Podcasts about mozart

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.

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.

durée : 00:06:30 - par : Gabrielle Oliveira Guyon - Depuis près de 30 ans, Lyrique en Mer anime Belle-Île-en-Mer avec musique sacrée, opéras, récitals et concerts en plein air. Cette édition célèbre Mozart pour le 270e anniversaire de son Requiem, et acte la transformation de son académie de jeunes chanteurs en véritable "Opéra Studio". Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

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.  

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.

Antes de convertirse en el compositor admirado por generaciones y en el entrañable "Papá Haydn", Joseph Haydn fue un joven que debió abrirse camino con talento, disciplina y una inagotable capacidad de reinventarse. En este episodio de Música, cultura y sociedad recorremos sus primeros años para descubrir cómo se forjó la personalidad artística de quien transformó para siempre la música occidental. Una invitación a conocer al hombre detrás del mito y a entender por qué su legado marcó a contemporáneos como Mozart y al joven Beethoven, y sigue resonando hasta nuestros días

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.

durée : 01:28:45 - par : Aurélie Moreau - Virtuose passionnant, le pianiste Fazil Say est aussi un brillant compositeur. Son jeu très engagé reflète sa forte personnalité par son intense expressivité. Au programme aujourd'hui : Mozart, Liszt, Prokofiev, Debussy, Bach, Say… - équipe : Cécile Bonnet des Claustres, Etienne Rouch - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

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

Als Maria Anna Mozart 1751 das Licht der Welt erblickt, ist noch nicht klar, dass sie eine der außergewöhnlichsten Musikerinenn ihrer Zeit werden würde. Später werden sie und ihr ebenfalls genialer Bruder als Wunderkinder herumgereicht.

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.

On today's show, we learn that communities face consequences when it loses local journalism, and researchers have been working to put a dollar amount on what that actually costs taxpayers. We'll also spend time with the music of, and the music inspired by, Mozart's final completed symphony on Sound Perimeter. Plus, another trip to the Pryor Center archives.

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

L'effet Rosenthal - aussi appelé effet Pygmalion - est une prophétie auto-réalisatrice, c'est-à-dire que le fait de croire en quelque chose augmente les possibilités que cette même chose se réalise.  Il tire son nom du sculpteur chypriote de l'Antiquité, Pygmalion, qui s'était sculpté une statue d'ivoire représentant une femme. Il la trouvait tellement belle qu'il en est tombé amoureux. Après l'avoir embrassé, la statue de pierre s'éveilla à la vie. Autrement dit, Pygmalion a provoqué la réalisation de sa prophétie. Est-ce qu'il y a un lien avec la superstition ? Quel est l'effet psychologique qui en résulte ? Quel est l'intérêt de le connaitre ? Écoutez la suite de cet épisode de "Maintenant vous savez". Un podcast Bababam Originals, écrit et réalisé par Johanna Cincinatis. Première diffusion : août 2023 À écouter aussi : ⁠Qu'est-ce que l'effet de Halo ?⁠ ⁠Qu'est-ce que l'effet Matilda ?⁠ ⁠Qu'est-ce que l'effet Mozart ?⁠ Retrouvez tous les épisodes de "Maintenant vous savez". Pour rester informé et recevoir le meilleur de “Maintenant vous savez” chaque semaine, abonnez-vous à notre ⁠newsletter⁠. Suivez Bababam sur Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:28:33 - par : Aurélie Moreau - Anne-Sophie Mutter est une interprète magistrale de tous les répertoires. Elle mène une brillante carrière de violoniste, tout en restant attentive au développement de jeunes musiciens. Aujourd'hui : Tchaïkovski, Mozart, Beethoven, Dvořák, Adès… - équipe : Cécile Bonnet des Claustres, Etienne Rouch - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:23 - par : Aurélie Moreau - Le légendaire ténor Fritz Wunderlich, qui débuta à l'opéra en 1955, avait conquis un vaste public par sa voix douce et puissante, qui rayonnait avec chaleur. Il perdit la vie avant ses 36 ans. Aujourd'hui : Schumann, Mozart, Mahler, Lehár, Schubert… - équipe : Cécile Bonnet des Claustres, Benjamin Orgeret - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Music pervades the world. Whether it’s a product jingle, a movie soundtrack, the latest pop hit, or a Mozart symphony,... The post Third Tone: Getting in Tune with a Better You appeared first on WebTalkRadio.net.

