Podcasts about Muti

Giulini Conducts Mahler 9 - Broadcast by CSO Association

Giulini Conducts Mahler 9 - Broadcast by CSO Association

Darren was born and raised in a small town in Saskatchewan. With 25 years of experience in the fire service, he has taught and mentored at various level, always striving to pass on his knowledge and passion for the job. For the Past 16 years, Darren has been a proud member of Oakville Fire. He began as a training Officer, where he helped shape the next generation of firefighters through recruit training, firefighter survival programs, and the development and delivery of technical rescue disciplines. Now serving in Operations, Darren continues to protect the community of Oakville with the same drive and heart that brought him to the service all those years ago. Darrens love for teaching and mentoring lives on beyond his department. He is an instructor at the South West Fire Academy, where he works hands-on with firefighter boot camps and technical rescue training, and he also teaches technical rescue for the Ontario Fire Marshel's Office. His mission is simple to give back to the job he loves by preparing others to thrive in it. Before joining Oakville Fire, Darren spent 18 years in the Canadian Armed Forces first 9 years with the Princess Patrica Canadian Light Infantry (P.P.C.L.I.) and 9 years as a military Firefighter. It was during this time that he discovered his passion for the fire service. Fitness and performance have always been central to Darren's dedication. He has proudly represented both the military and Oakville Fire in the Firefighter Combat Challenge, becoming a Muti-time national and world champion. For Darren, its not just about competition, its about pushing limits, leading by example, and showing what's possible when passion meets purpose. Outside of work, Darren enjoys spending time with his wife and two beautiful daughters. He is an avid outdoorsman who loves hunting, fishing, and camping, and he keeps active playing hockey in his spare time. Whether he's on a call, in the classroom, or out in the woods, Darren lives everyday with heart, grit, and gratitude for the career that has given him so much, and for the opportunity to keep paying it forward. @dvanzandbergen Sponsorship: @southwest_fire_academy Editing: @bradshea Marketing: @m.pletz Administration: @haileygreenfitness Partnership: @firefighternationhq

The CSO brings the soaring emotional peaks and valleys of Mahler's Sixth Symphony to Chicago audiences before performing it on Amsterdam's Concertgebouw stage. The “hammer blows of fate” in the finale seem to foreshadow the tragedies in Mahler's life, including his own fatal illness. But the symphony brims with life's pleasures, too, from memories of mountain pastures (listen for the cowbells) to a rapturous portrait of the composer's wife, Alma. Learn more: cso.org/performances/24-25/cso-classical/mahler-6-with-jaap-van-zweden

250430PC: Tanz in den MaiMensch Mahler am 30.04.2025Als Teenager war ich immer scharf auf diesen Abend. Tanzen konnte ich nicht, aber wir haben Maienstecken gemacht. Gartentüren aushängen und verstecken, einmal haben wir zu viert eine Isetta – Kleinwagen von BMW – auf den Absatz einer Freitreppe gestellt. Lustig wars immer und manchmal auch an der Grenze zum Illegalen – aber vielleicht war gerade das der Reiz.Eigentlich hat der Tanz in den Mai traditionell seine Wurzeln in der Walpurgisnacht. Das Walpurgisfeuer, auch Maifeuer genannt, wird in weiten Teilen Deutschlands gefeiert. Dazu wird am 30. April ein Feuer entfacht, mit dem man „die bösen Geister“ vertreiben will. Dies wird bis spät in die Nacht gefeiert. Das macht man heute auch noch unterm Maibaum – meist ohne böse Geister, aber dafür mit viel Alkohol.Ich freue mich auf den 1. Mai und das lange Wochenende. Was machen Sie morgen? Heraus zum roten 1. Mai mit den Gewerkschaften? Und dann das lange Wochenende. Ich freue mich total auf die Tage bis Sonntag in Hannover. Dort ist der Evangelische Kirchentag. Für meine Frau und mich immer ein besonderes Fest des Glaubens. Keine konfessiionellen und keine religiösen Grenzen. Begegnung mit Menschen aus der ganzen Welt und ohne Ansehen der Person. Frei und gleich – und mit der unbändigen Sehnsucht nach Frieden und Gerchtigkeit im Herzen. Unter dem Motto Mutig. Stark. Beherzt. Nie war es so nötig wie heute. Hosted on Acast. See acast.com/privacy for more information.

CSO Artist-in-Residence Daniil Trifonov, “without question the most astounding pianist of our age” (The Times of London), takes on Brahms' Second Piano Concerto, as remarkable for its rich orchestral writing as for its simultaneously glittering and muscular piano part. Dvořák's turbulent Seventh Symphony is both an expression of the composer's personal crises and a lyrical tribute to the Czech spirit. Learn more: cso.org/performances/24-25/cso-classical/makela-and-trifonov

Beethoven, Mozart & Tchaikovsky - Broadcast by CSO Association

In his Third Symphony, Mahler portrays the whole of earthly existence. Its six movements — written for a massive orchestra, two choruses and a contralto soloist — explore humanity's relationship with nature using fanfares, marches, folk dances and bird calls. Children's voices portray angels while the sixth movement is a pantheistic love song to all of creation. Learn more: cso.org/performances/24-25/cso-classical/makela-conducts-mahler-3

Last time we spoke about Manchukuo. In the early 1930s, Ishiwara Kanji sought to dominate Manchuria to secure resources and counter American influence. He envisioned Manchukuo as a Pan-Asian league promoting racial cooperation, despite it being a puppet state under Japan. With Puyi as a figurehead, Ishiwara aimed for autonomy, but his plans faced resistance from the Kwantung Army, which prioritized control. As conflicts arose, Ishiwara's vision of unity clashed with military interests, leading to his eventual isolation and reassignment, marking a tumultuous chapter in Manchukuo's history. In November 1931, Doihara orchestrated the "Tianjin Incident," facilitating the removal of Puyi from his home to establish the puppet state of "Manchukuo." By March 1932, Puyi was declared its ruler, but his authority was merely symbolic, overshadowed by Japanese control. Despite international condemnation, Japan solidified its grip on Manchuria, exploiting its resources and suppressing local resistance. By the late 1930s, Manchukuo became a colonial entity, suffering under harsh economic policies while Puyi's regime served as a facade for Japanese imperial ambitions.   #146 Operation Nekka: the Invasion of Rehe Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. From the very beginning of their consolidation of Manchukuo, the Kwantung Army regarded the province of Rehe, today's Jehol province, to be an integral part of it. According to some of the Kwantung Army leadership, all of Rehe would be necessary to consummate Manchukuo. In April of 1932, the IJA 8th Division based at Hirosaki in Aomori prefecture was transferred to Manchukuo under secret orders to prepare for an invasion of Rehe. Now Rehe province covers 160,00 square kilometers and back then held some 2.3 million people. Since 1926 it was ruled by General Tang Yulin. His direct command was over the NRA 36th division, consisting of 13,000 regular troops with a provincial militia of 8500 men. As was the Warlord practice of the time, Tang Yulin exploited his population. Now until July of 1932, Tang Yulin's attitude towards the emerging state of Manchukuo directly to his east was certainly favorable. That is because Tang Yulin favored the Japanese. During the debacle that was the invasion of Manchuria, Tang Yulin had done everything possible to prevent Zhang Xueliang from moving into Rehe whenever he was trying to consolidate forces there. Now Tang Yulin had no greater aspirations, its not like he loved Japan, or believed the Japanese were better leaders for his nation. What he was motivated by was a very practical concern, economics, more precisely the opium trade. Rehe number one source of income was opium, and they number one purchaser of it, was Manchuria. Thus as one can imagine, when Manchukuo was being formed, and the opium door closed on him, well he took heavy financial losses.  On July 17th of 1932, an incident broke out between the towns of Chaoyangxu and Nanling. A Japanese civilian employed by the Kwantung Army, Ishimoto Gonshiro was abducted by a Rehe militia group while taking the train from Jinzhou to Chaoyang. General Nishi Yoshikazu, the commander of the IJA 8th Division stationed at Jizhou, dispatched a small unit to rescue Ishimoto. In doing so they occupied Chaoyangxi, where they also protested the Rehe provincial government. This did not see Ishimoto handed over to them, so General Nishi bombarded Chaoyangxu and then had his forces advance upon Nanling. Even doing so, no Ishimoto to be found. So Nishi withdrew back to Jinzhou. The following year during what would become the invasion of Rehe, Ishimoto's body would be found at Chaoyangxu. Zhang Xueliang utilized this small incident to advance into Rehe. Claiming he was acting upon orders from Nanjing, he moved his Northeastern Army to the border of Rehe, due south of the Great Wall. Zhang Xueliang then threatened Tang Yulin and bribed his subordinates to defect over to him. Consequently, by late July, Tang Yulin tossed the towel and for the first time sanctioned passage of a volunteer army through Rehe. Come August Zhang Xueliang organized a volunteer force 40,000 strong, obviously all from his Northeastern army to advance from Gubeikou into Rehe, where he sought to confront the Kwantung Army if they advanced. Zhang Xueliang was heavily in contact with Chiang Kai-Shek during this period. Zhang Xueliang was making multiple proclamations about retaking Manchuria, and Chiang Kai-Shek was supporting him in that endeavor as best as he could. Meanwhile Tang Yulin was sort of stuck in the middle.  Between October 1932 to January 1933, Shanhaiguan, the strategic gateway and midpoint between Mukden and Beijing became the focal area of 3 major skirmishes.  The Boxer Protocol of 1901 dictated that some of the 8 nation alliance members, notably, France, Italy and Japan were allowed to maintain small contingents at Shanhaiguan. In 1932, the Japanese garrison there was 261, France had 61 men and Italy 69. After the establishment of Manchukuo, Japan had increased its garrison to have some more border guards in the town of Shanhaiguan itself. Of course the Chinese also had local troops, that was the 9th Independent Brigade commanded by Ho Chukuo, a force roughly of 9000 men. The first skirmish at Shanhaiguan broke out on October 1st, between Ho Chukuo's men and an armored train of troops from the IJA 8th Division. Another exact same event occurred on December 8th, both occasions were settled locally and peacefully with the Chinese offering an apology and indemnity payment. Then a third clash broke out on January 1st, but this one got out of hand.  The mastermind behind the third incident was Major Ochiai Jinkuro, the leader of the Japanese garrison at Shanhaiguan. Upon his orders, at 9pm, 3 Japanese soldiers tossed two hand grenades each into the backyard of the Japanese military police detachment and the railway track running in front of the Japanese garrison. This was of course immediately blamed upon the Chinese and at 11:30 pm Ochiai presented the local Chinese with 2 demands. The first was to evacuate the Chinese force and the second to allow the Japanese to occupy their south gate at Shanhaiguan for the time being. Now the Japanese had legitimate pretext for these demands based off the Boxer Protocol. It allowed them the right to ensure the security of the railway and telegraph lines and to defend their citizens and property within two miles of the railway zone. Since Ho Chukuo's troops allegedly disturbed the peace in said zone, the Japanese were in their right to ask them to depart.  According to Japanese sources, the Chinese refused at first then consented at 4:50 am on January 2nd. This effectively saw them surrender the south gate. However at 9:30 am the chief of staff for the Chinese Brigade requested that the takeover of said gate be postponed until the scheduled arrival of Ho Chukuo, coming over from Beiping. Ochiai turned down this request, whereupon the Chinese agreed that the south gate would be included within the area overseen by the Japanese. Yet at 10:50 am Japanese troops went to take over guarding the south gate whence Chinese guards tossed grenades at them. Yes, it is most certainly the Japanese who tossed those grenades. The Chinese account of this event is somewhat different. It asserts the Japanese attacked the gate while the issue of surrender was still being negotiated. By January 11th, China sent a formal appeal to Britain, France, the US and other signatories of the Boxer Protocol charging the Japanese for perverting the treaty to seize the south gate of Shanhaiguan. Meanwhile General Ho Chukuo called Ochiai from Qinhuangdao to tell him he would arrive by 8am on January 3rd to negotiate. But by 10am he failed to show up, as the Chinese and Japanese fired upon another. Ochiai thereupon resolved to take the south gate by force. By that point the IJA 8th Division had strengthened its position in front of Shanhaiguan. Two companies had become 10 and one air force company was made ready to strike. Additionally the commander of the 2nd China Fleet, Tsuda Shizue dispatched Hirado and the 16th Destroyer Squadron to Shanhaiguan and Qinhuangdao “to defend Japanese residents and assist the troops in case of hostilities”. At dawn on January 3rd, the Japanese launched a combined land, sea and air assault and by 2pm had taken Shanhaiguan. Ho Chukuo's forces were pushed to the Shih River where they were reinforced during the night and