co-choreography by Tanisha Scott, the musical opened in the West End in 2025. Bradley previously played the role in the show's run at at Paper Mill Playhouse in New Jersey and is now reprising his performance for his West End debut.Bradley's starred as Simba in Disney's The Lion King on Broadway. His other theatre credits include: Fremont Ave. (Arena Stage and South Coast Repertory Theatre), A Bronx Tale (Broadway), Rocky (Broadway), Love's Labour's Lost (The Public Theater) and The School for Scandal (Red Bull Theater). His screen credits include Mid-Century Modern (Hulu), Disney's The Lion King at the Hollywood Bowl (Disney+), Partner Track (Netflix), Power Book II: Ghost (Starz), Kung Fu (The CW), Mozart in the Jungle (Prime Video) and Fire Island (Hulu). Bradley's music is available on streaming platforms. Recorded backstage at Theatre Royal Drury Lane, in this episode Bradley discusses his journey with Hercules and why this West End chapter is extra special. He also talks about being unapologetic about who he is, adapting to London life and lots more. Hercules runs at Theatre Royal Drury Lane until 5th September 2026. Visit www.herculesthemusical.co.uk for info and tickets.This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

Earlier this week I brought back the audio of one of my favorite conversations from the vault. Today, the full video version is here.If you missed the audio episode, here's the short version: in 2018, Mariana Ramirez became the first female Mexican percussionist to ever perform on a Broadway show, subbing Once On This Island. A year later she held the percussion chair on that show's national tour. Then came sub work on Head Over Heels (drumset book) and Ain't Too Proud, plus Off-Broadway runs of Merrily We Roll Along and Fiddler on the Roof in Yiddish.Today she holds the percussion chair at the hit Broadway show SIX.But watch this interview and you'll see the chair is just one piece of a much bigger career.Mariana began her studies at the National Conservatory of Music in Mexico City, where she won the percussion position at the Carlos Chávez Youth Orchestra, then earned her Bachelor of Music at the Mason Gross School of the Arts at Rutgers, picking up the Percussive Arts Society Thomas Siwe Scholarship along the way.She founded Percussion Quartet Excelsis — the first multinational all-female percussion quartet in the U.S. — which Jonathan Haas, head of the NYU Percussion Department, called one of the most innovative and exciting ensembles of this era of chamber music. Excelsis has performed twice on NPR's From the Top, at the Zeltsman Marimba Festival, Tippet Rise in Montana, and the Newport Classical Music Festival, and in 2024 the group received Chamber Music America's highest grant.Her recording credits include Platinum Girls and Song of Solomon on Broadway Records, and a concerto for bandoneon and violin with the Orpheus Chamber Orchestra. She has performed with the National Symphony of Mexico, the first all-women orchestra of Mexico, and premiered new works at Alice Tully Hall. She's appeared on The Late Show with Stephen Colbert and in Mozart in the Jungle. She won the FONCA grant for Mexican artists twice in a row, touring an original percussion-and-dance project across five Mexican cities. She teaches. She's endorsed by Sabian, Pearl, and Innovative Percussion.Traditional Mexican music. Symphony halls. Chamber ensembles. Television. Education. And eight shows a week on Broadway.Nobody builds a career like that by waiting for the phone to ring. Watch the conversation and you'll understand exactly how she did it — starting with a Santana concert in Mexico City when she was 11 years old, watching three percussionists light up a stadium and deciding, right there, what her life was going to be.Watch the full interview above.The audio version is available now on Apple Podcasts and Spotify if you'd rather listen on the go.And coming up next on the podcast: Spencer Inch. Stay tuned — that one's going to be worth the wait.For the complete roadmap to building a career in theater, grab Broadway Bound and Beyond at broadwayboundbook.com.