Deux unes d'hebdomadaires français se répondent cette semaine. Sur chacune, le même visage, celui de Marine Le Pen. Et la même question : que se passerait-il si le Rassemblement national gouvernait réellement ? Les promesses du RN confrontées à la réalité L'Express met en scène Marine Le Pen assise sur un trône doré, entourée de chats, et titre : « Les 100 premiers jours du RN au pouvoir ». Avec ce sous-titre : « Enquête sur le programme qui plomberait la France ». Le dossier passe chaque promesse au tamis du réel. La mesure phare, le référendum sur l'immigration, se fracasse sur l'article 89 de la Constitution. Celui-ci encadre les révisions constitutionnelles et impose qu'avant tout référendum, le texte soit voté dans les mêmes termes par l'Assemblée nationale et le Sénat. Un verrou quasiment infranchissable pour le RN. L'hebdomadaire cite d'ailleurs un proche du dossier, désabusé : « Ce n'est pas la peine de faire croire aux Français qu'on peut consulter sur tout. » Quant à la promesse de Jordan Bardella de réduire de moitié la contribution française à l'Union européenne, ce serait « le fiasco assuré », tranche L'Express. Le parti se heurterait aussi à une difficulté très concrète : il ne parvient pas à recruter les hauts fonctionnaires dont il aurait besoin pour gouverner. Un proche de Marine Le Pen le reconnaît : « On a un vrai sujet sur les ressources humaines… On ne trouve pas de gens qui tiennent la route. » Le Pen-Bardella, un tandem moins solide qu'il n'y paraît Même préoccupation au Nouvel Obs, mais avec un autre angle. Sous le duo Le Pen-Bardella, ce titre : « Les failles cachées », accompagné d'une question : « Pourquoi leur ticket n'est pas si gagnant ». L'hebdomadaire décrit la fébrilité du tandem après la confirmation en appel de la condamnation de Marine Le Pen pour détournement de fonds publics. Jordan Bardella, écrit Le Nouvel Obs, « a vu s'envoler un bail virtuel de cinq ans à l'Élysée et doit se contenter d'un siège éjectable de Premier ministre ». Le vernis commence à craquer, notamment en raison des désaccords qui traversent le duo. Sur les retraites, Jordan Bardella affiche ainsi une posture favorable aux entreprises, tandis que Marine Le Pen défend un départ à 60 ou 62 ans. Un député confie à L'Express que des divergences de ce type, « il y en a des dizaines ». Le dossier du Nouvel Obs se referme sur cette formule d'un vieil ami de la famille : « Marine, quand elle est face à une difficulté, c'est là qu'elle devient vraiment une Le Pen ». Ce qui, note perfidement l'hebdomadaire, ne devrait pas rassurer l'extrême droite, car « les Le Pen ont toujours perdu ». Ces commerces vides qui servent à blanchir de l'argent Sur un tout autre sujet, Le Point publie une enquête sur le blanchiment d'argent. Elle commence par une balade dans Paris, rue de Bagnolet, devant un vendeur de kebabs désespérément vide à l'heure du déjeuner. Pourquoi cet établissement tient-il depuis des années ? Parce que, écrit Le Point, « ce commerce se moque éperdument de vendre des sandwichs » . Il s'agirait en réalité d'une officine de blanchiment. Son propriétaire disposerait d'une fortune en espèces d'origine inavouable, provenant par exemple du trafic de drogue, dont il lui faudrait justifier la provenance, quitte à inventer des clients. S'il déclare avoir servi 250 personnes à 50 euros dans le mois, le fisc n'a aucun moyen de le vérifier. Voilà pourquoi l'échoppe reste ouverte, même vide. La même mécanique serait à l'œuvre dans certains salons de massage, ongleries ou salons de coiffure. Des tickets de loterie gagnants peuvent même être rachetés afin de blanchir des flux financiers. Les autorités traquent ces pratiques, mais les délinquants continuent d'innover. La mort est-elle vraiment une mauvaise chose ? Une dernière question, presque philosophique : « Pourquoi mourons-nous ? » C'est le titre du livre du prix Nobel de chimie Venki Ramakrishnan, interrogé par L'Express. Et si la science permettait un jour de ne plus mourir ? Le scientifique raconte une conversation bien réelle, captée l'an dernier entre Vladimir Poutine et Xi Jinping, au cours de laquelle les deux dirigeants évoquaient leur intention de prolonger leur vie grâce à la recherche. Cette perspective l'inquiète. Jusqu'ici, explique-t-il, « on savait que les dictateurs finissent par mourir, laissant l'espoir que le régime suivant soit différent ». Mais « imaginez un monde où Trump, Poutine ou Xi vivraient pour toujours… Je ne suis pas sûr que ce serait un monde meilleur ». Pour Venki Ramakrishnan, la mort a aussi du bon : « Être mortel nous pousse à accomplir des choses. Mozart n'a vécu que 36 ans, mais il a eu le temps d'écrire 41 symphonies ». Ce dont l'humanité a besoin, conclut-il, ce n'est pas de permettre à quelques puissants de vivre pour toujours, mais d'offrir au plus grand nombre la possibilité de vivre longtemps et en bonne santé. Tout un programme.

