Podcasts about musica viva

Described as a renegade opera star and cabaret artist, Ali McGregor began her career as a principal soprano with Opera Australia before running away to the circus to become an award winning cabaret performer. Nominated for an ARIA in 2014, she went on to win both a Green Room and Helpmann Award in 2015. She's one of the most in-demand performers on the international festival circuit and is a former artist director of the Adelaide Cabaret Festival, performing at venues from Glastonbury and Carnegie Hall to the Sydney Opera House.She's currently collaborating with the Signum Saxophone Quartet and Musica Viva for Hollywood Songbook, a concert tour exploring the turbulent first half of the 20th Century through the music of emigres such as Kurt Weill and Hanns Eisler, with performances until 17 May.In this interview, Ali traces her journey from performing at Opera Australia to creating innovative, genre-blending shows. She discusses the artistic freedom and creative risks involved in moving from traditional opera to the cabaret scene, and shares insights into her creative process plus her role as an artistic director. The conversation also touches on her efforts to make classical music more accessible and engaging to broader audiences through inventive programming and theatrical flair.

A French pianist applauded for his versatility and wide-ranging repertoire, Cédric Tiberghien has an openness to explore innovative concert formats and dynamic chamber music partnerships. He's recorded over 20 solo albums and over 15 collaborative ones, has played concerts and recitals in all parts of the world, with the Berlin Philharmonic, Orchestre National de France, the London Philharmonic, the Sydney Symphony, among many others. He was fascinated by a grand piano when he was 2 years old, and started lessons as soon as he was able. In this conversation, Cédric takes us through his approach to music and performance with joy and excitement, and his musical selections demonstrate the full breadth of his approach to his craft. Cédric Tiberghien performs The Cage Project with Musica Viva at the Sydney Festival on 23-25 January, before heading to Canberra and Melbourne.

Fuchs, Jörn Florian www.deutschlandfunkkultur.de, Fazit

In this episode of The Valley Today, host Janet Michael introduces Dr. Bryce Hayes, the artistic director of Winchester Musica Viva and a professor of music at James Madison University. Dr. Hayes provided insight into the impressive history and offerings of Winchester Musica Viva, a professional-level chamber choir based in the Winchester area. He shared that the organization has been around for 44 years, serving as a high-level musical ensemble consisting of singers with significant musical expertise, many of whom are choir directors or professional musicians. The choir auditions annually to ensure maintaining a high standard of excellence. One of the key topics discussed was their upcoming performance of Charles Dickens' 'A Christmas Carol'. This unique 75-minute presentation involves a narrator delivering Dickens' original text, supported by the choir providing background music and atmospheric effects. It's a challenging piece for an acapella choir but promises to be an enchanting experience for the audience, filled with holiday spirit. Dr. Hayes emphasized how Winchester Musica Viva aims to broaden its audience by performing in various non-traditional venues, including their spring program inspired by Leonardo da Vinci, which will take place in venues outside of churches. Dr. Hayes also shared his excitement about providing musicians with a space to continue making music at a high level, thus helping to stave off professional burnout and maintain their skills. This fosters a rich community of musicians from recent graduates to seasoned professionals. For those eager to catch the upcoming 'A Christmas Carol', performances will be held in Shepherdstown and Winchester, with tickets available at winchestermusicaviva.org. Dr. Hayes encouraged listeners to purchase their tickets early as both shows are expected to sell out, It's a perfect early Christmas gift or outing for families and colleagues to take in some high-quality choral music and holiday cheer. Follow Winchester Musica Viva on social media, both on Facebook and Instagram, to stay updated on their concerts and other events. 

Violist Irina Morozova has a long and distinguished career, including as principal viola of the Australian Chamber Orchestra, the Australian Opera and Ballet Orchestra, and guest principal of the Sydney Symphony and Hong Kong Philharmonic Orchestras. But it's as part of the Goldner String Quartet that she and her fellow musicians Dene Olding, Dimity Hall and Julian Smiles, have found a significant place in the hearts of Australia's classical music lovers. Long been considered Australia's pre-eminent string quartet, the Golders are considered among the best quartets in the world. They've recorded 19 albums covering repertoire from Beethoven to Peter Sculthorpe and have performed internationally including at London's Wigmore Hall and at the Biennale in Venice. But this year, their 30th season, is also their last, with their farewell concert taking place this Sunday 8th of December at the Verbruggen Hall of the Sydney Conservatorium of Music in association with Musica Viva. Irina talks about the significant place the Golden String Quartet has had in her life and heart. The music she shares is done so with thoughtfulness and passion, and her story is inspiring.

On the first segment of this week's show, Barry sits down with Karen Eriksson-Lee, the founder of 'Living By His Grace Ministries', a nonprofit designed for women.  Karen shares her story of turning a personal trauma into providing hope, encouragement and healing to women and their families.  (www.dancingbyhisgrace.org)  On the second half, Charles Dickens' "A Christmas Carol" presented in song and narration by Winchester Musica Viva.  Artistic Director Dr. Bryce Hayes invites families to this special presentation of a classic that is sure to warm the heart of any 'Ebenezer'!  (www.winchestermusicaviva.org) 

Roda del Mundo este un cerc în jurul cărora se strâng muzicienii, fix în mijlocul lumii. Este o întâlnire unică pentru artiști din culturi și repere geografice diferite, cântând și improvizând într-un singur ritm. Este o petrecere ce nu ține cont de timp, gen și altfel de categorii și etichete, totul pentru un moment viu, irepetabil. Pentru a explica ce înseamnă Roda del Mundo, vorbește Yomira John (Panama), Cyril Atef (Franța/Iran), iar din partea Șaraimanic, Larisa Perde. Yomira s-a născut în Panama, are o descendență haitiană, este ambasadoarea a muzicii din Caraibe, specializată în calypso, tamboreras și salsa. Fiind parte din corul Musica Viva, s-a făcut remarcată în toată lumea pentru calitățile sale vocale, un adevărat ambasador al muzicii panameze. A câștigat un premiu Grammy cântând alături de Petrona Martinez."Prima oara când am cântat, nu îmi mai aduc aminte, dar îmi aduc aminte că primul strigat, după ce mama mi-a dat naștere, a fost puternic și mama a spus că toate infirmierele care lucrau în ziua aia au spus că voi ajunge cântăreață. A fost un moment important, pentru că în final, asta am devenit, o cântăreață. Dar astăzi nu sunt numai o cântăreață, sunt o femeie care se exprima într-o multitudine de forme artistice, și chiar dacă nu cânt, rămân în aceasta mișcare artistica, organizând, orchestrând." spune Yomira John.Cyril Atef este unul dintre artiștii care acceptă oricând fuziuni muzicale, așa se face că îl vedem în România trăind muzica alături de lăutarii noștri, venind după colaborări internaționale cu Bumcello, M, Alain Bashung sau Salif Keita, ca să dau numai câteva exemple. "Deci nu avem nevoie de o piesă muzicală așa cum o știe toată lumea, pentru că muzica poate fi de fapt invizibilă, internațională, un limbaj universal și te poți doar conecta bătând din palme și cântând o melodie." spune Cyril Atef.Cyril și-a adus contribuția importantă la albumele Bumcello, la realizarea albumului 'Lunatico' alături de Gotan Project, în turneu cu artistul francez M, sau combinând trance-ul african cu influențe electro-groove în CongopunQ. Dar astăzi Cyril înseamnă Papatef."Papatef a pornit acum 6 ani. Mie îmi place să fac oamenii să danseze și să fie totul intens. La fel ca la Roda, doar că durez mai mult de atât. De 6 ani cânt într-un club din Paris și pornesc la 10 seara, termin pe la 2 dimineața. Sunt disc-jockey dar nu în stilul celor care doar învârt de butoane, eu sunt un DJ de modă veche, folosesc CD-uri. Încă mai printez cd-uri pentru a avea cu mine cele mai bune piese de dans, pentru că îmi place să dansez, și după ce pun muzica, cânt peste piese la baterie și samplez din percuția mea, samplez secvențe din piesa și toată aceasta transformare înnebunește lumea. Îmi place că audiența nu e formată din snobi parizieni, sunt oameni de toate vârstele ba sunt și mulți tineri care vin la aceste petreceri, iar eu am 56 de ani, și ceea ce văd îmi dă speranță. Îmi da speranță pentru că muzica mea este plăcuta de tineri. " spune Cyril Atef.Despre cum a început povestea sa în seria de petreceri Roda del Mundo de la București, Cyril Atef spune:"Am cunoscut-o pe Larisa Perde printr-un prieten comun, Guts, și ușor a început să-mi vorbească despre acest concept. Știam că impresariază lăutari, pe Caliu, Taraf de Haidouks, oameni pe care îi iubesc și îi urmăresc de mulți ani, și mi-a vorbit despre Roda și am spus, hai! Să o facem! Și prima dată am cântat aici anul trecut în noiembrie, și a fost o energie sălbatică."Pe lângă a fi promotor al muzicii lăutarilor României, Larisa Perde prin Șaraimanic a promovat femeia în randul lăutarilor, gândind proiectul numit 'Lautaresele', proiect care merge în aprilie 2025 în Franța, cap de afiș la festivalul Welcome în Tziganie."Proiectul Lautaresele, am pielea de găină când zic asta, a pornit așa, parcă din neant. Țin minte că am avut o discuție cu Rona Hartner care visa să aibă un taraf de lăutari femei și m-am uitat la ea și mi-am spus 'mamă ce nebună e! cum să facă un taraf numai din femei, când eu abia găsesc o voce și toată lumea îmi spune că nu mai sunt femei care cântă.' Și când am pornit proiectul, treptat au început să vina femeile. Ele nu au venit până atunci pentru că nu au fost chemate. Și am găsit și femeie care cântă la țambal și la vioară, și la acordeon, și sunt convinsă că o să găsesc și la bas. Acest proiect a fost o super-surpriza pentru că de la primul concert a fost sold-out, cu femei pe afiș care nu erau cunoscute, și îmi dau seama că tot ceea ce fac eu, că mă tot întreb, cum de am ajuns să fac asta? Sunt niste chemări ale unor oameni, zeci, sute, mii poate, care au o nevoie interioara, o chemare, un strigat, și atunci ajung la mine și eu trebuie să le pun împreună. Pentru mine a fost o surpriză chemarea noastră la Festivalul 'Welcome în Tziganie' din Toulouse, care e un festival de renume pentru cultura gipsy. Cred că muzica nu e neapărat pe genuri, cred că până la esență, e umanitate. Vorbim despre mișcări ca să vindecăm ceva, și pentru mine Lautaresele este un proces de vindecare ale unor femei care nu avut contextul în care vocile să le fie auzite." spune Larisa Perde.