hastily constructed fortifications against the incoming Japanese. Henceforth a propaganda war emerged over Rehe. Japan charged that Zhang Xueliang was mobilizing large forces to advance into Rehe, while China claimed the same of the Japanese. The Chinese protested the Japanese seizure of Shanhaiguan, but none of the western powers would intervene. However the League of Nations constant condemnation of Japan ever since the Mukden incident provoked the Japanese on march 27th to simply walk out on the league. The ordeal also prompted Prince Saioji Kimmochi to dispatch Major General Umezu Yoshijiro, the chief of General affairs of the army general staff and Consul Tanaka Sotaro of the foreign ministry to go over and restrain the unruly troops at various positions in the Beiping-Tientsin region. Saionji's main concern was elevated by Army Minister Araki Sadao, who on March 6th stated to Harada Kumao “that if Japan were to land about 3 divisions at Qingdao and they strike into the Peiping-Tientsin region via Tsinan, Zhang Xueliang will probably flee even before they reach Tsinan. If we do anything at all, I'd like to act boldly and go that far”. Despite claims by various sources, mostly Chinese, the Shanhaiguan incident as it became known was not actually preplanned by the Kwantung Army, it really was an arbitrary act on the part of the garrison commander. How everything went down at Shanhaiguan provided vital intel on the Northeastern Army, and what to expect in Rehe. In December of 1932, the IJA 6th Division was dispatched to Manchuria and assigned security detail in southern Jilin province. They were given further secret orders to participate in what was going to be an operation in Rehe once they arrived to Manchuria. When the Shanhaiguan incident broke out, the Rehe operation was expedited rapidly. Therefore the IJA 6th and 8th Divisions west of the Liao River were immediately tossed into the operation. Given the foreign and domestic conditions, the Rehe operation was extremely dangerous. Tokyo HQ yet again sought to reign in the men, so they sent General Umezu to Manchuria to talk to the Kwantung leadership. The Kwantung leadership was adamant the operation be unleashed before the spring that, provided the operation did not extend beyond the Great Wall. To this Tokyo HQ yet again relented.  On January 27th of 1933, General Muto Nobuyoshi, then commander of the Kwantung Army, issued the following general order for the Rehe operation designated, Operation Nekka “The situation in Jehol has become increasingly serious day by day and has now developed into a state of affairs necessitating intervention. To strengthen the foundations of Manchukuo, the time is close at hand, as far as military operations by the Kwantung Army are concerned, to put the finishing touch on our sublime task. First, the affairs of Jehol province are unquestionably an internal problem of Manchukuo. They neither embrace nor are accompanied by any international implications. Because subjugation of the province is designed to strike a fatal blow to anti-Manchukuo, anti-Japan elements, these elements purposely confuse the distinction between Jehol and North China. They move troops into the province and, glossing over these matters, raise a loud outcry, propagandizing that Japan harbors designs of territorial aggression. In this manner they have endeavored to draw the restraining attention of the world, and every move of the Kwantung Army in Jehol—even the slightest raising of a hand or the stretching of a leg—is now the object of worldwide surveillance” At this stage the Kwantung Army treated the Rehe Operation as an internal matter of Manchukuo and did not openly talk about extending it beyond the Great Wall into Hubei. But their gunna. On January 26th, General Muto issued Order 466, kinda funny how its almost order 66, but I digress. This order directed the IJA 6th and 8th Divisions to prepare to invade Rehe. On February 9th, Muto drafted the “Rehe Subjugation Plan” to some staff officers. It stated “without specific orders, operations are not to be carid out in Hubei”. It also stipulated they should “foster and promote a climate leading to the downfall of Zhang Xueliang in North China, which is the strategic base for the disturbance of Manchukuo”. On February 27th, Muto issued Order 473 which repeated to the men again not to move into Hubei. On the 29th, Muto issued another  order “The subjugation of Jehol is purely and simply an internal problem of Manchukuo. In the light of our national policy, it must not develop into a provocation for war with China. This is why Kwantung Army Operations Order 473 stipulated that, unless specific orders are issued, operations are not to be conducted beyond the Great Wall in Hopei province. I fully expect you to issue strict orders to the various units under your command that, although our forces may act freely in Jehol, which is a part of Manchukuo, they are not, without an imperial command, allowed to take any action in Hopei province, which is separated from Jehol by the Great Wall. They should be admonished that, even in the light of local circumstances, they must never be blinded by tactical considerations and miss the main point of our national policy. (In particular, the garrison at Shanhaikuan should be doubly careful and not act beyond its authorized limits.) I have learned that His Imperial Majesty, the supreme commander, is gravely concerned about the foregoing and again issue these instructions in awe of His Majesty's concern”. Thus one can read between the lines here. Emperor Hirohito put his foot down and demanded no forces go past the great wall and to this the Kwantung Army obeyed. For Operation Nekka, the IJA 6th and 8th Division would have their own theaters of operation along a line running from Paotzu, the eastern most town in Rehe to Chaoyang. The northern zone was the IJA 6th divisions theater, the southern one was the 8th's. Geneal Sakamoto Masemon led the 6th Division and ordered his forces on February 23rd to advance north along the rail line between Tahushan and Tungliao, then on towards Tienshan, Xiawa and Chaoyang. Afterwards they would carry out operations in the Chifeng-Linxu-Tolun region.  General Nishi ordered his 8th Division, excluding one unit to advance along the border around Peipiao, towards Suichung on the 27th, then into the Lingyuan region. The other unit would secure as fast as possible the important gateways along the Great Wall of China: Qilingkou, Lenkou, Xufengkou, Lowenyukou and Manlankuan to protect their divisions flank. Afterwards they would seie Chengde and Gubeikou. However he also gave explicit orders "Without specific orders, operations must not be extended beyond the Great Wall into Hopei province,". So yeah, while they had direct orders to not advance beyond the Great Wall. . . they were going to basically capture all of the key passes of the Great Wall. Kind of playing with fire.  