Viviane Chassot gehört zu den renommiertesten Akkordeonistinnen überhaupt. Sie hat mitgeholfen, ihrem Instrument auch die klassische Musik zu erschliessen. Damit macht sie die klassische Musik auch jenen Menschen zugänglich, die sonst keinen Bezug zu ihr gehabt hätten. Geboren wird Viviane Chassot in Zürich. Sie wächst in Wollerau auf, wo das Akkordeon eine grosse Rolle spielt. Allerdings nicht im klassischen Bereich, sondern in Form eines Akkordeon-Orchesters, das es bis heute gibt. Viviane Chassot interessiert sich damals mehr fürs Ballett. Und zwar so sehr, dass es auch beruflich eine Option wird. Eine Ausbildung am Opernhaus Zürich wäre möglich. Da hört sie am Radio ein Stück von Johann Sebastian Bach. Gespielt auf einem Akkordeon. Das ändert alles. Vivianne Chassot ist Feuer und Flamme und entscheidet sich – weil in ihrer Familie nur ein Hobby erlaubt war – für das Akkordeon. Längst ist das Hobby Beruf. Viviane Chassot hat Werke von Haydn, Mozart und Rameau eingespielt und aufgeführt und so auch mit Grössen wie Simon Rattle oder Alfred Brendel zusammengearbeitet. Und sie verbindet Klassik, Jazz, neue Musik und Improvisation. Auch darin also eine Brückenbauerin. Von ihrer Pionierarbeit für das Instrument und ihrem differenzierten Zugang zum Klang, von ihrem Weg zum Erfolg und ihren Rückschlägen und Krisen, von ihrer Arbeit mit anderen Musikerinnen und Musikern und ihrer Liebe auch zur Rockmusik erzählt Viviane Chassot im Gespräch mit Gastgeber Michael Luisier. Die Musiktitel: - Meat Loaf: Alive - Joseph Haydn: Holde Gattin, dir zur Seite (Duett Adam&Eva), aus Die Schöpfung (Balthasar-Neumann-Ensemble; Thomas Hengelbrock, Leitung; Dorothee Mields, Eva; Locky Chung, Adam) - Aimee Mann / Rush: Time stand Still - Stefanie Heinzmann: Good - Johannes Brahms: 3. Allegro non troppo, aus Klavierkonzert Nr. 1 d-Moll op. 15 (Maurizio Pollini, Klavier; Berliner Philharmoniker; Claudio Abbado, Leitung) Der Einspieler: Josef Haydn: Presto, aus Klaviersonate e-Moll, Hob 16/34 (Viviane Chassot, Akkordeon) Erstausstrahlung: 23.11.2025