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Chapter 1: The Trap of Practicing in a Vacuum (00:00 – 04:28) Anne introduces Tom Dheere and lays out the core mystery: why do highly talented voice actors stop booking? Tom references Jeff Colvin's landmark book Talent is Overrated, breaking down how elite performers across industries (like Tiger Woods or Mozart) rely entirely on the quantity and quality of deliberate practice. He warns that a massive trap for rising talent is practicing in a vacuum. Without a performance coach or objective professional director to provide constructive feedback, talent listen back to their files with subjective, untrained ears and end up cementing bad structural habits. Chapter 2: Reps vs. Experimentation (04:29 – 07:34) Anne highlights why she assigns rigorous homework to her students—not to cause stress, but to build operational muscle memory. She notes that the real learning happens in the quiet moments between sessions when a student forces themselves to analyze, record, edit, and upload a new script daily. Tom introduces a vital distinction between practice and experimentation. Practice is the mechanical repetition of reps. Experimentation means putting on a psychological "lab coat" to explore diverse emotional subtexts—such as shifting a line from frustration to envy or adoration—ensuring an actor doesn't get stuck in an undirectable rut. Chapter 3: The Intention of the Copywriter (07:35 – 10:21) Anne shares an anecdote from a recent group class where a copywriter validated her baseline training philosophy: every single word on a script was written with explicit intention and purpose. If an actor rushes into their home studio and records an audition without investigating why those specific words exist on the page, the resulting delivery sounds flat, stereotypical, and contrived. Chapter 4: The 500-File Slush Pile (10:22 – 12:47) Tom provides a sobering glimpse into the brutal logistics of a major casting call. When a director receives 500 auditions for a single corporate or commercial spot: The first 100 files are instantly deleted because they failed to follow basic filename formatting rules. The next 100 files are discarded because the talent slipped into a sterile, melodic announcer cadence (da-da-da-da-da-da) within the first five seconds. The final selection comes down to the actors who make strong, distinct, and logical choices right out of the gate, honoring the semantic hierarchy of the text. Chapter 5: Overworking the File vs. Seeking the Truth (12:48 – 15:35) Anne and Tom warn against letting the pendulum swing too far in the opposite direction. New voice actors frequently overwork an audition, recording multiple takes and over-analyzing their delivery until the final file sounds heavily manufactured and performative. Tom shares a brilliant rule from legendary audiobook narrator Johnny Heller: your primary job in every single genre of voiceover is to seek the text's truth. Whether you are reading a cinematic historical narrative or shouting about used cars for an auto lot, you must deliver a believable, raw human point of view. Chapter 6: The Demographic Filter & Fresh Batteries (15:36 – 22:14) The hosts tackle the reality of the demographic filter. A voice actor can turn in a technically flawless, award-worthy performance but still lose the job simply because their voice print doesn't line up with the specific targeted audience (e.g., Medicare recipients vs. baseball fans). Tom notes that modern buyers have fresh batteries in their "BS detectors" and demand peer-to-peer authenticity. Anne shares that her highest-booking auditions are consistently the ones she treated as an honest interaction, rather than trying to match an artificial melody she imagined hearing on the air. Chapter 7: The Meta-Data of the 3 Portals (22:15 – End) Tom delivers a masterclass in tracking business metrics, revealing that he completed exactly 1,492 auditions in 2024 and 1,659 auditions in 2025. By auditing his spreadsheets, Tom discovered a powerful pattern: 75% of his total voiceover revenue is generated by repeat business, while 25% comes from direct auditions. He shares how analyzing his booked auditions across his Three Portals (Representation, Online Casting, and Self-Marketing) allowed him to track shifting industry trends, noticing his bookings naturally migrated from bright, casual tones in 2024 toward heavy, chesty gravitas in 2025. Top 10 Boss Takeaways Talent is just the baseline: Possessing a natural storytelling gene means nothing if you fail to develop your technical skills. Focus heavily on mastering Colvin's principle of deliberate, high-quality practice. Stop listening with subjective ears: Practicing in isolation reinforces bad booth habits. Invest in an objective performance coach or a verified industry peer who will give you hard, honest structural feedback. Master the complete production sequence: Homework isn't just about vocal tracking. Use your practice hours to master script analysis, audio file editing, and data uploading so your operational pipeline becomes seamless. Put on the psychological lab coat: Avoid getting married to a single vocal delivery. Force yourself to run script experiments using contrasting emotional anchors—like shifting from clinical authority to friendly advice—to keep your performance fluid and directable. Honor the copywriter's intent: Copywriters spend hours fine-tuning text to hit specific marketing targets. Honor