On the other side, on January 23rd, Zhang Xueliang was meeting with Chiang Kai-Shek and our old friend Duan Qirui to discuss how to prepare for what seemed to be an impending invasion of Rehe. Chiang Kai-Shek politely said to Duan Qirui "I sincerely hope that you will come south and give me your guidance at this time of national crisis,". The real reason he sent this request was because he did not want the Japanese to enlist their former lacky against him. At the meeting, according to a Japanese intelligence report, Zhang Xueliang insisted that Chiang Kai-Shek personally come north and assume direct command of the Northern troops. Chiang Kai-Shek refused on the grounds he had to deal with the communists in Jiangxi and sent in his place Yang Que, the current president of the Army Staff College and a graduate of the Japanese Army War College. Yang would arrive to Peiping with his staff on January 30th, where he devised a plan for joint operations with Zhang Xueliang. They anticipated the Kwantung Army would cross the Great Wall at Shanhaiguan, so their basic strategy was to concentrate a large force in its region, especially east of the Luan River. That forces mission would be to defend at all costs the front line at Qinhuangdao. The Japanese intelligence indicated the Chinese had roughly 50,000 men, including 7700 men of the 25th Division ld by Kuan Lincheng and 12800 men of the 2nd Division led by Yang Que who were sent to Miyun and Gubeikou. There were also reports that ancient art objects and documents from Peiping were being transported to Nanjing, beginning on January 10th. To the Chinese public this was shocking news as one could imagine. Operation Nekka was unleashed and showcased the rapid efficiency of the Kwantung Army. By March 2nd, the IJA 6th Division routed the 41st Army of General Sun Tienying; the IJA 14th Mixed Brigade of the IJA 8th Division captured the Lengkou pass on March 4th; while the Kawahara detachment captured Chengde near the border with Hubei. General Nishi then assembld his main force at Lingyuan as the 14th Mixed Brigade withdrew to Chapeng. On March 4th, Muto issued Order 480, directing the troops "to make preparations for operations in North China, firmly seizing the major passes along the Great Wall, mopping up resistance by remnant troops and bandits, and restoring peace and order in Jehol province." One unit of the IJA 8th Division was given the task of seizing the Gubeikou Pass and advanced to such on the 7th. Within the vicinity of Changshanyu, around 40 kilometers southwest of Chengde, they encountered 5000 advancing Chinese forces. Here one of the first of many fierce battles along the Great Wall came to be. Until roughly March 20th, the Kwantung Army was met with fierce counterattacks, coming from the main gateways of the Great Wall. Initially the fighting went tremendously wall for the Japanese, yet by March 10th, the 14th Mixed Brigade had taken Tungqiaku, Tiehmenkuan and Xifengkou. Two days later the IJA 8th Division began an assault upon Gubeikou. Nishi then sent the Hayakawa Brigade to seize Lowenyukou. Then on the 10th, after receiving reports the main passes were secured, General Muto took his HQ from Jinzhu to Changchun, believing everything was already won and done. However he would be very wrong, they had misjudged the Chinese strength.  On the 13th, Muti and Nishi received a report, that on the night of the 10th, the 14th Mixed Brigade at Xifengkou had come under heavy attack by a Chinese force led by General Song Qeyuang. Reinforcements were rapidly sent over, but they were unable to relieve the trapped brigade. On the 14th, Muto ordered Genera Sakamoto to lead the Mukai unit from the 6th Brigade to help out. With this the Chinese forces were driven off and then the Japanese began assaults upon Lengkou, Lowenyukou and Quehlingkou. On the 16th, the IJA 8th Division took Quehling, but the next day received a vicious counterattack by the NRA 116th Division. At Lowenyukou the Hayakawa Brigade was counterattacked by Song Cheyuan. The Hayakawa Brigade was still able to secure on portion of the Great Wall, it was constantly under attack and unable to progress further.  On the 22nd, Nishi was forced to order his Brigade to pull back to Chengde. Over at Lengkou, the Mukai unit managed to capture the town as the 14th Mixed Brigade at Xifengkou was attacked by the NRA 139th Division. Unable to repel the counterattacks, Nishi ordered his forces back 13 kilometers on the 24th. The battles at Quehlingkou and Lowenyukou were very intense. On March 18th, Muto realized the casualties were severe and taking the gateways was not showing progress. He therefore decided to divert the 6th Divisions attention to Lengkou in a flanking maneuver aimed at severing the Chinese supply lines to the gateways and as a result this would extend operations south of the Great Wall into the region east of the Luan River. Thus there we have it, they were going past the Great Wall against Emperor Hirohito's orders.  Operation Nekka, similar to Operation Jinzhou was deemed essential to establish and protect Manchukuo. However while the battles along the Great Wall were deemed necessary to create the borders for Manchukuo, their extension past that boundary literally brought them into the heart of North China. Unlike in Manchuria, the Chinese forces in North China held excellent morale, they were very willing to fight. On top of that, they had better logistics and were fighting on top of the Great Wall, which offered significant advantages. Thus from a tactical standpoint, the Japanese had to seize the gateways and flush out the Chinese from the areas. The Chinese remained defiant. Atop the walls the Chinese defenders would shout at the Japanese waving anti-Manchukuo and anti-Japanese flags.  Outside the ongoing battle, Chiang Kai-Shek had his own, perhaps in his mind, more important battle, the one with the communists. The encirclement campaigns had all gone to shit thus far. Added to this was the invasion of Manchuria and Shanghai. As Chiang Kai-Shek would later put it "tantamount to subjecting the Government to a pincer attack both from within and without." Basically Chiang Kai-Shek could choose to focus on the Japanese or communists. He figured going into a full war against Japan would be the end of himself and his government. Thus he worked to reach an agreement with the Japanese in May of 1932 which had ended the Shanghai incident. After doing so he released a slogan "first internal pacification, then resist external aggression". Upon doing so he unleashed his full attention upon the communists. As we have seen, Chiang Kai-Sheks last encirclement campaign proved successful. But as he was in the middle of it, Operation Nekka was unleashed. It looked extremely bad for Chiang Kai-Shek, for the KMT and for China in general. On March 20th, as a gesture to indicate to the masses Chiang Kai-Shek was doing his job, he dispatched 5 divisions, roughly 50,000 men from the Central Army north. Chiang Kai-Shek personally traveled north from Hankou to Beiping, but no further than that. Back on the 10th he had received the resignation of Zhang Xueliang, who had publicly been calling for a massive war against Japan so that Manchuria could be recovered. Chiang Kai-Shek had to replace him with General He Yingqin.  