Yetenek doğuştan mı gelir, yoksa sonradan mı gelişir? Deha gerçekten var mı, yoksa kültürel bir efsane mi? Spekülatif'in bu bölümünde Emre Dündar, yetenek kavramını felsefe, nörobilim, sanat tarihi ve eğitim perspektifinden ele alıyor. Antik Yunan'dan günümüze yetenek kavramının dönüşümünü anlatan Dündar; Mozart, Beethoven, Picasso, Leonardo da Vinci, Nietzsche, Schopenhauer, Aristoteles ve Einstein gibi isimler üzerinden deha mitini sorguluyor. Programda çocuklarda yetenek nasıl anlaşılır, üstün yetenekli çocuklar nasıl değerlendirilmeli, genetik mi çevre mi daha etkili, yaratıcılık nasıl gelişir, mutlak kulak (absolute pitch), sanat eğitimi, müzik yeteneği, resim yeteneği, çalışma disiplini ve iradenin başarıdaki rolü gibi birçok konu ayrıntılı biçimde tartışılıyor. Learn more about your ad choices. Visit megaphone.fm/adchoices

Au festival d'Aix-en-Provence, impossible d'échapper à l'un des opéras les plus célèbres du répertoire : La Flûte enchantée de Mozart. Pour cette nouvelle lecture sous les étoiles du théâtre de l'Archevêché, le festival a réuni le chef argentin Leonardo García Alarcón et le réalisateur et vidéaste français Clément Cogitore, qui signe sa première mise en scène pour le festival d'art lyrique. Ensemble, ils transforment ce conte initiatique en un voyage de l'enfance à l'âge adulte, entre mémoire des guerres, promesses de progrès et quête d'humanité. À lire aussi«Accabadora»: la Sardaigne au cœur d'un opéra sur la fin de vie

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.

Beethoven als Hitverwerter: Für sein „Gassenhauer-Trio“ nimmt er einen Opern-Ohrwurm, den damals in Wien alle kennen. Heraus kommt Kammermusik mit Publikumsfaktor – leicht, witzig und trotzdem typisch Beethoven. Von Michael Lohse.

In Wien kommt Mozarts deutsches Singspiel "Die Entführung aus dem Serail 1782 zum ersten Mal auf die Bühne. Der Beginn einer beispiellosen Erfolgsgeschichte, über die Grenzen von Zeit und Raum hinweg.

Tess Martin is a Rotterdam-based film and visual artist working across animation, installation, and expanded cinema. Her practice explores how time, memory, and place can be revealed through handcrafted animations and site-specific works.Raised across shifting cultural contexts, her work reflects an ongoing interest in how belonging and identity are formed through perception, relation, and memory. Many of her projects exist simultaneously as films and installations, often incorporating sculptural elements and soundtracks to create intimate time-based experiences.Her work has been presented internationally in both film and exhibition contexts, including festivals, museums, and artist residencies across Europe, North America, and Asia.In this episode, we discuss Tess' film 1976: Search for Life.*Errata - I mistakenly identified Holst's Jupiter as the "Surprise" symphony when it's actually Haydn's Jupiter. Holst did write a Jupiter for "The Planets," but it isn't the same piece. Mozart also wrote a Jupiter, but it's not mentioned except here for clarity.

durée : 00:42:50 - Les émissions culturelles de France Culture - par : Chloë Cambreling - Avec "La Flûte enchantée" de Mozart, Clément Cogitore signe sa deuxième mise en scène d'opéra et fait ses débuts au Festival d'Aix-en-Provence, où il retrouve le chef Leonardo García-Alarcón et la soprano colorature Sabine Devieilhe. - équipe : Olivier Bétard, Zoé Couppé, Louis Cosnard, Alice Puydebois, Louan Chailleux - invités : Clément Cogitore Artiste et réalisateur, Sabine Devieilhe Soprano française (1985, Ifs - ), Leonardo García Alarcón Chef d'orchestre argentin Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