Inside this Episode with host, Mitch Hampton Christoph Schülren, one of the guests to whom I was so kindly introduced by pianist Beth Levin, will be the first time on our podcast that a musician whose professional career is devoted to the art and practice of conducting has been featured.  I thought it indispensable for many reasons to feature him: musical conducting is ubiquitous in many styles of music yet is perhaps little understood or appreciated outside of the worlds of music.  I was most happy with our discussion: he is quite articulate and able to get into the details of his craft in a relatable way to a most general audience and he has quite an intriguing biography as can be gleamed from our episode. Christoph Schlüren's Biography  “Uniting the well-known with the unknown” Conductor, Music Researcher,Musical Mentor, Music Editor, Program Adviser, Chamber Music, Coach  Christoph Schlüren studied with the late Sergiu Celibidache from 1981 to 1996. Other strong influences were the composers Anders Eliasson, Pehr Henrik Nordgren, and Per Nørgård, the musicians Paul Zukofsky, Sándor Végh, Murray Perahia, Juha Kangas, and many more.  As a conductor (Symphonia Momentum, Deutsche Kammerakademie Neuss am Rhein, St Michel Strings Mikkeli) Christoph Schlüren led first performances of works by Peter Michael Hamel and Anders Eliasson. Some of the lesser established composers he particularly favors are:Heinz Tiessen, Eduard Erdmann, Anders Eliasson, Jean-Louis Florentz, Paul Büttner, John Foulds, Vittorio Giannini, Nicolas Flagello, Giorgio Federico Ghedini, Peter Mennin, Bernard Stevens, Felix Draeseke, Heinrich Kaminski, Max Butting, Reinhard Schwarz-Schilling , Heinz Schubert, Philipp Jarnach,  Emil Bohnke, Matthijs Vermeulen, Harald Sæverud, Georges Migot, Eduard Tubin, Vagn Holmboe, Douglas Lilburn, Robert Simpson, Per Nørgård, Boris Tishchenko, Ketil Hvoslef, Pehr Henrik Nordgren, Tristan Keuris, Halvor Haug, Peter Michael Hamel, John Pickard, Håkan Larsson, and Juan José Chuquisengo.  He combines their works in dramaturgically correlated programs with the established great composers. Read more about conducting He is a music researcher, author and journalist as well (Frankfurter Rundschau, Gramophone, Tempo, Fono Forum, Crescendo, Neue Musikzeitung, Bayerischer Rundfunk, Deutschland Radio, etc.) and works as main editor and researcher on the rare music scores series Repertoire Explorer. Christoph Schlüren wrote the first basic introduction into Musical Phenomenology as it was created as a universal approach to music by Sergiu Celibidache developing further on. As a program adviser he collaborates with orchestras and conductors (Bavarian Radio Symphony Orchestra, Münchner Philharmoniker, Ostrobothnian Chamber Orchestra, Arcos Orchestra, Münchener Kammerorchester, etc.; Lavard Skou Larsen, Juha Kangas, José Serebrier , Mario Venzago, Christoph Poppen, Israel Yinon, etc.), and created commissions for the Musica Viva series of the Bavarian Radio Symphony Orchestra (Anders Eliasson's Fourth Symphony, Cynthia Lee Wong, and Onute Narbutaite, as well as arranging the world première of Artur Schnabel's Third Symphony). Read more essays and evaluations Christoph Schlüren works as a musical mentor with soloists and  chamber ensembles (Rebekka  Hartmann, Ottavia Maria Maceratini, David Frühwirth, Masha Dimitrieva, Omar Rahbany, Margarita Oganesjan, etc.). Read more about mentorship Links to more about Mr. Schlüren's beautiful works  www.christophschlueren.com #classicalmusic #music #opera #bartok #germany #progrock #rock #symphony #classicalmusic #orchestra #strings #brass #woodwind #percussion #piano #concert #theatre #fritzbrun #bethlevin #mozart #whiplash #donellis #tar #cateblanchett #leonardbernstein #brunowalter #frankzappa #contemporarymusic #modernmusic #romanticism #navarrastringquartet #igorstravinsky #antonbruckner #vienna #schoenberg #webern #serialism #tonality #meoldy #harmony #rhythm #baroque #earlymusic  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

A composer who Australian Stage has dubbed “the most interesting voice in Australian composition for many years”, Harry Sdraulig has risen to prominence through a string of collaborations with renowned artists and organisations. He's composed for The Australian Chamber Orchestra, Musica Viva, the Australia Ensemble, as well as the Sydney, Melbourne, Queensland, Tasmanian, and Canberra Symphony Orchestras, and has also been commissioned by cellist Yo-Yo Ma. Harry shares some great insights and perspectives on the life a composer, and he introduces some of the compositions which have featured at key points of his career. Harry Sdraulig's new work, Triptych, is performed by the Omega Ensemble as part of their Concertante tour, 1-5 October in Sydney, Melbourne and Newcastle.

The Choir of King's College, Cambridge, undoubtedly ranks as one of the world's best-known choral groups. Founded in the 15th Century, the choir's main function is to sing in the daily services in King's College Chapel, but it has long since spread its wings far broader than that, generating worldwide fame through a wealth of recordings and an extensive international tour schedule. Daniel Hyde has been Musical Director since 2019. His distinguished career as an organist and choral conductor includes roles at Jesus College, Cambridge, at Magdalen College, Oxford, and most recently at Saint Thomas Church in New York. Daniel talks about the long history and significance of the choir, and how he came to be inspired by this timeless musical tradition. The Choir of King's College, Cambridge, tours Australia thanks to Musica Viva, from 21 July to 5 August.