Another major development at this time, was our old and dear friend who never causes any trouble, Wang Jingwei returned from I believe his 20th time in exile. He came to resume his post as president of the Executive Yuan. Yet again Wang Jingwei was trying to reconcile with Chiang Kai-Shek. In reality and as many of you might guess, the only reason Chiang Kai-Shek never had this guy shot was because Wang Jingei had the firm backing of the left, thus in order to really grab the majority of the political class he had to play nice with him. For Wang Jingwei's part, much like starscream in transformers, yes I am using this as an analogy, hes just trying to overthrow megatron every chance he gets, but always fails like a dumb idiot. There was also the dichotomy between the two men. Wang Jingwei was seen as a civilian leader while Chiang Kai-Shek was seen as a military leader. So together they seemed like a perfect team, despite the fact they loathed each other. So Wang Jingwei became the civil administrator while Chiang Kai-Shek focused on the military. In regards to Japan, Wang Jingwei was following a conciliatory policy of "resistance on the one hand and negotiation on the other,” based on Chiang Kai-Sheks slogan "first internal pacification, then resist external aggression."  Following a fight with Zhang Xueliang in August of 1932 over the issue of defending Manchuria against the Kwantung Army, Wang Jingwei had resigned, trying to strongarm Chiang Kai-Shek to get rid of the young marshal. Thus like what had happened countless times before, Wang Jingwei said he was out on sick leave, and departed for Europe for supposed treatment. When he returned 6 months later, Operation Nekka had begun, although the Japanese troops had not yet then reached the Great Wall. Wang Jingwei immediately became acting foreign minister in place of Lu Wenkuan, a supporter of Zhang Xueliang, who was notably anti-japanese. Wang Jingwei kicked Lu Wenkuan over to Xinjiang to deal with some conflicts breaking out there, fun times for him as we know.  Meanwhile He Yingqin had been placed as the head of the Peiping branch military council, entrusted with control over all military matters in North China. He Yingqin went to work reorganizing the forces in north china in mid March, forming them into an effective battle order to face the Japanese. By bringing together the local, very disorganized forces into a unified command, He Yingqin hoped they would be capable alone to block the Japanese advance, leaving the central army out of the conflict. This was because Chiang Kai-Shek did not want to risk losing his central army, considered the most elite one in all of china. But Chiang Kai-Shek did come around to the idea of at least testing some units against the Kwantung forces. Above all Chiang Kai-Shek wanted to have his cake and eat it to. He wanted he population of China to think he was actively resisting, while in reality he was biding time. Central army units deployed around Gubeikou, the main gateway leading to the Peiping-Tientsin region. When the Kwantung army leaders were planning operation Nekka, they had believed it would not be necessary to go beyond the Great Wall, but once the fighting around the walls and gateways kicked off, they knew immediately they could not hope to take the wall areas without getting behind the enemy. Particularly they needed to get past the area east of the Luan River. Some 20 Chinese divisions had assembled in the Peiping-Tientsin region and were tossing endless counter attacks along the line of the Great Wall. In the Lengkou region a force of 7000 Central Chinese Army units had penetrated deep into Rehe and smashed the Mukai detachment of the IJA 8th Division. These counterattacks reaffirmed the Kwantung Army leadership it was necessary to go beyond the Great Wall. It should also be noted the Kwantung Army's operations in North China were not just military. The Japanese were plagued with logistical problems. There was a shortage of troops because they had driven into Rehe with only 20,000 men. Even the most determined Kwantung general did not believe their military prowess could overcome the plains of Hubei packed with an immeasurable amount of Chinese troops. Therefore they had to augment this military operation with political schemes aimed at the regional warlords. During the pacification of Manchuria, the tactic of bribing local elites had worked wonders and there was zero reason to believe it would not work in North China. All of this was done without any supervision from Tokyo HQ. On February 13th of 1933, Itagaki Seishiro, at the time chief of the Mukden Special Service Agency, was transferred to the General Staff without any official announcement of this promotion. He took a post in Tientsin, specifically to begin political maneuvers in eastern Hubei. This saw the birth of the Tientsin Special Service Agency. Initially this agency was attempting to lure all the competing warlords in North China, such as, Duan Qirui, Wu Peifu, Sun Chuanfang, but then began targeting Zhang Qingyao. Zhang Qingyao had once been the protege of Duan Qirui, acting as the civil and military governor of Henan province. He had fought against Zhang Zuolin in 1925 whereupon his allegiance had shifted over to Wu Peifu. During the second phase of the Northern Expedition, Zhang Qingyao had fought again against Zhang Zuolin, then controlling the National Pacification Army. When the Northern expedition was over, he joined Yan Xishans forces in Shanxi. Thus one could easily see he was not a man of many principals, nor any specific loyalties. The Tientsin Special Service Agency first proposed to reach out to Zhang Qingyao in the hopes he could organize a coup d'etat against Chiang Kai-Shek. It was further hoped he could get Song Queyuan, Zhang Zuoxiang, Fang Chenwu, Xu Yusan, Zhang Tingshu, Sun Tienying and Feng Zhanhai to join in. If they managed this, North China would fall in a single stroke. It was hoped this would be achieved as they were taking the Great Wall and were enroute towards Peiping. However on May 7th, Zhang Qingyao was assassinated, completely ruining the plan. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. Operation Nekka had been unleashed with a large bang. 20,000 Japanese troops stormed Rehe province under strict orders not to go past the Great Wall of China. So they immediately began planning how to go past the Great Wall of China. Yet what they did not expect was the determination of the Chinese defenders, who were not going to allow them an easy time.