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

In 2018, Mariana Ramirez walked into the pit at Once On This Island as a sub and made history. She became the first female Mexican percussionist to ever perform on a Broadway show.Nobody handed her that moment. She built it.I first published this conversation in March of 2022, and it remains one of my favorites. Most of you weren't subscribed back then, so I'm bringing it back — the story is too good to leave in the archive.Who is Mariana Ramirez?Mariana is an NYC-based freelance percussionist who began her music studies at the National Conservatory of Mexico in Mexico City before earning her Bachelor of Music in Percussion at Rutgers University.That first Broadway sub gig at Once On This Island opened doors. She went on to sub Head Over Heels and Ain't Too Proud: The Life and Times of the Temptations, then hit the road holding the drums/percussion chair on the Once On This Island national tour. Off-Broadway, her credits include Merrily We Roll Along and Fiddler on the Roof in Yiddish, among many others. Today, she is one of just two female Mexican drummer/percussionists performing on Broadway.But her career stretches far beyond the pit.She has performed across Europe, Asia, and Mexico with Mexican traditional music bands, symphonic ensembles, chamber orchestras, and pop bands. You may have caught her on The Late Show with Stephen Colbert, in the series Mozart in the Jungle, or at the NBC Universal Upfronts at Radio City Music Hall.She also founded Percussion Quartet Excelsis, which Jonathan Haas, head of the NYU Percussion Department, praised as one of the most innovative and exciting percussion ensembles of this era of chamber music. Excelsis has performed twice on NPR's From the Top, at the Percussive Arts Society New York Weekend of Percussion, Brooklyn Bound with Sō Percussion, Zeltsman Marimba Festival, and Tippet Rise Music Festival in Montana. The group is endorsed by Sabian Cymbals.As a symphonic percussionist, she has performed with the National Symphony of Mexico, Orquesta de Minería, the first all-women orchestra of Mexico, Dartmouth Symphony, South Florida Symphony, New England Ensemble, Fairfield Orchestra, and most recently with The Dessoff Choir, premiering works for choir and orchestra at Alice Tully Hall.Traditional Mexican music. Broadway pits. Symphony halls. Chamber ensembles. Television. That range is not an accident — it's the career.In this conversation, we talk about:* The Santana concert in Mexico City that made an 11-year-old girl decide, on the spot, what she wanted to do with her life* Her path from the National Conservatory of Mexico to Rutgers to New York* What it took to break into Broadway subbing — and what it meant to be the first* How versatility across genres and settings keeps a freelance career aliveAnd when you're done with this one, keep an eye on your inbox. Up next on the podcast: Spencer Inch. You won't want to miss that conversation.For the complete roadmap to building a career in theater, grab Broadway Bound and Beyond at broadwayboundbook.com.Broadway Bound and Beyond isn't theory. It's twenty-six years on Broadway broken down into what actually works: how auditions really get decided, how reputation gets built or destroyed, how money works in this business, why versatility keeps you employed, and what it takes to last decades instead of one season. If you want the full career picture, the hardcover is at broadwayboundbook.com.If subbing is specifically your way in, the book gets you the mindset and the etiquette, but the Broadway Sub Playbook goes further. It's the actual system: the four-week prep formula, the show-day routine, how to take notes that stick, how to handle a pit you've never sat in before. It's built for one job — getting you ready for that call when it comes — and it's the resource a lot of working subs wish they'd had before their first one.Grab both at signaturebrandworks.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

I return to Countermelody‘s Salut à la France miniseries with a tribute to the Monaco-born French-naturalized tenor, Alain Vanzo (1923-2002). There was simply no more elegant a tenor (or any singer!) in the French operatic repertoire (and beyond) than Vanzo in his glory days in the 1960s and 1970s. I have chosen a setlist which presents him, in his core repertoire (Gounod, Massenet, Lalo), sounding truly exquise, but I also show him in music for which he was less-celebrated, but equally compelling, everything from Mozart, Rossini, and Puccini, to Mascagni and even Giordano, with even more delicious surprises along the way. Special thanks to my friend Olivier, for specifically requesting this episode. In preparing it, I became a Vanzo admirer to an all-out raving Vanzo fan girl. In listening to this, you may well find yourself in the same place that I did! Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Stephanie Childress is principal guest conductor of the Barcelona Symphony Orchestra, and she is a rising star on both sides of the Atlantic, equally at home in opera and in concerts.Born in London to a non-musical family, as a teenager she would often skip classes and spend her afternoons watching stage and orchestra rehearsals at the English National Opera, eventually dropping out of school to pursue musicology at the University of Cambridge, aged 16. Stephanie has received much critical acclaim over her interpretations of Mozart's operas, and she will make her Paris Opera debut in Spring of 2027 with Don Giovanni.She is passionate about cross-disciplinary projects, whether they involve cinema, theatre, dance, or a DJ set. Reimagining the concert experience lies at the heart of her artistic mission, and in June 2026 she collaborated with director Tom Morris on an exploration of Mahler's Symphony No. 1 at St John's Smith Square in London.In 2020, she gained international recognition following her second-prize win at the conducting competition ‘LaMaestra'. She previously undertook a residency at the Villa Albertine, the French Institute for Culture and Education, a division of the French Embassy in the United States. 