Kirill Gerstein is called one of the most outstanding pianists of our time. The Gilmour Prize, which he has won twice, is awarded exclusively to brilliant pianists for their deep musicality and charisma. As part of Musica Viva's Australian tour, pianist Kirill Gerstein plays a new and varied solo program. - Кирилла Герштейна называют одним из самых выдающихся пианистов современности. Достаточно сказать, что Премия Гилмора, которой он был удостоен дважды, присуждается исключительно гениальным пианистам, за глубокую музыкальность и харизму. В рамках австралийского турне Musica Viva пианист Кирилл Герштейн играет новую и разнообразную сольную программу.

In unserem heutigen ZOOM geht es um einen großen Komponisten und einen Menschen mit einer faszinierenden Geschichte: Karl Amadeus Hartmann. Den Nazis hat er sich konsequent verweigert, mit seiner Musik hat er Partei ergriffen für die Opfer. Deshalb musste er jahrelang im Verborgenen komponieren. Nach dem Krieg wurde Hartmann Gründer der Musica Viva des Bayerischen Rundfunks. Doch kurz bevor Deutschland durch die Alliierten befreit wurde, in den letzten Kriegstagen im April 1945, wurde Hartmann Zeuge einer erschütternden Begebenheit.

Es ist das Jahr 1945. Der Krieg ist vorbei. Kurz darauf gründet der Komponist Karl Amadeus Hartmann die "musica viva", eine Konzertreihe für zeitgenössische Musik. 1949 übernimmt der noch jungen Bayerische Rundfunk deren Organisation. Anlässlich des 75. Geburtstags des BRSO blickt Markus Vanhoefer zurück auf eine Sternstunde früher "musica viva"-Jahre.

On this episode Barry welcomes two guests: Dr. Bryce Hayes, Artistic Director with Winchester Musica Viva invites listeners to a story-telling concert of Charles Dickens' "A Christmas Carol". The Godfrey Miller Center is one of the recipients of a Chain of Checks grant and the Executive Director, Jason Gottschalk explains the 'Congregate Affordable Meal Program'. Barry also shares the childhood, magical mystery of Christmas catalogs.  

Miles Mullin-Chivers began playing the cello at the age of just 4, and has been taught by some of this country's most accomplished musicians. He's performed with the Sydney Symphony Orchestra, including as guest principal cellist, and with the Opera Australia Orchestra. He's played with the Canberra International Music Festival, the Four Winds Festival, Musica Viva, Selby and Friends and Live at Yours, and has also appeared as a soloist. He will be one of many Australian musicians from around the world coming together as the Australian World Orchestra, under the baton of their founder and artistic director, Alexander Briger, to perform Mahler's Symphony no 9, at the Arts Centre in Melbourne on 22 November and at the City Recital Hall Angel Place on 24 November. Miles tells some light-hearted stories about his career development, from his somewhat unorthodox education to his time as a Sydney Symphony fellow, and shares his choices of music and musicians that have inspired him through that journey.

A multiple award winning German violinist, composer and arranger, Florian Willeitner integrates classical, jazz and folk music from all over the world, and has founded the production company Pool of Invention in pursuit of that goal. He's touring Australia with the Vision String Quartet, thanks to Musica Viva. Conductor Jeffrey Tate described the quartet as “the most perfect expression of human behaviour", and Der Tagesspiegel praised them as “amazingly vivacious, vivid and electrifying". Florian has an incredibly refreshing take on making music, and his passion for reinvention and ensuring music remains relevant for modern audiences is infectious. Florian Willeitner and the Vision String Quartet will perform at the City Recital Hall on October 7 and 9.

Rencontre avec le violoncelliste français Jean-Guihen Queyras pour sa première tournée en Australie avec Musica Viva

Koto master, Satsuki Odamura was sent to Australia more than 30 years ago, by prominent Koto figure of Japan to spread the traditional Japanese instrument in the county. She has pioneered awareness of the ancient Japanese instruments through her performances in Australia, collaborating with various instruments and musical genres. She will be touring the country as part of Musica Viva in August, joined by French cellist Jean-Guihen Queyras, and young Australian cellist James Morley. - 来豪当時、箏をオーストラリアで広めることは「ミッション・インポシブル」ではないか、と感じていた小田村さん。楽器やジャンルを超えたコラボレーションにより、日本の伝統楽器をオーストラリアで広めることに成功しました。

I have in-depth conversations with a fascinating diversity of musicians worldwide, and I hope these personal stories highlight the incredible breadth and depth of a life in music for listeners everywhere. Like all my episodes, you can listen to all this on your favourite podcast player, watch the video, and read the transcript, all linked here: https://www.leahroseman.com/episodes/kavisha-mazzella Kavisha Mazzella is a renowned Australian songwriter and singer who has won both an ARIA award and an Australia Day Honor. We talked about her work through the lenses of social justice, community building, and the search for deeper meaning and connection. This is a personal, in-depth conversation with lots of beautiful singing in both Italian and English. You can use the detailed timestamps to jump to a song or a topic, but I encourage you to listen through and listen to the stories behind “The Fearless Note”. I'm an independant podcaster who needs my listeners help to keep this huge project going; every dollar helps: https://ko-fi.com/leahroseman Kavisha Mazzella website: https://www.kavisha.com/ Timestamps: (00:00) Intro (02:09) Italian songs, “The Joys of the Women” (10:34) Italian song: “Mamma Mia Dammi Cento Lire” (15:13) emigration, Kavisha's family's migration stories (25:13) Kavisha's childhood and music, I Papaveri, “The Joys of the Women” (28:23) Kavisha's projects with refugees, children, Musica Viva (33:14) song: “My Brown Yarra” by Frank Jones, dealing with sadness and trauma through music (35:26) I really do need my listeners' help: Ko-fi link in description (35:42) learning confidence as a performer (38:29) intro to “Philosophy Man” (40:42) “Philosophy Man” by Kavisha Mazzella (45:39) teaching singing to community groups (52:11)experiences of the benefits of meditation, Empty Sky album and performances (59:32) art school and why Kavisha turned to music full-time (01:04:08) ARIA award Fisherman's Daughter, Mick Thomas (01:05:23) intro to Sing for No One, Sing for Everyone (01:07:24) Sing for No One, Sing for Everyone by Kavisha Mazzella (01:11:07) Kavisha's song-writing process and influences from Italian songs (01:15:18) Linsey Pollak (01:17:42) Women's Anthem “Love and Justice” commission The Victorian Women's Trust (01:23:21) great advice from Liam Clancy, Luka Bloom, Ronan Ó Snodaigh (01:28:36) “The Fearless Note” by Kavisha Mazzella (01:34:41) the importance of community --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Lindy Hume, AM, is one of Australia's leading directors, acknowledged internationally for fresh interpretations of a wide variety of repertoire, and for progressive artistic leadership of a number of Australian arts organisations, including Opera Queensland (2012-2017), Sydney Festival (2010-2012) and Perth International Arts Festival (2004-2007). She was also the first Artistic Director of West Australian Opera (1992-96), Artistic Director of Victoria State Opera and then OzOpera (1996-2001). Lindy has most recently been Creative Director of the Four Winds Easter Festival, Bermagui and is currently Artistic Director of the 10 Days on the Island Festival, Tasmania 2019-2023. In 2021 Lindy Hume was appointed a Member of the Order of Australia for significant service to the performing arts, particularly to opera. After a hugely successful year in 2021, during which Lindy directed The Marriage of Figaro for New Zealand Opera, Madama Butterfly for Welsh National Opera and The Barber of Seville for State Opera South Australia, 2022 saw her continuing in her roles as Creative Director of the Four Winds Easter Festival and Artistic Director of the 10 Days on the Island Festival, Tasmania as well as developing a new staged presentation of Schubert's Die Winterreise for Musica Viva's national tour of the work with Alan Clayton, which was also seen at the Barbican, in London. Lindy's production of Rigoletto was also presented by Opera Philadelphia. As a director, Lindy has created more than 50 major productions across Australasia including Carmen, Don Giovanni, Fledermaus, La Périchole and Les pêcheurs de perles (Opera Australia), Orlando, Trouble in Tahiti and The Barber of Seville (OzOpera), Alcina and Orpheus in the Underworld (West Australian Opera), Carmina Burana (State Opera of South Australia/The Australian Ballet), Idomeneo (Pinchgut Opera), Rigoletto and Lucia di Lammermoor (NBR New Zealand Opera). European productions include La bohème (Deutsche Staatsoper in Berlin, which was telecast live throughout Europe), Tolomeo (Musiektheater Transparant in Belgium), Radamisto (Handel Festspiele and Opernhaus Halle), A Streetcar Named Desire and Norma (Opera Theatre St Gallen in Switzerland), Così fan tutte (Guildhall School of Music and Drama in London), and Albert Herring and Phaedra (Aldeburgh Festival in the UK). She made her American debut in 2004 directing The Barber of Seville for Houston Grand Opera, returning in 2009 and 2013 to direct Rigoletto and Die Fledermaus respectively. Her production of “Cenerentola” was produced by NBR New Zealand Opera in 2015 and presented by Oper Leipzig and in San Diego in 2016. Lindy is recognised as a champion of new Australian work across a range of genres. As Artistic Director of OzOpera, she commissioned the MDTV project, award-winning screen operas with ABC TV, and major Australian works including Paul Grabowsky's Love in the Age of Therapy and Richard Mills' Batavia (with Opera Australia and the Melbourne Centenary of Federation Festival). In 2007, she commissioned and directed the world première of Richard Mills/Timberlake Wertenbaker's opera The Love of the Nightingale. New Australian work, a focus on contemporary Indigenous culture, the development of a distinctive regional identity and celebration of local communities have been fortes of her tenure as Artistic Director of the Perth International Arts Festival 2004-2007 and as Festival Director of the 2010-2012 Sydney Festival. Lindy has just directed a new production of Mozart's Idomeneo, in a co-production between Victorian Opera and Opera Australia. The production has just finished a season at the Palais theatre in Melbourne and will be seen in Sydney from February 20th to March 15th in 2024.It will be a part of the thrilling Summer season programmed by Lindy as Guest Creative Director. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts.

