Podcasts about mtsensk

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Nikolái Semionovich Leskov (Gorojovo, Orlov, 1851-San Petersburgo, 1895). Es uno de los escritores más heterodoxos y controvertidos de la literatura rusa. Destacan en su producción títulos como 'Vida de una mujer de pueblo' o la novela corta 'La pulga de acero'. 'Lady Macbeth de Mtsensk' se publicó en 1865. 

'El corazón de las tinieblas' de Joseph Conrad (Alfaguara) ya está en las estanterías de la Biblioteca de Hoy por Hoy. La novela la ha donado su traductor, el escritor colombiano Juan Gabriel Vasquez que además ha prologado esta última edición y reconocer haber leído la novela del autor británico , de origen polaco, más de 15 veces. Esta entrada se corresponde con la celebración en 2024 del centenario de la muerte de Joseph Conrad. Es el particular homenaje que le hacemos en Hoy por Hoy.  Pero Juan Gabriel Vasquez no solo nos ha traído a Conrad, también nos ha donado 'Robinson Crusoe' de Daniel Defoe (Alianza)  y 'Memorias de Adriano' de Marguerite Yourcenar (EDHASA) . Y como no traía ninguna de sus maravillosas novelas, Antonio Martínez Asensio ha querido dejar en los anaqueles de la Biblioteca de Hoy por Hoy una obra de Juan Gabriel Vasquez, la premio Alfaguara 2011 'El ruido de las cosas al caer' . Asensio también ha sumado además  cuatro títulos del nuevo Premio Cervantes Álvaro Pombo: 'Relatos sobre la falta de sustancia y otros relatos" en Cátedra y  y en  Anagrama tres más    'El metro de platino iridiado' , 'Donde las mujeres' y  'El exclaustrado'. La biblioteca de hoy iba mucho relecturas y ha salido uno de los libros con más lecturas de la historia "Cien años de soledad" de Gabriel García Márquez (Random House). Entre las novedades, Pepe Rubio eligió esta semanas dos colecciones 'Todo Azcona' (Pepitas de Calabaza) , que reúne toda la obra literaria del escritor y guionista riojano Rafael Azcona, y  'Todo Manolito' de Elvira Lindo (Seix Barral) , un estuche con todos los libros del gran personaje literario infantil y juvenil español de Carabanchel.  La última entrada en la blblioteca fue el libro protagonista del programa 'Un libro, una hora' de Antonio Martínez Asensio que es 'Lady Mcbeth de Mtsensk ' de Nikolai Leskov (Nórdica) . Y los oyentes apartaron a nuestra colección otro libro de Joseph Conrad "El espejo del mar" (Reino de Redonda) , con traducción de Javier Marías, y 'El niño que perdió la guerra' de Julia Navarro (Plaza y Janés) . 

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Fem taula de recomanacions culturals amb els nostres experts: Mariola Cubells, Artur Ramon, Bernat Ded

Nikolái Semionovich Leskov nació en Gorojovo, Orlov, en 1851 y murió en San Petersburgo en 1895. Es uno de los escritores más heterodoxos y controvertidos de la literatura rusa. Destacan en su producción títulos como 'Vida de una mujer de pueblo' o la novela corta 'Lady Macbeth de Mtsensk'. 'La pulga de acero' se publicó en 1881.

[@ 3 min] We go ‘Inside the Huddle' with children's book author Carolyn Sloan whose new picture book “Welcome to the Opera”, much to our surprise, does NOT use the story of Lady MacBeth of Mtsensk to introduce opera to the newest audiences... [@ 20 min] Then… We notch six more items from our Callas100 countdown, take a peek in the 'Listener Mailbag', and recap the music of Super Bowl LVIII... [@ 38 min] Plus… Is Sir Punch Slapiot Grabbeber ready to return to the stage? Find out in the Two Minute Drill... operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

On today's episode of The Metropolitan Opera Guild Podcast, we have the last of three episodes exploring how the operatic canon is being expanded, featuring Guild lecturer Matthew Timmermans. In this final episode, he will dive into how the Met's production of foreign works such as Shostakovich's Lady Macbeth of Mtsensk and Britten's Peter Grimes have expanded the boundaries of the canon. This marks our final podcast episode of this season, but we will return on August 9 with a brand new season! Until then, make sure to follow The Metropolitan Opera Guild, Opera News, and The Metropolitan Opera on your favorite social media platforms to keep up to date on all things opera!