The Freemasons have existed for centuries, but are they simply a charitable fraternity—or one of the world's most influential secret societies? In this episode of The Rabbit Hole, we explore the documented history of Freemasonry, its rituals, symbols, and secret degrees before diving into the conspiracy theories that have surrounded the organization for generations. Did Freemasons influence the founding of America? Is Washington, D.C. filled with hidden Masonic symbolism? What do the All-Seeing Eye, the U.S. dollar, the Vatican, the New World Order, JFK, Jack the Ripper, and Mozart all have in common? Join me as we separate history from speculation and examine one of history's most mysterious organizations. Merch: https://momstercreations.com/product-category/rabbit-hole/ www.stayskeptical.com Wise Wolf Gold: https://www.wolfpack.gold/?ref=jvujkwgs Sources: https://docs.google.com/document/d/1jcwvgWpPz8GqLxNwpeJM7AHqBJL2O3JWVdE8ggKK7_8/edit?usp=sharing Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Duke and Duchess of Angoulême finally take centre stage... for possibly the shortest reign in world history. As the last surviving Bourbons of their generation, these mismatched cousins struggled to be the power couple the nation needed. ⚜️ Visit our website ⁠for episode images, score summaries and more! Contact us by ⁠Email⁠, or follow us on ⁠Instagram⁠, our ⁠Facebook Group⁠ or ⁠BlueSky⁠. Make sure you leave us a review on ⁠Apple Podcasts⁠, ⁠Spotify⁠ or wherever you listen. You can also support the show on ⁠Patreon⁠! Join the official Angry Mob and get access to ad-free episodes and bonus content, including our exclusive spinoff series rating the Royal Mistresses. ⚜️ Music used in this episode included a piano rendition of Mozart's "Lacrimosa", perfromed by Soviet pianist Maria Yudina in 1954. Battle Royale's intro/outro music is ⁠"Dansez" by Fasion⁠. Go check out more of their stuff ⁠here⁠. ⚜️ Details of our 5 categories used to rate the French Monarchs can be found ⁠on our website⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

On Friday, June 19th, the National Library of France announced the discovery of a 44-page notebook containing lessons and compositions written by Wolfgang Amadeus Mozart. The notebook, which belonged to one of the composer's pupils, yielded seven previously unknown works for flute and harp - a musical duo that is not well represented in classical music repertoires. Emi Ferguson, a flute player, composer, and host on WQXR discusses the significance of this discovery and what it may mean for musicians and the classical music world at large. Photo by Kenzo TRIBOUILLARD / AFP via Getty Images: An original fragment from a recently discovered piece of instructional music composed by Mozart. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week Dalanie and Katie discuss episode 5 of the Amadeus series on STARZ. IN THIS EPISODE: Video episodes are now available on YouTube! Subscribe here: https://www.youtube.com/@classicallyblackpodcast WE HAVE MERCH!: https://www.classicallyblackpodcast.com/store JOIN US ON PATREON!: https://patreon.com/ClassicallyBlackPodcast FOLLOW US ON SOCIAL MEDIA! https://linktr.ee/classicallyblack

This week we open at the Nixon Library, where JD Vance told a cheering room that the deep state took down Richard Nixon and that the same machine later came for Donald Trump. We trace who actually leaked Nixon to the press, why a younger right has turned him into a folk hero, and the part nobody in that building wanted to admit. Then we head to Kansas City, where Dutch World Cup fans fell in love with American abundance the same week Democrats confessed they had been hoping the tournament would fail. We close with a man the movement tried to erase. Walter Block joins us on getting purged by the Mises Institute over Israel, his defense of Javier Milei, and where the liberty movement actually lives now.