Brett Weymark is one of Australia's foremost choral conductors. Since 2003 Brett Weymark has conducted the Sydney Philharmonia Choirs throughout Australia and internationally. He has also conducted the Sydney, Adelaide, Queensland, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic and productions for WAAPA, Pacific Opera and OzOpera. He has performed with Opera Australia, Pinchgut Opera, Australian Chamber Orchestra, The Song Company and Musica Viva. He studied singing and conducting at Sydney University and the Sydney Conservatorium of Music and continued conducting studies with Simon Halsey, Vance George, Daniel Barenboim and Sir John Eliot Gardiner, amongst others. His performances have included Bach's Passions and Christmas Oratorio, the requiems of Mozart, Verdi, Duruflé and Fauré and Orff's Carmina Burana. He is champion of Australian composers and has premiered works by Matthew Hindson, Elena Kats-Chernin, Peter Sculthorpe, Ross Edwards and many others. He has prepared choirs for Sir Charles Mackerras, Zubin Mehta, Edo de Waart, Vladimir Ashkenazy and Sir Simon Rattle. He has recorded widely for the ABC and conducted film scores, including Happy Feet, Mad Max Fury Road and Australia. Recent highlight performances include Sondheim's Sweeney Todd (West Australian Opera), Paul Stanhope and Steve Hawke's Jandamarra (SSO), Michael Tippett's A Child Of Our Time (Adelaide Festival) and Carousel (State Opera South Australia). In 2001, Brett was awarded an Australian Centenary Medal. In 2021, he was awarded the Medal of the Order of Australia for services to the performing arts through music. Brett is passionate about singing and the role that music plays in both the individual's wellbeing and the overall health and vitality of a community's culture. Music can transform lives and should be accessible to all.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Nicolas Fleury has been playing the French horn since he was 8. He's been principle horn of the Aurora Orchestra, the Royal Philharmonic Orchestra and the Bournemouth Symphony Orchestra, and made guest appearances with a slew of orchestras around the world including the Sydney Symphony and London Symphony Orchestras. He's performed live on the BBC, appeared alongside conductors like Charles Dutoit, Neville Marriner and John Gardiner, and he's now settled in Australia as principal horn with the Melbourne Symphony Orchestra. He's made regular appearances with organisations around the country including Musica Viva and the Omega Ensemble. In this conversation, recorded while Nico was in Sydney to perform with the Omega Ensemble, Nico speaks with incredible passion about his craft and the amazing experiences he's had working with the world's top orchestras and conductors.

One of the most sought-after violists of his generation, Timothy Ridout is appearing this season as soloist with the BBC Symphony Orchestra, the Tokyo Metropolitan Symphony and the Netherlands Chamber Orchestra, amongst many others. He's worked with conductors like Andras Schiff and Christoph Eschenbach, and collaborated with Stephen Isserlis and Joshua Bell. At 27 years of age he's already recorded five albums and featured on countless others. This interview was recorded while Timothy was at his home in London, but he is now in Australia to perform thanks to Musica Viva, along with flautist Adam Walker and harpist Anneleen Lenaerts. In this conversation, Timothy talks about his journey of discovery with this often neglected instrument, his time in the recording studio and collaborating with some of the greats, and shares some lovely musical works which all have stories behind them.

As chief conductor and artistic director of the Orchestre Symphonique de Longueuil in Montreal, violinist Alexandre Da Costa's multi-dimensional artistic vision has brought him increasing renown. He's made 25 albums across a number of recording labels, and he's performed as a soloist with the world's leading orchestras, such as London's Royal Philharmonic which included performing as part of Elizabeth II's Platinum Jubilee celebrations last year, as well as playing with the Berlin, Montreal and Toronto Symphony Orchestras, to name just a few. He's been a regular visitor to Australia, performing with the likes of Musica Viva and the West Australian Symphony Orchestra, and he's back in Sydney now to perform his acclaimed and genre-bending Stradivarius BaROCK, plus concerts in Melbourne. Alex talks about his childhood, which involved playing professional tours internationally at just 11 years old, his passion for music education including how the study of music improves all aspects of your being, and his refreshing take on the breaking of genre boundaries.

Tahu Matheson has worked for Opera Australia since 2007. He became Head of Music for the company in 2017. He studied piano with Kalle Randalu in Germany, and with Oleg Stepanov and Natasha Vlassenko at the Queensland Conservatorium, where he completed his Master of Music. He is a frequent accompanist for international artists including Teddy Tahu Rhodes, Anthony Dean Griffey, Yvonne Kenny and Emma Matthews. His Opera Australia repertoire includes - Conductor of Tosca, L'elisir d'amore, The Magic Flute and The Pearlfishers at Sydney Opera House; Aida on the Beach and tours of Don Giovanni. Tahu was Assistant Conductor of the Ring Cycle, Bliss, Falstaff, Otello, Rigoletto, Carmen, Capriccio, Of Mice and Men, The Barber of Seville, Lucia di Lammermoor, Werther, The Magic Flute, La Bohème, La Traviata, Madama Butterfly, La sonnambula, Orpheus in the Underworld, A Streetcar Named Desire, Billy Budd and Don Giovanni. For other companies Tahu has conducted Kurt Weill's The Seven Deadly Sins for Victorian Opera. This work was paired with the premiere of a new work by four Australian Composers, of the same name, but with updated subject matter and music. Tahu has conducted many concerts including a concert performance of a new opera, Nelson, by Stuart Greenbaum in London, and a performance of Beethoven's Ninth Symphony for 4MBS Radio in Brisbane. He recently made his debut with the Queensland Symphony Orchestra. Tahu performed the Rachmaninov Preludes Op 23 and the world premiere of Ten Concert Studies for Piano, written for him by Edwin Carr (New Zealand International Festival of the Arts – recorded on CD for international release by Kiwi Pacific Records). Tahu has been a soloist in the major concert venues throughout Australia and New Zealand, toured for Musica Viva and Chamber Music New Zealand, and been broadcast on New Zealand and Australian radio and television. Through November and December Tahu Matheson conducts Opera Australia's brand new, Sydney-exclusive open-air event, Opera on Cockatoo Island, with a gritty new production of Bizet's much-loved Carmen, giving visitors a thrilling opportunity to experience world-class opera under the stars with stunning harbour views. STAGES caught up with Tahu at his place of work - Opera Australia - to discover what's in store for audiences attending Carmen, and the gateway through which he discovered his passion for telling big stories on the Operatic stage. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

durée : 01:00:09 - Festival d'Automne : Emilio Pomarico, chef d'orchestre - par : Thomas Vergracht - A l'affiche du Festival d'Automne prochainement, Emilio Pomarico est un chef d'orchestre qui fait vivre la musique contemporaine dans toute sa diversité : à la programmation d'ensembles spécialisés européens, des disques du festival Musica Viva, du festival de Donaueschingen et du label Kairos. - réalisé par : Céline Parfenoff