Playwright Zinnie Harris, author Isabelle Schuler and New Generation Thinker Emma Whipday and Michelle Assay have looked at the murdering husband and wife of Shakespeare's Scottish play. Chris Harding hosts a discussion about the Macbeth story from Kurosawa and Shostakovich to a novel called Lady MacBethad and a play called Macbeth an Undoing. Macbeth - an Undoing by Zinnie Harris runs at the Lyceum Edinburgh from Feb 4th to 25th 2023. Throne of Blood Akira Kurosawa's 1957 film is part of a BFI season celebrating the director which runs across February. https://whatson.bfi.org.uk You can find Free Thinking discussions about Rashomon https://www.bbc.co.uk/programmes/b0b01vwk and Seven Samurai https://www.bbc.co.uk/programmes/b03yqt07 available on BBC Sounds Lady MacBethad by Isabelle Schuler is published March 2023. Calixto Beito's production of Lady Macbeth of Mtsensk is being staged at the Geneva Theatre this spring. Alice Birch's 2016 version of this story relocated to Yorkshire is a film available for rent. Michelle Assay is a musician and has researched Shakespeare. A collection called Free Thinking explores Shakespeare are all available to download as the Arts & Ideas podcast and on BBC Sounds https://www.bbc.co.uk/programmes/p06406hm Producer: Ruth Watts

With episodes nearing 350 in the STAGES archive, it's time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you'll be accessing precious oral histories from the people who were there, on and around our stages. In February 2020 we lost a great artist. Maureen Howard was a star across many platforms - radio, television, musical theatre, operetta and opera. STAGES was enraptured to be in her company and record a conversation of such extraordinary history, contagious humour and fierce reflection. Long after the recording stopped, Maureen entertained with anecdote and cheeky reminiscence. It was a thrill to be in her audience - even in her kitchen! A brief stint as a hairdresser lead Maureen Howard to a career in musical theatre and then Opera, after a customer enquired if she'd planned to do anything with her singing. Maureen had been a regular performer on Channel 7's Sunnyside Up in the early years of television in Australia. Roles in The Music Man, Man of La Mancha and The Most Happy Fella for the Garnett Carroll organisation quickly followed, allowing her to explore the dynamic quality of her voice. Proving that she had an instrument that could extend to Opera, she soon established herself as one of the country's leading voices, singing roles in Madama Butterfly, Tosca and La Boheme during the 1970's. In recent years she returned to Opera Australia to perform in Shostakovich's Lady Macbeth of Mtsensk and as The Witch in Humperdink's Hansel and Gretel. Her final performance was that of Old Heidi in Sondheim's Follies - in Concert, singing the ethereal ‘One More Kiss'. Maureen was a wonderful human being. She was also a very fine artist of whichever form she chose to interpret. Please enjoy this treasured memory from the STAGES archive. The Stages podcast is available from Apple podcasts, Spotify, and where you find your favourite podcasts. www.stagespodcast.com.au

Rått våld och råttgift, övertydliga sexscener och en stor dos fantasifull musik sådan är Dmitrij Sjostakovitjs opera Lady Macbeth från Mtsensk-distriktet. Men den kostade honom nästan hans karriär. Trots att hon har ett högst tvivelaktigt omdöme och är kallt beräknande väcker huvudpersonen Katerina Izmajlova både operapublikens och tonsättaren Dmitrij Sjostakovitjs varma sympatier. Stalin var dock inte lika imponerad och straffade Sjostakovitj med den ökända Pravda-artikeln "Kaos istället för musik". Programledaren och producenten Britta Svanholm Maniette och P2-mångsysslaren Johan Korssell pratar om operans intressanta bakgrund, om föreställningarna som har rört upp känslor och om musik som skildrar en orgasm.

Based on Nikolai Leskov's novella, Lady Macbeth of the Mtsensk District, and seen as one of the most significant operas of the 20th century, Shostakovich's work returns to the Met this season, featuring soprano Svetlana Sozdateleva and tenor Brandon Javonovich as the deadly Katerina and her lover. Today's episode features lecturer Harlow Robinson as he explores this story of adultery and murder.