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Dancers from Chicago's world-renowned Joffrey Ballet join the CSO with newly commissioned choreographies. Symphonies by Haydn and the Chevalier de Saint-Georges abound in witty and joyful melodies while two 20th-century works are full of popular influences: Perkinson's jazz-tinted Sinfonietta No. 1 and Milhaud's rollicking Brazilian postcard, The Ox on the Roof. Learn more: cso.org/performances/24-25/cso-classical/cso-and-the-joffrey-ballet

Canellakis & Gerstein - Broadcast by CSO Association

Earth, in all its marvelous vitality and fragility, has inspired generations of composers. In The Oceanides, Sibelius conjures the water nymphs of Greek mythology and the broad majesty of the sea. Dvořák's The Wild Dove is based on a dark folktale about a dove's prophetic song. Childhood memories shape Rachmaninov's Symphonic Dances, his sumptuous masterpiece. Learn more: cso.org/performances/24-25/cso-classical/canellakis-and-rachmaninov

"Kad man bija septiņpadsmit un izdomāju, ka gribu kļūt par dziedātāju, pirmā pusgada laikā sāku skatīties repertuāru. Sapratu, ka jāiemācās Pelnrušķīte, jo tur ir tik ārkārtīgi daudz mazo notiņu, ka to paveikt – iztīrīt koloratūras tādā līmenī, kādā tām ir jābūt –, tas būtu milzīgs izaicinājums. Bet skaistākā loma, kas uzrakstīta mecosoprānam, ir Amnerisa. Un es toreiz nodomāju: ja to nodziedāšu, patiesībā dziedāt varētu arī beigt, jo mani sapņi būs piepildīti. Bet nu… Izrādās, ka ir arī citas lomas, un izrādās, ka ir arī Vāgners – nu, kaut kā nav laika apstāties!" Tā vakar, 21. martā, restorānā "Kaļķu vārti" rīkotajā preses konferencē pauda pasaulslavenā latviešu operdīva Elīna Garanča. Dzintaru koncertzālē 29. jūnijā notiks projekta "Elīna Garanča un draugi" koncerts, kuru diriģēs maestro Karels Marks Šišons. Kopā ar Garanču uz skatuves būs ķīniešu-austrāliešu tenors Kans Vans un rumāņu soprāns Jūlija Marija Dana. Pati Elīna Garanča izpildīs populārākās ārijas no pasaules opermūzikas repertuāra. Elīna Garanča uzstājusies pasaules visslavenākajos opernamos un koncertzālēs. Īpaši slavena ir viņas atveidotā Karmena: šo lomu Elīna dziedājusi daudzos operteātros, piemēram, Londonas Karaliskajā operā, Bavārijas Valsts operā, Valensijas "Palau de les Arts Reina Sofía" un Ņujorkas Metropoles operā. Un tieši šovakar, 22. martā, pulksten 20 ciklā "Sestdienas vakars Operā", svinot Žorža Bizē operas "Karmena" 150. gadskārtu, baudīsim šo operu ar Elīnu Garanču titullomā Ņujorkas Metropoles opernama izrādes ierakstā, kas veikts 2010. gadā. Bet 21. marta preses konferences ietvaros sarunā ar Latvijas Teātra darbinieku savienības priekšsēdētāju Ojāru Rubeni dziedātāja stāstīja ne tikai par 29. jūnijā Dzintaru koncertzālē gaidāmo koncertu, bet arī par citām savas radošās un privātās dzīves aktualitātēm, ieskicējot savus plānus tuvākajai un tālākajai nākotnei. Ojārs Rubenis: Man ir liels gods atkal būt kopā ar Elīnu Garanču. Patiešām nesaprotu, kā tu to visu laiku spēj: audzināt divus bērnus, būt formā un būt pasaules zvaigzne, ar kuru mēs patiešām ļoti, ļoti lepojamies. Bet gribu sākt ar pavisam vienkāršu jautājumu: Elīn, kā tev aizvadītajā gadā ir gājis? Elīna Garanča: Paldies par tik jaukiem un siltiem vārdiem, Ojār! Katrs šāds epitets, manuprāt, pieliek vismaz piecus gadus klāt, un tik veca es vēl īsti nejūtos... (smejas) Bet jebkurā gadījumā, atskatoties atpakaļ, bijuši tiešām brīnišķīgi koncerti, un esmu ārkārtīgi priecīga, ka mums tiek dota iespēja katru gadu šeit atgriezties ar koncertu "Elīna Garanča un draugi". Faktiski tas ir tāds jauks festivāls ne tikai vietējai, bet arī plašākai publikai, un mēs priecājamies allaž atrast jaunus dziedātājus un saņemt no klausītājiem tiešo atgriezenisko saiti – sak', "šitas man patika" un "šitas man ļoti patika" (smaida). Un bieži vien tie ir dziedātāji, kuri varbūt nav tik pazīstami – tad ir tāds dubultais prieks. Šis gads mākslinieciski bijis šausmīgi pilns ar neskaitāmiem pārlidojumiem un daudziem interesantiem projektiem; arī privāti esmu sākusi dažas aktivitātes – varbūt pat negaidītas, bet ļoti iepriecinošas. Katru gadu es saku: šis būs pēdējais gads, jo sanāk tik daudz visa kā, bet šis gads būs tiešām pēdējais, kad būs tik ārkārtīgi daudz visa kā, jo jāsāk ieskatīties pasē un jāizvērtē, vai tiešām ir vērts visur būt un kāpēc ir visur jābūt. Bet nu – tik ilgi, kamēr vēl varu, kamēr skan, kamēr publika nāk un kamēr ir interese, protams, negribas atstāt to visu novārtā. Pirms sākam runāt par mākslu un festivālu… Zinu, ka tev, Elīn, šis gads nācis ar jaunu izaicinājumu, kas man pašam ir ārkārtīgi tuvs – ar to nodarbojos vairāk nekā 30 gadu garumā. Un tad, kad dabūju zināt, ka arī tu esi sasparojusies slēpot ar kalnu slēpēm un dzirdēju, ka ar savām meitenēm slēpo, nodomāju – nu, tā: var taču apaukstēties, var taču kaut ko salauzt... Kā tev gāja, Elīn? (smejas) Slēpot aizbraucām visa ģimene. Vīrs gan trešajā dienā izstājās no stafetes, bet mēs, meitenes, turpinājām. Nodomāju – nu, ja nokritīšu un salauzīšu roku, tāpat var dziedāt, ar izsistu plecu arī var… Ir arī bijis gadījums, kad ar pārrautu saiti un kruķiem var uziet uz skatuves... Man bija plāns to iemācīties, un to arī izdarīju – protams, pietiekami labā līmenī, un meitenes ir stāvā sajūsmā. Šis dinamiskais sports ir jauka atkāpe [no ikdienas], lai vienkārši izvēdinātu galvu. Šīs nedēļas laikā nokritu kādas simt reizes, bet tas jau nekas. Kā man brālis teica – neapstājies pie tā, ka esi pakritusi, jākoncentrējas uz to, kā piecelsies! Bet tad tu slēposi arī turpmāk?  