To paraphrase The New York Times – the words “superstar” and “mandolinist” have not traditionally been seen together in the same sentence. However that has changed thanks to Avi Avital. He's the first mandolin soloist to be nominated for a classical Grammy Award and is a driving force behind the reinvigoration of the mandolin repertoire. Over 100 compositions have been written especially for him, including 15 concertos. He's played in all corners of the world, and has released 5 albums plus an EP on the Deutsche Grammophon label. Avi talks about his remarkable journey with the mandolin, from his early lessons in southern Israel from a teacher who was self-taught on the instrument, to having the chutzpah to dig into his own savings to record his first album in Berlin. He introduces a number of works that he especially wanted to share for this conversation, including a performance from one of his mentors, which is not available in Australia. He is currently touring Australia with Musica Viva. Photo: Guy Hecht

Australian violinist Charmian Gadd reflects on her 80 years, from her origins in the bush at Ourimbah on the NSW Central Coast, to her love affair with her teacher, the extraordinary Richard Goldner, who invented a zipper for the war effort

Jan Swafford's music has been played around the country and abroad by ensembles including the symphonies of St. Louis, Indianapolis, and the Dutch Radio; Boston's new-music groups Musica Viva, Collage, and Dinosaur Annex; and chamber ensembles including the Peabody Trio, the Chamber Orchestra of Tennessee, and the Scott Chamber Players of Indianapolis. Over the years his music has evolved steadily, but in all its avatars his work is forthrightly expressive, individual in voice, and steadily concerned with lucidity of texture and form. Beneath the surface there are contributions from world music, especially Indian and Balinese, and from jazz and blues. The titles of his works—including Landscape with Traveler, From the Shadow of the Mountain, and The Silence at Yuma Point—reveal a steady inspiration from nature. The composer views his work as a kind of classicism: a concern with clarity and directness, pieces that seem familiar though they are new, that aspire to sound like they wrote themselves. Also a well-known writer on music, Swafford is author of biographies of Ives, Brahms, and Beethoven. His journalism appears regularly in Slate. He is a long-time program writer and preconcert lecturer for the Boston Symphony and has written program notes and essays for the orchestras of Cleveland, Chicago, San Francisco, and Toronto. We discuss his article on AI and music The Intelligence of Bodies: https://van-magazine.com/mag/jan-swafford-beethoven-x/ --- Support this podcast: https://anchor.fm/artssalon/support

We've handed the megaphone to Hywel Sims, the CEO of Musica Viva Australia. Musica Viva is one of the leading providers of music education in Australia, as well as one of the world's leading presenters of chamber music. Passionate about creating a vibrant musical future for Australia's artists and audiences, Musica Viva nurtures both established and emerging talent from around the country and is committed to learning from their First Nations friends and colleagues on how to most effectively include the many peoples and languages that, together, comprise the oldest living culture in the world. You'll learn; the history of indigenous music in Australia how to center live music in education what really is chamber music? To learn more visit and follow https://www.musicaviva.com.au/ (Musica Viva) This is a https://my.captivate.fm/growthnetworkpodcasts.com (Growth Network Podcasts) production. Our producers are Lynz Floren, Sari Weinerman, and Jeffrey Morris. Production Manager is Maura Murphy Barrosse. Original music, sound design, and mixing by Nicolas Fournier. Promotional support from Marsha Ord. Website by Nick Brodnicki. Mentioned in this episode: PodVoices.help In partnership with podvoices.help we encourage listeners to visit www.choice.crd.co for resources on safe abortion access.

durée : 00:11:47 - Wolfgang Rihm, Vol. 39 (Live) - Musica Viva - Wolfgang Rihm est l'un des compositeurs contemporains les plus importants de notre époque. BR-Klassik et "musica viva" célèbrent le 70e anniversaire de ce compositeur influent. C'est notre disque contemporain de la semaine !

Fuchs, Jörn Florianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

For this edition of the podcast, Paul Kildea sits down with pianist, composer and jazz enthusiast Paul Grabowsky. The pair begin by talking about Paul Grabowsky's heritage and the fascinating history of his father, which includes forming a swing band in Townsville during World War II.

Welcome to Season 2 of the podcast. In this episode, Paul Kildea speaks with oboist Celia Craig. They discuss Celia's musical background, the intricacies of playing the oboe, orchestral life, as well as her experiences as someone with chromesthesia.

Episode 8, 2021: Vanhal's Double Bass Concerto Friday 5 November 2021 Since the mid-18th century, the double bass has evolved considerably. One of the most prolific composers that are known for his Double Bass Concerto is Bohemian-born Johann Baptist Vanhal. During his time, there were different models of the double bass which made the degree of standardisation for the instrument a lot lower than it is today. Vanhal was writing for double basses tuned in the Viennese style, which is significantly different from the current-day style of tuning. The difference in configuration was one of the biggest challenges Ben Saffir (double bass, NSW) had to overcome when he was preparing for his first ANAM recital in 2020. In this episode of ANAM Radio, Ben talks to ANAM Music Librarian Phil Lambert about everything we need to know about the double bass and his own double bass created by Romeo Gabute in the Philippines in the mid-20th century. The performance video featured in this episode of ANAM Radio is from Ben's 2020 Recital in the Musica Viva studios in Sydney, NSW. To watch Ben's performance, visit https://www.youtube.com/watch?v=2Tp36cbf1Mk&list=PLbdnd7x5ydRe5IjD5fW0--WZZmey7832f&index=1

Australian tenor and composer David Hobson is one of Australia's best-known operatic, concert and stage performers, with a repertoire that spans the gamut of musical styles from Baroque through to Pop.Beginning his career in rock and jazz bands, David's potential as a ‘classical' singer was discovered by the Victoria State Opera in the 1980s. He subsequently made his name with Opera Australia in his award winning performance of Rodolfo in La Boheme directed by Baz Luhrmann. Since then he has gone on to become a well regarded classical performer, major recording artist, most recently a music theatre leading man and a frequent television performer on shows like Carols By Candlelight, Carols in The Domain, Spicks and Specks, Dancing With the Stars, It Takes Two, and as a presenter on Foxtel's Studio. He has performed for Her Majesty Queen Elizabeth in the Great Hall in Canberra and sung at the AFL Grand Final.His many operatic roles include Don Ottavio (Don Giovanni), Ferrando (Cosi Fan Tutte), Tamino (The Magic Flute), Don Ramiro (La Cenerentola), Count Almaviva (The Barber of Saville), Nadir (Pearl Fishers), Lindoro (L'Italiana in Algeri), Belmonte (Die Entführung aus dem Serail), Nemorino (l'elisir d'amore), Eisentein (Die Fledermaus), Danilo (The Merry Widow), Frederic (The Pirates of Penzance) Nanki-Poo (The Mikado), Marco (The Gondoliers), Ralph Rackstraw (H.M.S. Pinafore), the Defendant (Trial By Jury), the title roles in Orphee and Candide, The Architect in the world premiere of The Eighth Wonder and, most recently, Caractacus Potts in the Australian premiere of Chitty Chitty Bang Bang. His international roles include Chevalier Danceny in Dangerous Liaisons with Renée Fleming and Thomas Hampson for San Francisco Opera.Recordings include The Promise, A Little Closer, Presenting David Hobson, The Exquisite Hour, Cinema Paradiso, French and Italian Arias, Handel Arias, Inside This Room, Tenor and Baritone (with Anthony Warlow), You'll Never Walk Alone (with Teddy Tahu-Rhodes) and Singing for Love (with Yvonne Kenny).He is Musica Viva's In Schools Ambassador, an Ambassador for Heart Kids and Patron of the Ballarat Arts Foundation.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