Synopsis Decades after their deaths, Richard Strauss and Dmitri Shostakovich still remain politically controversial. Strauss worked in Nazi Germany under Hitler, and Shostakovich in the Soviet Union under Stalin. Was their art compromised by politics – and should that influence how we hear their music today? In July of 1935, Strauss pleaded with Hitler for a personal meeting to explain his resignation as President of Germany's office of musical affairs. He needn't have bothered: the Gestapo had intercepted a letter Strauss had sent to the Jewish writer, Stefan Zweig, the Austrian librettist of Strauss' latest opera. In that letter, Strauss mocked the Nazi's obsession with race and urged Zweig to continue to work with him, even if they would have to meet in secret. Strauss was asked to resign, and, anxious to avoid further trouble for himself and his family, appealed directly to Hitler, who never responded. Dmitri Shostakovich also ran afoul of his dictator when, in 1936, Stalin attended Shostakovich's opera “Lady Macbeth of Mtsensk” and hated it. The next day, Shostakovich was harshly condemned in the official press, and lived in terror for the rest of Stalin's reign, redirecting his music according to Party line and making obsequious political utterances whenever asked. Even so, many today claim to hear both terror AND heroic – if coded – resistance in Shostakovich's best scores. Music Played in Today's Program Richard Strauss (1864-1949) – Ein Heldenleben, Op. 40 (Daniel Majeske, violin; Cleveland Orchestra; Daniel Barenboim, cond.) London 414 292 Dimitri Shostakovich (1906-1975) – Lady Macbeth of Mtsensk excerpts (Scottish National Orchestra; Neeme Jarvi, cond.) Chandos 8587

This lecture focuses on one of the watershed moments of Soviet music history: the censure of Shostakovich's opera Lady Macbeth of Mtsensk, and the composer's path through reform to rehabilitation. The Shostakovich story was only the tip of the iceberg, and almost all Soviet composers had to adjust their aesthetic and style at this point, unless they were prepared to languish in obscurity and poverty.Shostakovich's Songs on the Texts of English Poets is performed by Bass Ed Hawkins and the pianist Ceri Owen.A lecture by Marina Frolova-Walker with performances from Ed Hawkins (Bass) and Ceri Owen (Piano)The transcript and downloadable versions of the lecture are available from the Gresham College website:https://www.gresham.ac.uk/lectures-and-events/shostakovich-trialGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.ukTwitter: http://twitter.com/GreshamCollegeFacebook: https://www.facebook.com/greshamcollegeInstagram: http://www.instagram.com/greshamcollege

Anna and Krista head back to Russia for this week's opera by Shostakovich. Why did Stalin hate it? Why did the ladies hate it? And what's John Malkovich doing in this week's news dump?

The Australian tenor, Gregory Dempsey, was born in Melbourne in1931. He originally trained as a baritone but made his debut as Don Ottavio in Don Giovanni in 1954 with National Opera of Victoria, also appearing as Turiddu in Cavalleria Rusticana and Pedro in d’Albert’s Tiefland. In 1955 he won the £1,000 Lever Award (a commercial radio award) and in 1956 was a grand finalist in the Mobil Quest.When the Elizabethan Trust Opera was formed in 1956 he took part in its season of four operas. The following season, he appeared in their productions of Tosca, La bohème and The Tales of Hoffmann, and in the 1958 season sang principal roles in Carmen, The Barber of Seville and Fidelio. He became a permanent member of the chorus for the Channel 9 television singers. 1960 found him singing Monostatos in The Magic Flute, the First Jew in Salome, Goro in Madama Butterfly and Rinuccio in Gianni Schicchi. During this season, Gregory Dempsey sang a matinee of Goro in Madama Butterfly, followed by Luigi in Il tabarro (replacing another tenor) followed by Rinuccio in Gianni Schicchi. Three roles, quite different roles, in one day!In Perth, he sang in both opera in a double-bill as Mundit – an aborigine – in the 1962 premiere of the Australian opera, Dalgerie and followed with Beppe in Pagliacci after interval. Gregory Dempsey joined Sadler’s Wells Opera in London in 1962 and this was his main UK base for the next fifteen years. His roles there and the Coliseum included Tom Rakewell, Peter Grimes, Jimmy Mahoney, Albert Gregor, Skuratov, Don José, Erik, David, Mime (Das Rhinegold and Siegfried) and the Shepherd in King Roger. He created the role of Boconnion in Richard Rodney Bennet’s The Mines of Sulphur after which one critic wrote “an heroic-villainous part of formidable challenge.” Dempsey appeared as Dionysus in the British premiere of Henze’s The Bassarids and the title role in the first British staging of The Adventures of Mr Brouček. Gregory Dempsey worked frequently with Scottish Opera, in roles including Britten’s Albert Herring, Quint and Lysander, as well as Florestan, Aeneas in The Trojans, David and Števa. Later, with Scottish Opera, he created the role of Bothwell in Musgrave’s Mary, Queen of Scots in 1977. He made his Covent Garden debut in 1972 as Števa, returning as the Drum Major in Wozzeck. In the USA he appeared in San Francisco from 1966, as Albert Gregor and Tom Rakewell.He returned to Sydney to become a member of Opera Australia singing David in Die Meistersinger von Nürnberg, Herman in Queen of Spades, Dimitri in Boris Godunov, Jimmy in The Rise and Fall of the City of Mahagonny, Mime in both Das Rheingold and Siegfried, Trin in La fanciulla del West, Valzacchi in Der Rosenkavalier and Bob Boles in Peter Grimes. With Victoria State Opera he sang Nero in L’incoronazione di Poppea, Il ritorno d’Ulisse in patria, The Magician in The Consul, Monostatos in The Magic Flute, Benoît and Alcindoro in La bohème, Incredible in Andrea Chenier, Prince Populescu in Countess Maritza, Ajax l in La belle Hélène, Jamie in My Fair Lady and Borsa in Rigoletto. With the Adelaide Festival, he was seen as Nero in L’incoronazione di Poppea, Mark in The Midsummer Marriage, Gregor in The Makropulos Case, Zinoviy Borisovich Izmailov in Lady Macbeth of Mtsensk and The Adventures of Mr. Brouček. His clear, perfectly tuned tenor voice was suited to a plethora of different repertoire and styles. From Monteverdi to the most difficult contemporary compositions, Gregory Dempsey made them relevant to every audience. His charm and ever-ready humour made him loved by every colleague.(Text: Brian Castles-Onion)The STAGES podcast is available from Apple podcast, Whooshkaa, Spotify and where you find your favourite podcasts. www.stagespodcast.com.au