Es domāju, ka es slēpošu. Distanču slēpošana Latvijā mums visiem, protams, ir pazīstama, bet laisties no kalna ir pavisam kas cits. Uz melnajām trasēm netēmēšu, un tas man arī nav vajadzīgs, bet nu pa zilo trasi tā laiski un eleganti nošļūkt gan jau ka varēšu. (smejas) Un otra milzīgā aizraušanās, kas tev tuva – tu liec puzles! Milzīgos daudzumos, veselām sienām un milzīgos ātrumos. Un tas, kas mani pārsteidza, ka Vīnes Valsts opera pēc divdesmit sadarbības gadiem tev uzdāvinājusi milzīgu puzli – fotogrāfiju ar tevi Amnerisas lomā. Vai tu to jau saliki?  Jā! (smejas) Tā bija maziņa, tikai divi tūkstoši gabaliņu, lai gan grūtākais bija tas, ka šeit bija siena – visa brūnīgos toņos. Bet sanāca! Jā, puzles ir tāda aizraušanās. Patiesībā ikdienā man pacietība nepiemīt, tāpēc pati par sevi brīnos, ka puzles iesūc mani tādā kā paralēlā universā, taču man jāatzīst: kamēr lieku puzli, ļoti labi mācos arī [lomu] tekstus. Jo es nemāku apsēsties ar notīm un trīs stundas tajās koncentrēti skatīties. Man visu laiku jādara kaut kas paralēli, un ar puzli un notīm blakus tiešām sanāk. Pašlaik man dienaskārtībā ir lielais darbs, kuram ir 33 600 gabaliņu, un no desmit somām saliktas astoņas. Nu, nav laika pieķerties tām pēdējām divām... Un kur tu liec saliktās puzles? Jauc ārā? Dažreiz izjaucu un izmetu, bet ir viena puzle ar 18 tūkstošiem: tā ir ierāmēta. Un ir vēl viena, kas ir ar deviņiem tūkstošiem. Nezinu, ko darīšu ar šo lielo, jo nevienai sienai tā neder. Varētu būt kā grīdas mozaīka. Tavs uzvaras gājiens, sasniedzot karjeras īpašo punktu, kuru tu pati biji izvēlējusies, ir Amnerisa Verdi "Aīdā". Man arī bija tā laime to noskatīties Vīnes Valsts operā, un tu biji brīnišķīga. Cik operteātros jau esi Amnerisu atveidojusi? Pieci, seši droši vien varētu būt. Vēl būs punkts uz "i" šogad maijā – Ņujorkas Metropoles iestudējumā, kuram bija pirmizrāde pagājušajā gadā: tā droši vien būs vislielākā skatuve, kur šī loma tiks nodziedāta. Bet tā ir. Kad man bija septiņpadsmit un izdomāju, ka gribu kļūt par dziedātāju, pirmā pusgada laikā sāku skatīties repertuāru. Sapratu, ka jāiemācās Pelnrušķīte, jo tur ir tik ārkārtīgi daudz mazo notiņu, ka to paveikt – iztīrīt koloratūras tādā līmenī, kādā tām ir jābūt –, tas būtu milzīgs izaicinājums. Bet skaistākā loma, kas uzrakstīta mecosoprānam, ir Amnerisa. Un es toreiz nodomāju: ja to nodziedāšu, patiesībā dziedāt varētu arī beigt, jo mani sapņi būs piepildīti. Bet nu… Izrādās, ka ir arī citas lomas, un izrādās, ka ir arī Vāgners – nu, kaut kā nav laika apstāties! Bet šī partija man ļoti patīk, un esmu priecīga, ka man bijusi iespēja to dziedāt skaistos teātros ar kolosāliem kolēģiem. Noteikti ir arī kāda jauna loma, pie kuras tu šobrīd strādā. Ir vairākas lomas. Un tas savā ziņā ir izaicinājums, jo faktiski nevaru saprast, kurā virzienā tagad lai iet, jo tas skaistākais, kas mecosoprānam bijis, ir jau izdziedāts. Tāda automātiskā attīstība uz soprānu – tas tik vienkārši nemaz nav, jo vajadzīga gan fiziskā kondīcija, gan saišu izturība. Arī laiks sagatavoties. Bet ir, piemēram, tādas partijas kā Ortrūde no Vāgnera "Loengrīna", kas ir jau ieplānota; ir tā pati Judīte no Bēlas Bartoka operas ungāru valodā. Ir doma par Kerubīni "Mēdeju", kas būtu ļoti interesanti – viņu spēlēt. (..) Ir doma arī par pavisam traku Lēdiju Makbetu, kuru tīri psiholoģiskajā ziņā būtu interesanti spēlēt. Arī Ariadne Riharda Štrausa operā "Ariadne Naksā". Nu, un tad būs pienācis laiks arī beigt, tad jau pietiks. Bet šis plāns izskatās uz pieciem, sešiem, septiņiem gadiem! Jā, faktiski kādiem septiņiem gadiem. Vēl nav visi iestudējumi pa teātriem salikti, bet, teiksim, tās ir partijas, uz kurām varētu skatīties un ar kurām varētu spert nākamo soli.  Londonā tu tūlīt dziedāsi Verdi Rekviēmu ar Rikardo Muti. Pēc kāda principa tu izvēlies diriģentus, pie kuriem esi vai neesi gatava strādāt? Muti neizvēlas – viņš pats izvēlas! Ja Muti zvana un saka, ka jābrauc, tad es arī braucu. Un daru to labprāt, jo uzskatu, ka viņa diriģētais Verdi Rekviēms ir kaut kas ļoti īpašs. Vismaz mani tas uzrunā pavisam savādākā līmenī, manierē un veidā. Un, ja man tiešām nav jau kādi noslēgti līgumi, tad vienmēr, kad Muti sauc, es braucu, jo tas mani emocionāli uzlādē; tas ir psiholoģiski liels pārdzīvojums – dziedāt šo skaņdarbu viņa vadībā. Vai bijuši arī gadījumi, kad esi atteikusies no kāda diriģenta? Nē, patiesībā nē. Ja atsakos, tad atsakos no iestudējumiem, jo gala beigās mums, dziedātājiem, jākāpj uz skatuves un to, ko komponists un libretists uzrakstījis, jāmēģina pārraidīt publikai. Tu esi kā darba rīks – tev jāmēģina izstāstīt konkrētā personāža pārdzīvojumi