Australian tenor and composer David Hobson is one of Australia's best-known operatic, concert and stage performers, with a repertoire that spans the gamut of musical styles from Baroque through to Pop.Beginning his career in rock and jazz bands, David's potential as a ‘classical' singer was discovered by the Victoria State Opera in the 1980s. He subsequently made his name with Opera Australia in his award winning performance of Rodolfo in La Boheme directed by Baz Luhrmann. Since then he has gone on to become a well regarded classical performer, major recording artist, most recently a music theatre leading man and a frequent television performer on shows like Carols By Candlelight, Carols in The Domain, Spicks and Specks, Dancing With the Stars, It Takes Two, and as a presenter on Foxtel's Studio. He has performed for Her Majesty Queen Elizabeth in the Great Hall in Canberra and sung at the AFL Grand Final.His many operatic roles include Don Ottavio (Don Giovanni), Ferrando (Cosi Fan Tutte), Tamino (The Magic Flute), Don Ramiro (La Cenerentola), Count Almaviva (The Barber of Saville), Nadir (Pearl Fishers), Lindoro (L'Italiana in Algeri), Belmonte (Die Entführung aus dem Serail), Nemorino (l'elisir d'amore), Eisentein (Die Fledermaus), Danilo (The Merry Widow), Frederic (The Pirates of Penzance) Nanki-Poo (The Mikado), Marco (The Gondoliers), Ralph Rackstraw (H.M.S. Pinafore), the Defendant (Trial By Jury), the title roles in Orphee and Candide, The Architect in the world premiere of The Eighth Wonder and, most recently, Caractacus Potts in the Australian premiere of Chitty Chitty Bang Bang. His international roles include Chevalier Danceny in Dangerous Liaisons with Renée Fleming and Thomas Hampson for San Francisco Opera.Recordings include The Promise, A Little Closer, Presenting David Hobson, The Exquisite Hour, Cinema Paradiso, French and Italian Arias, Handel Arias, Inside This Room, Tenor and Baritone (with Anthony Warlow), You'll Never Walk Alone (with Teddy Tahu-Rhodes) and Singing for Love (with Yvonne Kenny).He is Musica Viva's In Schools Ambassador, an Ambassador for Heart Kids and Patron of the Ballarat Arts Foundation.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

Oudemuziekkenner Kees Koudstaal schotelt u de mooiste en recentste CD’s met oude en klassieke muziek voor. Een zomeraflevering met aandacht voor 2 cd’s die al aan bod zijn gekomen: ‘Beethoven Idylle héroïque’ van Dmitry Sinkovsky en Musica Viva, en ‘L'Addio’ van Sandrine Piau en Il Giardino Armonico.   Ludwig van Beethoven (1770-1827) 1. Tripleconcert voor […]

In this instalment of the podcast, Paul Kildea has a lively conversation with percussionist and curator Claire Edwardes. The dialogue starts with Claire Edwardes' kaleidoscopic background and how calling Claire just a ‘percussionist' does her no justice. She talks about her love of music from a very young age and how her love of playing music with other people has led her down the path of music curation.

Rencontre avec Nicolas Fleury, Principal French Horn avec The Melbourne Symphony Orchestra. Il fait le point aussi sur les concerts de Musica Viva du 9 au 26 juin prochain. musicaviva.com.au/fleury-sun-farid/

In episode seven, Artistic Director Paul Kildea chats with violinist, composer, and Musica Viva FutureMaker Harry Ward. Their wide-ranging conversation begins with a discussion of Harry's exciting new arrangement of Mahler's Piano Quartet, which will be debuted by pianist Konstantin Shamray, the ANAM Orchestra, and concertmaster Sophie Rowell.Harry also reflects on his disrupted 2020, which was to see him study at Berlin's prestigious Karajan Academy. Though disappointed, the disruption means he's able to join Musica Viva on tour and perform his own arrangement. Looking forward to a time when he's able to take up his placement in Berlin, Harry tells Paul about the city's rich musical traditions and culture, which he hopes to bring back to Australia and apply to his own practice.

In this episode, Paul Kildea is joined by contemporary classical, jazz and experimental composer, Alice Humphries. This insightful conversation touches on Alice's early years and her love for a wide range of musical genres and instruments, they discuss creativity and pushing boundaries within arranging music and composing during a pandemic.Alice Humphries' new work for viola and piano was commissioned by Geoff Stearn and will be premiered by Christopher Moore and Caroline Almonte in November 2021.

Paul and Jane discuss the not so linear path of her career and beginnings in advertising, identifying as an out, loud and proud feminist, miming the flute and dealing with age discrimination. With music creeping its way into her life as a teenager, during the era of rock and roll Jane relives the experience of attending Led Zeppelin's infamous concert in Sydney and talks about the chemical reactions of music and being a passionate audience member.

In this episode of the Chamber of Musical Curiosities, Artistic Director Paul Kildea talks with the Australian artist Genevieve Lacey. As he eloquently notes in the introduction, to simply refer to Genevieve as ‘a recorder player, is missing the point', as she has forged a rich career, with credits as a performer, composer, and curator. In this conversation, Genevieve reflects upon the emergence of her artistic practise, talks about how ‘a life in art is one of constant evolution', and reflects on the genesis, and importance of Musica Viva's Future Makers program. She doesn't leave without revealing tantalising information about the new collaboration she's developed with her friend and colleague, the harpist Marshall McGuire, which they'll be touring for Musica Viva in 2021.

For this episode of Declassify we are joined by one of the most passionate people I know, Megan Steller. Megan is an artist manager, writer, speaker, and producer based in Melbourne. She is passionate about working with emerging artists and seasoned performers alike to help create fulfilling, diverse and creatively empowering careers in the classical music sector. As an artist manager, Megan has worked at Intermusica (UK) and Patrick Togher Artists’ Management (AUS). As a journalist, she has been published in Limelight Magazine, The Age, and The Music, and has worked in a freelance capacity for Melbourne Recital Centre, Melbourne Conservatorium of Music, Musica Viva, Melbourne Youth Orchestras, and Orchestra Victoria. With such an incredibly broad range of skills and experiences, this episode is all about the significance of community and resource-sharing across the classical music industry, the sometimes-unknown world of being an artist manager (or agent) and us asking, what about opera? Selected Resources (many more in the transcript):Megan Stellerhttp://www.megansteller.com/ Rehearsal Magazinehttps://www.instagram.com/rehearsal_magazine/?hl=en Opera Australia at a crossroadshttps://musicaustralia.org.au/2020/09/opera-australia-at-a-crossroads/As COVID wreaks havoc in the performing arts, do we still need a national opera company? https://theconversation.com/as-covid-wreaks-havoc-in-the-performing-arts-do-we-still-need-a-national-opera-company-145461Discrimination in Casting Black Singers at the Metropolitan Operahttps://www.middleclassartist.com/post/discrimination-in-casting-black-singers-at-the-metropolitan-operaOpera in a post-Weinstein World https://www.theparisreview.org/blog/2017/12/05/opera-post-weinstein-world/

In the second episode, Artistic Director Paul Kildea is in conversation with Musica Viva's own Artistic Director of Competitions, Wilma Smith. Together they discuss Wilma's musical journey from New Zealand to the United States, her subsequent studies with the legendary Dorothy DeLay, and the founding of the New Zealand String Quartet. Wilma shares the fascinating and fortunate story of how her 1761 Guadagnini violin came into her life, and reflects upon the importance of chamber playing in a musician's career, and the extraordinary talent uncovered by Musica Viva's latest venture, Strike A Chord.

Welcome to the Chamber of Musical Curiosities! In this episode, Musica Viva's Artistic Director, Paul Kildea and Australian linguist and musicologist Malcolm Gillies, reflect upon creativity, their career, and their passion for chamber music.

The Cousin Quartet were announced as the inaugural winners of Musica Viva’s Strike A Chord, the first National Chamber Music Championship for secondary school ensembles. Performing live from the City Recital Hall in Sydney, New South Wales the group claimed the Robert Salzer Prize, worth $5, 000. - Il “Cousin Quartet”, guidato dalla violinista Beatrice Colombis, ha vinto la prima edizione del concorso “Strike a Chord” per complessi di musica da camera di studenti delle scuole superiori australiane organizzato da Musica Viva, l’ente musicale australiano che quest’anno celebra il 75esimo anniversario della fondazione.