This week our guest on the podcast is Danil Beglets. Danil Beglets is the first defendant in the ‘Moscow case' convicted to a real sentence to have been released on parole.The issues we discuss in the podcast include: What happened on 27 July 2019 during the protest over the barring of independent candidates from the Moscow City Duma elections? Why were you detained? What were the conditions in pre-trial detention? What was the trial like? What was the process of transfer to prison like? How has your experience changed you? Did human rights defenders help you? What were the conditions in the penal colony? Is religion respected in the penal colony? How do you evaluate the law enforcement and judicial systems in Russia? What are your plans for the future?This podcast is in Russian. You can also listen to the podcast on Rights in Russia [https://www.rightsinrussia.org/podcast-9/], SoundCloud, Spotify and iTunes. The music, from Stravinsky's Elegy for Solo Viola, is performed for us by Karolina Herrera.Sergei Nikitin writes on Facebook: “I went and found a box, tore off a piece of cardboard and wrote on it – I am NOT a slave. I went to my baracks, got dressed, took a mattress, took a bag of books and sat down in front of the ‘White House' [the administration building of Mtsensk Colony No. 7]. I put the mattress on the ground, set up the cardboard sign in protest that I am not a slave, sat down, and started reading a book.” Simon Cosgrove and I spent an evening with an unusual guest: Danil Beglets, a self-employed busnessman from Moscow's Mytishchi district, happened to be on Bolshaya Dmitrovka street on 27 July 2019 where he was caught up in the general confusion during a protest against the barring of independent candidates from the Moscow city Duma elections. He was released on parole on 2 November 2020, a man who has learned what life in a Russian prison is like. He cannot understand why the authorities perpetrate injustice. Danil, whom his former business partner described as ‘kind, open, sometimes too generous, because he helps people who don't always need to be helped,' joined the number of human rights defenders who became such by chance. Police cells, remand centres, prison trains, Penal Colony No. 2 in Kostroma region, Penal Colony No. 7 in Mtsensk, Oryol region… It's all behind him now. Danil lost his business, but he is full of energy: he plans to open a cafe, and now he wants to help people who suffer from the lawlessness behind barbed wire that is the Russian penitentiary system.Simon Cosgrove adds: If you want to listen to this podcast on the podcasts.com website and it doesn't seem to play, please download by clicking on the three dots to the right. A summary of some of the week's events in Russia relevant to human rights can be found on our website here.