their labor by uncovering the specific purpose behind every noun, adjective, and punctuation mark before you hit record. Eliminate the mechanical announcer cadence: Buyers will tune you out within the first three seconds if you slip into a predictive, rhythmic vocal melody. Make a distinct, grounded acting choice right out of the gate. Adhere strictly to filename data specs: If a casting notice requests a specific label format (e.g., LastName_FirstName_Brand.mp3), follow it to the letter. Casting directors handle hundreds of files and will delete non-compliant data instantly without listening. Ditch the 15-take audition spiral: Over-analyzing your audio files destroys human naturalness. Cap yourself at three distinct takes, select the most honest file, delete the structural waste, and submit. Balance your Three Portals synergetically: Do not pass judgment on specific marketing avenues. Representation, Online Casting (Pay-to-Plays), and Self-Marketing exist in a synergistic loop—improving your output on one portal naturally sharpens your conversion rate on the others. Track your business meta-data to spot trends: Log every single audition, portal source, genre, and booking. Stepping back quarterly to track structural patterns will show you exactly which vocal signatures are driving revenue in the current marketplace.  

Um ouvinte a soprar no balão e a cabeleira do Mozart!

La battle continue dans Vulgaire le jeu ! Laura Domenge et Ugo Marchand s'affrontent toujours à coups de vannes pour gagner « Les pouvoirs extraordinaires de la musique » d'André Manoukian (HarperCollins). Et après une première manche remportée par Laura, la pression monte.Au programme de cette deuxième manche :

Ecoutez L'été avec Philippe Caverivière du 27 juillet 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

You can't stop comparing yourself to others, and treating it like a bad habit you should be able to quit only adds shame to the pile. Comparison is built into how humans figure out where they stand — it's the ruler your mind reaches for whenever a question has no objective measure. This episode reframes the whole problem: the goal isn't to silence comparison but to read it. The sting you feel is information, pointing at either a value that's genuinely yours or a borrowed metric you never actually chose — and learning to tell the two apart is the real work. What You'll Learn in This Episode Why comparing yourself is evidence you're a person, not evidence something is wrong with you Why the reflex is strongest on the parts of life that have no scoreboard — marriage, parenting, whether your work adds up How social media rigged an ancient instinct by pitting your whole life against everyone else's highlight reel What a 2014 study found about social media, upward comparison, and self-esteem — and why the evidence deserves honesty, not overclaiming The assimilation–contrast distinction: why the same success can inspire one person and flatten another A three-question framework — whose scoreboard, what's it pointing at, what's the smallest honest move — you can run in 90 seconds How realizing you don't want something can be one of the most freeing outcomes available Episode Timestamps [00:00] The four-second collapse: happy until you see someone else's life [01:15] Why you're wired to compare — and why willpower won't switch it off [02:30] Festinger's social comparison theory and the missing ruler [03:15] A story from the soccer field: feeling great until you get to know the other dads [05:00] Why it's worse now: a few hundred neighbors vs. thousands of highlight reels [06:30] The invisible price tag — debt, help, and unhappiness you never see [07:45] What the research actually says (and where it's honest to hedge) [08:45] Inspired or crushed? Assimilation, contrast, and the film Amadeus [10:40] Why "just stop comparing yourself" is useless and a little harmful [12:30] The three questions: scoreboard, signal, smallest honest move [14:30] Running the framework on career, marriage, and fitness [16:30] Three cautions so you don't misuse it [18:20] The 90-second practice for the week [19:40] Whose scoreboard are you playing on? — closing Episode Summary We tend to treat comparison as a personal weakness — something disciplined, well-adjusted people have supposedly grown out of. This episode starts by taking that weight off your shoulders. Comparing yourself to other people isn't a character flaw; it's evidence that you're human. Back in 1954, psychologist Leon Festinger laid out what he called social comparison theory: when there's no objective ruler for something, we reach for the nearest available one, which is other people. That's why comparison bites hardest exactly where it matters most and can least be measured — whether you're a good parent, whether