Musica Viva will hold the very first Grand Final of Strike A Chord, the national chamber music championship for secondary school ensembles. With over $40,000 worth of cash and development prizes awarded to entrants, 12 ensembles nation-wide will compete at the Grand Final event. Winners will be announced live. - Beatrice e Dylan Colombis, violinisti, parteciperanno con i cuginetti Hanna e Jamie Wallace alla Grand Final di Strike a Chord, il concorso organizzato da Musica Viva che ha coinvolto le scuole superiori australiane.

Episode 11, 2020: Vivaldi’s The Four Seasons Wednesday 9 September 2020 It was in 1725 in the city of Amsterdam when Venetian virtuoso and composer, Antonio Vivaldi’s Il cimento dell’armonia e inventione or The Contest between harmony and invention was published. The composition was made up of twelve sets of concertos for violin, strings and continuo. Its first four concertos, dedicated to a particular season quickly became popular and have since become known as The Four Seasons, a division from the whole Vivaldi did not foresee. The Four Seasons disappeared in the concerto circles after Vivaldi’s death only to resurface in 1948 after a recording of it by Louis Kaufmann. Today it is considered one of the most recorded works of all time, with over 400 versions by different musicians. One of the most interesting features about this Vivaldi composition are the introductory sonnets for each concerto believed to be written by Vivaldi himself. ANAM violinist Harry Ward thought that each sonnet helps set the scene for each concerto and decided to have one person from the orchestra read the sonnet that accompanies each concerto when he performed and directed The Four Seasons with fellow ANAM Musicians last year. In this week’s episode of ANAM Radio, Harry and Phil Lambert (ANAM Music Librarian) chat about remarkable musical details of this classic masterpiece. The Four Seasons performance featured in this episode is from Harry’s recital concert at ANAM in 2019 with ANAM strings and Peter de Jager. Harry was recently recognised as one of Musica Viva’s FutureMakers. Watch the full performance recording athttps://www.youtube.com/watch?v=OM2FYe5jcss&feature=youtu.be

The scope of many contemporary composers in the Australian landscape cannot be without musical visionary, Carl Vine AO. This week’s episode is in conversation with the composer and 19-year Artistic Director of world-renowned Australian chamber music organisation, Musica Viva. Talking through the significance of introducing youth to access, new repertoire and chamber music through education (primary school to university musical training), to descent in commissioning practices and performances of new or more recently composed works, and his thoughts about the restrictive economic model and its impact on music practitioners and audience experiences. We continue to wonder; will we ever get to a day where we can hear new works in the concert hall without needing them to be paired with the expected companion of (as beautiful and enjoyable as they are) Ravel’s Bolero or Holst’s The Planets? -------------------------Selected Resources (full list available in the transcript)Carl Vinehttp://www.carlvine.com/cgi-bin/index.cgi/Musica Vivahttps://musicaviva.com.au/The Hildegard Projecthttps://musicaviva.com.au/about-us/hildegard-project/

Gävleborg är ett län som (under vanliga somrar) bubblar av livemusik på såväl bygdegårdar, stora scener, i gamla jordbruksfastigheter och på gator och torg. Nu när mycket är inställt är vi extra glada att kunna bjuda er på ett nytt podcast-avsnitt där vi intervjuar Catharina Ericsson. Hon berättar om Festivalen som blev av. Föreningen Musica Viva i Söderhamn arrangerar nämligen ”Mellan skogar, berg och dalar”, en musikfestival som i år sprids ut över tid, glesas ut publikmässigt, webbsänds och på en lång rad vis anpassas till rådande omständigheter utan att förlora i musikalisk kvalitet. I podd-avsnittet får vi höra att det bjuds på jazz, klassiskt och folkmusik samt slöjdworkshops, historiska föreläsningar och miljöer som lyfter firandet av Söderhamn 400 år i år 2020. Kultur Gävleborgs musikproducenter och verksamhetsutvecklare för slöjd har stöttat arrangemanget genom konstnärlig rådgivning, artistsubventionering, arrangemangsstöd och workshopsledare inom slöjd. Läs mer på Söderhamns kommuns hemsida och www.musicaviva.se

www.aeropuertojazzcafe.com Programa Especial 25 Abril 2020 El mundo está parado pero la música está viva. Participación de 92 músicos que saludan y comentan en positivo la complicada situación que vive la música en la etapa de confinamiento.

www.aeropuertojazzcafe.com Programa Especial 25 Abril 2020 El mundo está parado pero la música está viva. Participación de 92 músicos que saludan y comentan en positivo la complicada situación que vive la música en la etapa de confinamiento.

Kym Dillon is an emerging composer, arranger, orchestrator, pianist and conductor, who is currently based in Melbourne and Geelong. Starting out his career as a jazz pianist, his interest soon turned to composition, and his work now regularly spans multiple genres and areas of musical practice. Kym has had original works commissioned by the Melbourne Symphony Orchestra, Astra Chamber Music Society, and Musica Viva; his music has been performed in Canada, the U.K., North America, Canada, Romania and Italy. His work is often inspired by reflections on the nature of imagination and creation — what it means to create and what our creative compulsion says about us. In 2017, Kym was commissioned by St Paul’s Lutheran Church Box Hill to compose a cantata for chamber orchestra, choir and soloists to celebrate the 500th Anniversary of the Lutheran reformation, with the work being given a repeat performance the following year. 2019 saw Kym collaborate with BK Opera to transform the intense orchestral score of Béla Bartók’s opera Bluebeard’s Castle into the style of synthesiser-laden '80s electronica. Kym is also a conductor for the charity Creativity Australia’s With One Voice program, which seeks to connect people from different walks of life through community singing. As part of this role, he conducts three choirs (Geelong, Altona Meadows and Ashburton), having led peformances at Melbourne Town Hall, Melbourne Recital Centre, and the Monash Carols by Candlelight at Jells Park.