From how to avoid those 'Sainsbury moments' to finding the truth in a scene, on Monday 5th October 2020, WFT member, writer, filmmaker and performer Mo O'Connell was chatting about all things acting with Line of Duty‘s Rochenda Sandall about her impressive career to date. About Rochenda Sandall Having grown up in the village of Goxill, nearby Grimsby, Rochenda Sandall studied acting at the Royal Academy of Dramatic Art (Rada). She made her mark in the theatre world with roles in the National Theatre's Pomona and Coriolanus and worked as a voice actress on BBC Radio 4's Lady Macbeth of Mtsensk. As well as this, Sandall has led performances at the Royal Court and Donmar Warehouse. While Sci-Fi fans might recognise Sandall from her recent part on Star Wars: The Rise of Skywalker (Episode IX), when it comes to TV's most influential shows, Sandall has worked on quite a few. These include Netflix's Criminal and Black Mirror. She has been a regular on the BBC's Love, Lies and Records and Line of Duty as well as on the Jimmy McGovern drama, Broken and Coronation Street. Most recently, she is about to appear in Steve McQueen's highly-anticipated series Small Axe. About Mo O'Connell Mo O'Connell is a professional filmmaker from Dublin, Ireland. She trained as an actor at the Royal Academy of Dramatic Art in London and received her BA in Acting in 2012. She also has a Higher National Diploma in Film Production from Ballyfermot College. With numerous acting credits under her belt, Mo has gone on to make several award-winning films, including the award-winning feature film SPA Weekend. She has just shot her latest short film, the Screen Ireland funded short, HUM, screening at the Cork Film Festival 2020. This online talk has been made possible thanks to the support of the Broadcast Authority of Ireland.

Breathing for singing can be so elusive. It should be natural (after all, girl gotta' breathe..), but somehow it can feel uncoordinated, disorganized, and messy. Mezzo, Chrystal E. Williams breaks it all down for us in practical steps to gain control of our breathing. She also drops some major TRUTH bombs about MINDSET in singing and how risk-taking NEEDS to be a priority. A Mezzo-soprano dominating the stages in roles like Rosina to Katarina in Lady Macbeth of Mtsensk, Chrystal E. Williams is making a name for herself on the international stages such as The Metropolitan Opera, Seattle Opera, and Birmingham Opera UK. Chrystal created the role of Rebecca Parker in Schnyder's Charlie Parker's Yardbird, runs a scholarship recital for classical singers needing funds to attend conservatory/university, and champions the creation of new music in her duo Forrópera. Hear Chrystal in Action: https://youtu.be/p5vpseV4vKw Donate to the Chrystal E. Williams Scholarship Fund, "An Evening with Chrystal E." : https://www.paypal.me/CEWScholarship Watch interview on YouTube: https://youtu.be/sdlkSwlpRP8 Voice with Julia's #techniquetalks is where we demystify conversations surrounding vocal technique with

Lady Macbeth of Mtsensk (1932) was more a personal than a political drama. All was well for the first two years after the opera's première in 1934, but shortly after Stalin went to a performance, it was vigorously condemned in the state press. The pretext was the opera's music, but it is more likely that the plot and especially the staging offended against the conservative turn in the social morality now promoted by the state. When a revival became possible, Shostakovich chose to rework the opera, renaming it Katerina Izmailova.A lecture by Marina Frolova-Walker, Visiting Professor of Russian Music 26 March 2019The transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/shostakovich-lady-macbeth-mtsenskGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

Dmitri Shostakovich composed his Symphony No. 4 in C minor, Opus 43, between September 1935 and May 1936, after abandoning some preliminary sketch material. In January 1936, halfway through this period, Pravda—under direct orders from Joseph Stalin[1]—published an editorial "Muddle Instead of Music" that denounced the composer and targeted his opera Lady Macbeth of Mtsensk. Despite this attack, and despite the oppressive political climate of the time, Shostakovich completed the symphony and planned its premiere for December 1936 in Leningrad. After rehearsals began, the orchestra's management cancelled the performance, offering a statement that Shostakovich had withdrawn the work. He may have agreed to withdraw it to relieve orchestra officials of responsibility. The symphony was premiered on 30 December 1961 by the Moscow Philharmonic Orchestra led by Kirill Kondrashin. Kathryn Cavanaugh - Executive Director and Conductor CMD Grand Opera Company of Venice Orchestra

Marina Frolova-Walker recommends recordings of Shostakovich's Lady Macbeth of Mtsensk

Christopher Cook discusses Shostakovich's Lady Macbeth of Mtsensk on stage at the London Coliseum.

Mariella Frostrup talks to Taiye Selasi about her debut novel Ghana Must Go with. Gillian Cross discusses her new book After Tomorrow and dystopian futures for children. And Lady Macbeth of Mtsensk - writer and music broadcaster Stephen Johnson on the novel behind the famous opera.

Can you guess this piece? Here's a hint: The truth comes out. . .

Can you guess this piece? Here’s a hint: The truth comes out. . .

Robert Chandler reads from his newly-published translation of Nikolay Leskov's Lady Macbeth of Mtsensk on which the libretto of Shostakovich's opera is based. See acast.com/privacy for privacy and opt-out information.