Schools have closed in France. A nuclear power plant near Toulouse has been forced to switch off a reactor. Nuclear power plants cannot operate correctly without enough water of the right temperature to cool down reactors. When these temperatures climb too high, the reactors need to be shut down to avoid environmental damage caused by hot water being discharged into local water courses. Also on the programme: the newly discovered manuscript containing composition lessons by Mozart; and the continuing woes of the Lincoln Memorial Reflecting Pool in Washington DC.(Photo: Young people cool off in the Fontaine de l'Observatoire fountain as temperatures rise in Paris Credit: Reuters/Abdul Saboor)

A Note from James:If I could tell my children to read one post of mine, it would be this post.Influence is how they will navigate a world of uncertainty.Robert Cialdini is the most influential person in the world. And by that I mean, he wrote the book Influence, which sold 3 million copies and defines the six critical aspects of all influence.Now he has a new book, Pre-Suasion, going 10x deeper into the concepts of persuasion. I got him on my podcast so I could ask the 1,000 questions I have.Small story from the book:If you name a restaurant “Studio 97” instead of “Studio 17,” people are more likely to tip higher.If you ask a girl for her phone number outside a flower store, triggering feelings of romance, she is more likely to give it to you than if you ask her outside a motorcycle store.And 500 other stories.The environment is just as important as what you say.Before the podcast began, I gave him a book as a gift: The Anxiety of Influence, a history of poetry.What would poetry have to do with influence and marketing?In all art, since the beginning of time, artists have built on the work of the artists of the generation before them.Beethoven depended on a Mozart to be a Beethoven. Picasso depended on a Cézanne. Without Michelson, there would be no Einstein.But poets, for some reason, would deny being influenced.“I never even read Ezra Pound,” shouted one poet at a critic.Poets want to be seen as original.Nobody is 100% original.This is the anxiety of influence.Almost all of our decisions, and even our creativity, are outsourced to the people around us who influence us: peers, teachers, religion, parents, bosses, etc.Our personality is our own particular mishmash of influences.How we deal with that anxiety, how we recognize the influences, learn from them, and build from them, is the birth of all of our creativity.Let me summarize the seven aspects of influence:Reciprocity: If you give someone a Christmas card, they will want to return the favor.Likability: Make yourself trustworthy. For instance, outline the negatives of dealing with you.Consistency: Ask someone for a favor. Now they will say to themselves, “I am the type of person who does James a favor.”Social Proof: If you are trying to get someone to do X, show them that “a lot of your peers do X.” For instance, if you are at a bar and you are a guy trying to meet women, bring your women friends and not your guy friends with you.Authority: “Four out of five dentists say…”Scarcity: “Only 100 iPhones left at this store!”Unity: You and I are the same because of location, values, religion, etc.I've used each of the above in business.They work.They will make you money.The entire purpose of language is to influence.We are not strong animals. We are weak.The language of influence saved us.Probably a word like “Run!” was the first word spoken.A word of influence.And it worked.I'm still running from the things I fear.So speak to influence.Don't speak to call a flower yellow.Speak to breathe spirit into an idea, to be enthusiastic, to convey emotion, to influence.This is the only way to have an impact with your unique creativity.I gave Robert the book as a gift — reciprocity — assuming we would have a great podcast.And we did.But then I thought later, I can't even remember how Robert got on my podcast.I highly recommend his book in the podcast and even in this post.As he got into his car after the podcast in order to go to his next interview, I started thinking:“Hmmm, who influenced who?”Episode Description:Robert Cialdini wrote the book on persuasion — literally. His classic Influence became one of the defining books on why people say yes, how decisions get shaped, and why the smallest cue in the room can change the outcome of a conversation.In this episode from the archive, James talks with Cialdini about Pre-Suasion, the idea that persuasion starts before the actual pitch. It begins with what people notice, what they feel, what is in the environment, and what frame has already been set before the first real ask is made.They talk about flower shops, restaurant names, voting booths, Warren Buffett's shareholder letters, Anwar Sadat's negotiation instincts, and the rabbi who helped save thousands of lives with one sentence. But the episode is not just about marketing. It is about how people make decisions under uncertainty — and how to use influence ethically, whether you are asking for a job, building a business, negotiating a deal, writing a sales