your career adds up, whether your life means anything. Nobody agonizes over comparing their shoe size. They agonize over the things with no scoreboard. So if the reflex is this normal, why does it feel so much worse than it used to? Because the environment changed while the wiring didn't. For almost all of human history you compared yourself to a few hundred people whose whole lives you actually saw — the good mornings and the bad ones, the arguments, the ordinary Tuesdays. Now the comparison set is thousands of strangers, and you're not seeing their lives. You're seeing their highlight reels: the launch, not the eighteen months of doubt before it; the vacation, not the credit card statement after it. You're pitting your entire unedited life against the single best moment other people chose to publish. It was never a fair fight. Brett illustrates it with a moment from his own life — feeling genuinely good about working from home and being present for his kids, right up until a conversation with other dads at soccer practice made him wonder if he'd made the wrong call entirely. Nothing about his life had changed. Only the ruler had. There's real research here, handled with care. A 2014 study by Erin Vogel and colleagues, Social Comparison, Social Media, and Self-Esteem, found that heavier Facebook users tended to have lower self-esteem, with the link running specifically through upward comparison. The honest caveat: it's correlational, the effect runs both ways, and no single study settles it — but it lines up with what we already sense, that a steady diet of context-free upward comparison wears people down. The more interesting finding is that looking "up" doesn't automatically hurt. Psychologists distinguish assimilation ("that's possible, that could be me") from contrast ("that just proves how far behind I am"). Same person, same achievement, opposite effects. As the episode puts it, the sting isn't fixed — it has a dial, and the dial is your relationship with the comparison, not the comparison itself. That's why "just stop comparing yourself" is such bad advice. You can't — it's like telling someone to stop feeling hungry — and even if you could, you'd be throwing away real information. Envy is one of the most honest signals you have precisely because it slips past your rehearsed answers about what you're supposed to want and points at what you actually want and don't have. The move is to calibrate the instrument, not smash it. This is where the episode connects to building a clearer relationship with your own mind: instead of killing the signal, you read it with three questions. Whose scoreboard is this — did I ever choose this measure? What is the sting pointing at — a genuine value, or a borrowed metric? And what's the smallest honest move — one step toward it this week, or the quiet, freeing decision to stop keeping score? You can run it standing in your kitchen in about ninety seconds. The point isn't to feel less. It's to understand more — and to finally answer, for yourself, whose scoreboard you're actually playing on. Resources Mentioned Leon Festinger, "A Theory of Social Comparison Processes" (1954) — the foundational paper establishing that we evaluate ourselves against others when objective measures are missing. Human Relations, 7(2), 117–140. Vogel, Rose, Roberts & Eckles, "Social Comparison, Social Media, and Self-Esteem" (2014) — linked heavier Facebook use with lower self-esteem via upward comparison. Psychology of Popular Media Culture, 3(4), 206–222. Amadeus (1984) — used as an illustration of contrast comparison, with Salieri undone by proximity to Mozart's genius. Mind & Inner Life pillar page — https://www.optyoumize.com/mind-inner-life?hsLang=en Frequently Asked Questions Why can't I stop comparing myself to others? Because comparison isn't a habit — it's a built-in way of measuring yourself when no objective ruler exists. Festinger's social comparison theory showed we use other people as a yardstick precisely for the questions that can't be measured directly, which is why it's strongest on the things we care about most. Is comparing yourself to others normal? Yes. It's standard human wiring, not a sign of insecurity or weakness. The episode's phrase is that you're "running standard human software." What varies isn't whether you compare, but whether you let an unexamined comparison run your mood and your decisions. Why does social media make comparison worse? It distorts the inputs. You're comparing your whole, unedited life — including everything nobody else can see — against other people's curated highlight reels. Research associates heavy upward comparison online with lower self-esteem, and you can never see the invisible debt, help, or unhappiness behind someone's polished image. What's the