I'm very excited to have the talented, brilliant, funny, and (as you'll see) engaging Tessa Lark to the show to talk to us about joy in practice and music-making!  In this episode, we discuss her views about tackling work with the right mindset, the ways she sparks joy in her practice, and how getting in that joyful headspace not only makes it more gratifying for her, but also helps increase her productivity! I've been thinking a lot about Joy, self-compassion, and using positive self-talk in practicing and performing for the past few years and I ended up researching that topic in the context of my doctoral studies: the idea that high quality work can flow more easily when we are in the right mindset, the right disposition.  High-level results stem out of high-level thinking and solutions to problems come more easily when we're in a positive and open state of mind.  It is absolutely possible to have rigor without rigidity in the practice room! I had a wonderful time talking with Tessa about this topic that's really close to my heart! I feel like it's a way to approach practicing that can be very impactful and I hope this episode affects your next practice session in a positive way! We elaborate on: Her childhood in the foothills of Kentucky, starting with the Suzuki Method and enjoying attending Marc O'Connor's fiddle camps How she was introduced to fiddle music and blue grass and how it stays with her to this day Her experience with the The Cincinnati Starling Project in Cincinnati, studying with Kurt Sassmannshaus How she met and went on to study with Miriam Fried in Boston, and how Ms Fried helped her develop artistic integrity How the Naumburg Competition helped launch her career Practicing in ways that spark joy – searching for “things in your practice that bring you joy, as opposed to looking for all the things you're doing “horribly” wrong” The “talent” misunderstanding The misconception that “hard work” should feel “hard” Why we need to aim for “focused” and “efficient” work and, YES, that can feel good! Getting into the “joyful headspace” How struggle can be part of the process but its' not “necessary” How emotional depth can also be reached from a positive headspace and mindset Increased productivity How while joy is not a neutral feeling, the process to get there can be neutral The importance of knowing yourself and knowing what can get you to this joyful headspace The importance of setting goals, a positive mindset, reduce distractions, and find a physical space that feels inspiring and is conducive to efficient work How the language we use with ourselves is so important How mental discipline is important and can help us negotiate the variables that can affect performance How she uses a timer in her practice to improve her productivity   More about Tessa: Website: https://www.tessalark.com/ Instagram: https://www.instagram.com/tessalark/ Facebook: https://www.facebook.com/tessa.lark/ YouTube channel: https://www.youtube.com/user/HBOfosho YouTube videos featuring Tessa: https://www.youtube.com/results?search_query=tessa+lark More articles about Tessa: click here   The Cincinnati Starling Project: http://www.starling.org/cincinnati-starling-project Kurt Sassmannshaus / Violin Masterclass: http://violinmasterclass.com/en Kenny Werner Effortless Mastery: Liberating the Master Musician: https://kennywerner.com/effortless-mastery   Biography   Violinist Tessa Lark, recipient of a 2018 Borletti-Buitoni Trust Fellowship and a 2016 Avery Fisher Career Grant, Silver Medalist in the International Violin Competition of Indianapolis, and winner of the 2012 Naumburg International Violin Competition, is one of the most captivating artistic voices of our time. A budding superstar in the classical realm, she is also a highly acclaimed fiddler in the tradition of her native Kentucky. Since making her concerto debut with the Cincinnati Symphony Orchestra at sixteen, Ms. Lark has appeared with dozens of orchestras, festivals, and recital venues including Carnegie Hall, Ravinia, San Francisco Performances, Amsterdam's Concertgebouw, the Buffalo Philharmonic, and Marlboro Music. Highlights of her 2017-18 and 2018-19 seasons included multiple performances of two works for violin and orchestra written for her: Love Letter by bassist-composer Michael Thurber, and Sky, a bluegrass-inspired concerto by Michael Torke premiered and recorded with the Albany (NY) Symphony Orchestra. Additional recording projects include a fantasia-themed album including Ms. Lark's own Appalachian Fantasy and works by Telemann, Ravel, Kreisler, and Schubert; Invention, a debut album of the violin-bass duo Tessa Lark & Michael Thurber that comprises music of J.S. Bach along with non-classical original compositions; and a genre-bending disc in collaboration with such artists as multi-instrumentalist/composer Jon Batiste and American fiddling legend Michael Cleveland. Recent and upcoming activities include Australia's Musica Viva festival—a four-concert engagement highlighted by a duo collaboration with bassist/composer Edgar Meyer—and debuts with the Seattle and Indianapolis symphonies. Scheduled for May 2020 is a Lincoln Center recital debut on its prestigious Great Performers Series. Ms. Lark is a graduate of New England Conservatory with an Artist Diploma from The Juilliard School. She plays a ca. 1600 G.P. Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Jess Ciampa began his musical life as a trumpet player but changed to percussion halfway through a Bachelor of Music Education degree at the NSW Conservatorium. He is a multi instrumentalist at home in a variety of styles of music, ranging from mainstream orchestral through to jazz, latin and commercial. He has performed with the Sydney Symphony Orchestra, the Australian Brandenburg Orchestra, the Australian Chamber Orchestra, Synergy Percussion, the Seymour Group and the Sydney Dance Company and was also percussionist for The Lion King stage show. Jess has performed with several groups as part of the Musica Viva in Schools program. He currently plays with the group Zeeko as part of this program.  Recorded in Northmead, NSW Australia 22/11/2018 https://www.youtube.com/watch?v=zRNYP6oKgEM https://youtu.be/d0SRAN0OZqI https://musicaviva.com.au  

Born into a musical family, Steve began playing music at the age of 6 and quickly developed his skills as a musician. He became a professional musician at age 14. After learning wind and stringed instruments, Steve dedicated himself to playing drums & percussion, specialising in Afro-Latin music. He established himself as one of Australia's most respected drummers and multi-instrumentalists. In 1998, Steve was part of the New South Wales youth Orchestra. Later that year, he joined the Musica Viva in Schools program which comprised of 200 shows per year for primary and secondary schools across Australia. Steve studied at the Conservatorium of Music, Australia in 2000 under the tuition of Fabian Hevia, (Jazz Outreach Program). In 2003 he joined Dirty Dancing, the musical. The show toured Australia for 13 months and the UK for 2 years in which he recorded the Cast Album which went platinum in the UK.  Steve has played with and supported such bands as Kelis (USA), Ozomatli (USA), Cubanismo (Cuba), Elio Reve (Cuba), Los Van Van (Cuba), Los Lobos (USA), Sharon Jones and the Dapkings (USA), Africando (Africa), Illapu (Chile), Australian Idol winner Damien Leith, Veneno, Barefoot Divas, Diana Rouvas, Pato Lara, Tigramuna, IOTA, Smoke and mirrors, Cabaret the musical, Dirty Dancing on stage (Australian tour), The Bodyguard musical and many others throughout Australia, England, Belgium, Italy, Canada, USA, France and New Zealand. Steve has played at festivals including Pole Pole (France), Continental Drifts (UK), Hong Kong Arts Festival, Knockengorroch (Scotland), Jambalaya (NZ), Byron Bay Bluesfest (AUS), Sydney Festival and many others around the world. Steve has been a core member and co director of Veneno for 17 years and continues to be recognized as a leading light in the Australian music industry We sat down at his home with some really good coffee, and ripped in.  Recorded at Wetherill Park, NSW 21/09/18. Check out Veneno's album: https://itunes.apple.com/au/album/ay-caramba/1416883636 https://open.spotify.com/album/33ZLwIxnbxexE2fSu7pbTW?si=3pzCd2VZQuG7oHZVGu-pZQ https://www.stevemarin.com.au/      

Eine Mammutaufgabe hat sich Isabelle Faust vorgenommen. Im Rahmen der musica viva-Konzerte am 14. und 15. Dezember präsentiert sie in drei Konzerten sowohl alle sechs Sonaten und Partiten für Violine solo von Bach sowie ein für sie eigens komponiertes Violinkonzert von Ondrej Adámek. Ulrich Möller-Arnsberg über die große Herausforderung der Geigerin.

Composer Elizabeth Younan and Arcadia Winds recorded in concert and interview at the 2017 Musica Viva Festival.

Composer Elizabeth Younan and Arcadia Winds recorded in concert and interview at the 2017 Musica Viva Festival.

For conductor Alejandro Hernandez-Valdez, an attentive and hungry audience is one of the essential parts of creating a transcendent musical experience. That’s why he scatters his Musica Viva choir at All Souls Church on the Upper East Side throughout the church. So the audience is in the middle of the action. In this conversation, Davis and Hernandez-Valdez talk about the challenges of managing both choirs and audience, the meditative qualities of live choral music, and the capability of music to transcend daily life to a spiritual plane. “In a way it’s like soul saving. I really see music as a spiritual experience. For some people a religious experience. When you’re in the middle of a piece of music that is really really meaningful, you’re transcending human life. You become one with your spirit.” -Alejandro Hernandez-Valdez Subscribe to Helga on iTunes or wherever you get your podcasts, and follow Helga Davis on Facebook.

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Am 22. Januar fand im Münchner Herkulessaal das Late-Night-Konzert mit dem GrauSchumacher Klavierduo statt. Elgin Heuerding im Gespräch mit den Pianisten Andreas Garu und Götz Schumacher.

JBN sits down with esteemed colleague Nathan Siler (www.nathansiler.com), a composer, arranger, multi-instrumentalist, and vocalist. Nathan's project, Portraiture, released their debut LP, "Real as Ritual", last year. In his vast career, he has supported, produced, and toured with renowned indies such as The Lovely Sparrows, Steve Burns and the Struggle, and Brothers NYC. As a classical singer, Mr. Siler has performed at Carnegie Hall with American Symphony Orchestra and the Collegiate Chorale, is a soloist in the acclaimed chamber choir Musica Viva of New York, and he fosters a close relationship with up and coming composers, singing for many premieres of music in the NYC Classical scene. Song Premiere: "Another Dead End" from TO HELL AND BACK, music and lyrics by Joel B. New. Featuring Dan Radzikowski on piano.With Manna Nichols, Sam Simahk, Heather Corrigan, Christine Paterson, Jennifer Anderson, Marita Stryker, Jacob Schneider, Karl Michael Johnson, Patrick Laslie, and Leah Darby. Recorded live on 12/8/13 @ TruVoice Studios NYC (www.truvoicestudiosnyc.com).