letter, or trying to become more trusted.What You'll Learn:Why persuasion often begins before the message — and how small cues in the environment can make people more receptive.How Cialdini's original six principles of influence work: reciprocity, consistency, social proof, scarcity, authority, and liking.Why Cialdini added a seventh principle, unity — the feeling that “we are the same” — and why it can be even stronger than liking.When to use social proof versus authority, and how to decide which kind of evidence matters most in a given situation.Why admitting weakness first can build trust, and how Warren Buffett uses honesty as a persuasion tool instead of a liability.Timestamped Chapters:[00:00] Introduction and episode preview[01:25] Interview begins — James introduces Robert Cialdini and Pre-Suasion[03:12] The flower shop study: why context changes the answer before the question is asked[05:48] Valentine Street and the hidden power of unrelated cues[06:42] Wine stores, voting booths, and fluffy cloud mattresses[08:10] Are humans irrational, or are shortcuts necessary?[10:17] How the pictures on your wall can change what you write[11:36] The six — now seven — principles of influence[12:00] Reciprocity: the Hare Krishna flower example and the power of personalized gifts[16:40] Consistency: Anwar Sadat, Henry Kissinger, and giving people a reputation to live up to[19:30] Cialdini's undercover research with sales organizations[23:30] Social proof: medical no-shows, restaurant menus, and what happens when a message backfires[26:43] Social proof as feasibility: “people like me can do this”[29:07] Authority: when expert endorsement beats crowd validation[33:55] Why companies lose with better products when they fail to frame the decision properly[35:10] Building authority from zero by using honesty and scarcity[37:05] The Avis “We're number two” campaign and the trust value of admitting weakness[38:24] Warren Buffett's shareholder letters and the persuasive power of leading with mistakes[41:30] Unity: Cialdini's seventh principle of influence[44:24] The rabbi, the Japanese tribunal, and the sentence that saved a community[48:30] Applying unity in job interviews, dating, and negotiations[51:10] Loss aversion and how uncertainty changes persuasion[55:00] Why long sales letters can outperform short ones[55:30] Cialdini's practical framework: find what is true, direct attention to it, then make the case[59:00] Fake scarcity and why false urgency destroys trust[65:00] Closing thoughts on ethical influence and genuine specificityAdditional Resources:Robert Cialdini — Influence: The Psychology of Persuasion — Cialdini's classic book on the core principles of persuasion and compliance. Robert Cialdini — Pre-Suasion: A Revolutionary Way to Influence and Persuade — the follow-up book discussed throughout the episode, focused on what happens before the persuasive message itself. Berkshire Hathaway Shareholder Letters — referenced in the episode as a real-world example of trust-building through candor and weakness-first communication. Daniel Kahneman and Prospect Theory — Cialdini references the role of loss aversion and uncertainty in persuasion; Kahneman received the 2002 Nobel Memorial Prize in Economic Sciences for integrating psychological research into economic decision-making. Chiune Sugihara — the Japanese diplomat connected to the story Cialdini uses to explain unity and shared identity. The Avis “We're Number Two” Campaign — discussed as an example of turning a weakness into credibility by being honest before making the positive case.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Matt and Jordan review HBO’s Sundance acquisition Miss You Love You. And while Jordan finds it to be a handsome, moving, and well-acted "filmed play", Matt finds too modest and predictable. For Rec Seg, Matt revisits the grueling, ice-cold dread of corporate culture with a 2019 workplace thriller, while Jordan counters with a classic 1982 Sidney Lumet thriller packed with more twists, turns -- and smooches! Finally, Jordan takes the reins as Dungeon Master for a game called On a Wing and a Prayer. Chapters / Timecodes (Timecodes/chapters may not be precise with ads.) Intro (00:00:00–00:7:27) Miss You Love You (00:7:28–00:26:54) Rec Seg!: (00:26:55–00:43:49) Personalized Recs (00:43:50–01:04:34) Game: On a Wing and a Prayer (01:04:35–01:23:04) Wrap-Up & Credits (01:23:05–01:35:02) Show Notes Now Streaming on Bazooga - A Filmspotting: SVU Archive https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/ Matt's appearances on our sister podcast, The Next Picture Show, discussing Shogun Assassin and The Mandalorian and Grogu. https://www.filmspotting.net/nextpictureshow Pre-Order Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" (Coming October 6th): https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/ Feedback: Email us at feedback@filmspottingSVU.com Follow Matt on Blue Sky: @mattsinger.bsky.social Follow Jordan on Blue Sky: @jhoffman.bsky.social Follow the Show: https://www.instagram.com/superpulse/ https://www.facebook.com/FilmspottingSvuSee omnystudio.com/listener for privacy information.