difference between healthy and unhealthy comparison? It's the difference between assimilation and contrast. Assimilation turns someone else's success into proof that something is possible for you and pulls you forward. Contrast turns the same success into evidence of how far behind you are and pushes you down. The comparison itself is neutral; your relationship to it decides the effect. How do I deal with envy of someone's success? Treat the envy as data, not shame. Ask whose scoreboard you're using, whether it points to a value that's genuinely yours or a borrowed metric, and what the smallest honest move is. If it's real, take one small step toward it. If it's borrowed, consciously stop keeping score on it. How do I know if a goal is actually mine or something I absorbed? Look underneath the sting. If it points to something you genuinely care about and have been neglecting, it's a real value worth one honest step. If you realize you don't actually want the thing — you just don't want to look behind — it's a borrowed metric, and putting it down is a relief, not a failure. Keep Exploring If this episode resonated, these are worth your time: Mind & Inner Life (pillar page) — The home base for building a steadier relationship with your own thoughts and self-evaluation → https://www.optyoumize.com/mind-inner-life?hsLang=en Money & Financial Wellbeing (pillar page) — Because so much comparison is really about borrowed scoreboards of money and status → https://www.optyoumize.com/money-financial-wellbeing?hsLang=en Life Architecture — How the seven pillars fit together into a whole, intentional life → https://www.optyoumize.com/life-architecture?hsLang=en Enjoyed This Episode? The best way to support optYOUmize is to subscribe and leave a review — it takes about two minutes and makes a real difference in helping more people find the show. Apple Podcasts · Spotify · Amazon Music · YouTube Leave a Review →

Ecoutez L'été avec Philippe Caverivière du 27 juillet 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

W. A. Mozart: Ave Verum Corpus, K. 618Košice Teachers' ChoirCamerata CassoviaJohannes Wildner, conductorMore info about today's track: Naxos 8.578210Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

On this Summer Friday, we've put together some of our favorite recent interviews, including: The U.S. fertility rate dropped to another record low in 2025, according to provisional CDC data, marking a 23% drop since 2007. Jill Filipovic, attorney and author of several books, including OK Boomer, Let's Talk: How My Generation Got Left Behind (Atria/One Signal Publishers, 2020),  and Karen Guzzo, director of the Carolina Population Center and a sociology professor at the University of North Carolina at Chapel Hill, explain what's behind the decline, the current Republican and far-right conservative policy plans to try and reverse those trends and what actually works to incentivize a growing population. Alex Mayyasi, a longtime contributor to Planet Money and the author of Planet Money: A Guide to the Economic Forces That Shape Your Life (W. W. Norton & Company, 2026), and Mary Childs, a co-host of NPR's Planet Money, offers insight into making decisions on getting and spending money and why markets work the way they do. Manoush Zomorodi, host of NPR's TED Radio Hour and author of Body Electric: The Hidden Health Costs of the Digital Age and New Science to Reclaim Your Well-Being (Flatiron, 2026), talks about the impact on our bodies of our interactions with our phones and other tech -- and how to stay healthy and stay connected. Stephanie Coontz, director of research and public education at the Council on Contemporary Families and the author of The Way We Never Were; Marriage, a History; and now, For Better and Worse: The Complicated Past and Challenging Future of Marriage (Viking, May 26, 2026), offers historical context for the institution of marriage and examines the attitudes and policies that can strengthen it. Martha Nussbaum, professor of law and ethics at the University of Chicago and the author of The Republic of Love: Opera & Political Freedom (Oxford University Press, 2026), offers her analysis of opera as an arm of the Enlightenment, from Mozart to today.   These interviews were lightly polished up and edited for time, the original versions are available here: Why U.S. Birth Rates Are Dropping Planet Money: The Book Our Bodies & Our Tech Marriage in Context Opera and Democracy   Photo: Labor Day weekend crowds at Rockaway Beach, Queens, New York, September 2020. (Andre Carrotflower, CC BY-SA 4.0, via Wikimedia Commons). Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Emmy-winning showrunner John Strauss (Arcane, Mozart in the Jungle) on how TV writers get hired, survive notes, and pitch. Watch the full interview.