un situācija. Ja ir pilnīgi traks iestudējums un tajā grūti atrast sev tuvu vidi… Lai gan man nav bijis tā, ka es no kaut kā būtu izstājusies ar lielu skandālu. Ja runājam par šī gada koncertu Jūrmalā. Kas būs šīs vasaras galvenās zvaigznes un ar ko viņas ir īpaši vērā ņemamas, ka tu viņas es uzaicinājusi? Mums ir divi dziedātāji. Viens no viņiem ir ķīniešu-austrāliešu tenors Kans Vangs, ar kuru mans vīrs sastrādājies, ja nemaldos, Pučīni "Bohēmas" izrādēs. Viņš, tāpat kā es, ir viens no Kārdifas dziedātāju konkursa uzvarētājiem. Viņš tajā neuzvarēja, bet tas ir kārtējais apliecinājums tam, ka ne vienmēr visi uzvarētāji pēc tam arī izveido karjeru. Par viņu runā, ka viņš varētu būt jaunais Pavaroti aizvietotājs. Man gan ļoti nepatīk, ja dziedātājus salīdzina, jo uzskatu, ka ikkatram dziedātājam ir savs īpašais, unikālais talants un tembrs. Bet viņam ir tiešām skaista karjera liriskajā repertuārā. Viņa tenors uzrunā un silda ar savu tembru. Viņam pasaules kartē ir ļoti skaisti piedāvājumi – vienalga, vai tā būtu Čikāgas Liriskā opera, Ņujorkas Metropole, Minhene vai Berlīne. Viņš ir starptautiska zvaigzne. Otra ir dziedātāja Jūlija Marija Dana no Rumānijas, kā mēs viņu saucam – apslēptais dārgums. Atkal jau – ja gribētu salīdzināt, viņa varētu būt tāda jaunā Andžela Georgiu ar ļoti siltu liriskā soprāna balsi, kura faktiski savā ziņā ir izvēlējusies slēpties no milzīgas preses uzmanības, jo uzskata, ka labāk šo laiku ir veltīt savas balss un personības izkopšanai, nekā sarunāties ar presi un būt mediju vidē. Ja apzinies, ka ne visi var izturēt šo spiedienu, pārlidojumus, uzmanību un to, ka katru reizi tev atkal jārada jauns brīnums, tad faktiski tāda nedaudz atturēšanās dziedātājam nemaz par sliktu nenāk. Viņa ir kārtīgs liriskais soprāns ar starptautisku karjeru. Ar viņu vēl neesam sastrādājušies, bet esam ļoti daudz ko ar viņu izrunājuši; ļoti daudzi cilvēki ļoti, ļoti pozitīvi izsakās par viņu. Tas, ko mēs esam redzējuši un dzirdējuši, mūs uzrunā un aizkustina. Tagad notiek repertuāra salikšana. Kā jau parasti, šajos koncertos pirmā ir nopietnā jeb klasiskā daļa, bet izklaidējošāks materiāls iekļauts otrajā daļā – lai publiku var gandarīt ne tikai intelektuāli, bet arī emocionāli. Kā ir sastādīt programmu Dzintariem, kur ir visraibākā publika, kura ar nopietnām lietām varbūt ne vienmēr grib sastapties? Vai jūs ar Karelu Marku Šišonu domājat par to, lai skanētu ne tikai tie skaņdarbi, kas ir ļoti populāri, bet arī tādi, kas mums, publikai, iemācītu to, pie kā mums vajadzētu pierast? Tādi nopietni un labi. Jo, kā mēs zinām, ir tā, ka pie Vāgnera ir jāpierod, kamēr Verdi var diezgan labi klausīties. Šajā ziņā jāatzīst, ka mans vīrs Karels ir ļoti veiksmīgs programmu salicējs – viņam ir sava stratēģija. Nezinu, vai to var saukt par kādu noslēpumu, bet viņam patiešām vienmēr sanāk ļoti veiksmīgi šīs programmas veidot ar kulminācijas efektu – dot cilvēkiem kaut ko, kas viņus uzrunā, tad iedot mazu atelpu, un tad atkal viņus vest uz nākamo soli, un tad atkal seko atelpa ar vairāk pazīstamiem un mazāk pazīstamiem gabaliem. Mēs vienmēr jautājam arī pašiem dziedātājiem – lai viņi šajos koncertos var parādīt sevi vislabākajā vokālajā gaismā. Un tajā pašā laikā publikai piedāvātu melodijas – gan atpazīstamas, gan mazāk atpazīstamas, bet tai pašā laikā veidojot tādu kāpienu, lai beigās sanāk riktīgs uzrāviens!  Protams, beigās vienmēr ir popūrijs, kad tiek saliktas vairākas populāras melodijas kopā ar ļoti skaistiem, zem atvērtām debesīm veidotiem koncertu aranžējumiem, ko Karels arī ļoti bieži apstrādā. Pati savās interesēs vienmēr meklēju kādu jaunu āriju, jaunu personāžu, kuru vēl neesmu dziedājusi, un katru reizi līdz šim tā ir sanācis. Domājot par nākotnes repertuāru, šādi koncerti ir arī platforma – sākt apdziedāt ārijas, gūt pieredzi ar adrenalīnu un ar publikas klātbūtni, lai pēc tam konkrēto pēc kādiem gadiem varētu dziedāt uz skatuves, izrādē. Iznāk tāda kā bāzes iestrādāšana. Šogad arī droši vien tā būs: no manas puses jau pieminētā "Lēdija Makbeta" ir viens no raksturiem jeb tēliem, kas mani ļoti interesē – viņai ir brīnišķīgas ārijas! Vēl izdomāsim, kuru ņemsim. Šogad Johans Štrauss svin jubileju. Viņa melodijas cilvēkiem ir ļoti tuvas. Mēģinām to visu tagad salikt kopā. Skatāmies, lai dueti labi piestāvētu gan vienam, gan otram. Mana balss mainās, un repertuārs, kuru es dziedu, attīstās. Jaunākiem dziedātājiem varbūt vēl nav tik plašs ampluā, lai izvēlētos, tāpēc mēģinu to visu kaut kā kopā salikt. Ceram uz labu laiku, veselīgām balss saitēm un brīnišķīgu publiku! Vai neesat domājuši par to, ka šo koncertu varētu izvērst par īstu festivālu uz vairākām dienām, vienlaikus izvēršot to arī kā konkursu jaunajiem dziedātājiem? Jaunajam dziedātājam iedot platformu uzstāties publikas priekšā, pirms viņš nokļūst uz teātra skatuves, ir ļoti interesants projekts: šādu formātu esam atraduši Austrijā, kur tiek rīkots konkurss "Nākotnes balsis". Uzvarētājs nokļūst koncertā "Dziedi ar mums kopā". Tur ir 4500 vietas vienā koncertzālē, un otrā – aptuveni 3000; koncerts tiek rādīts arī televīzijā, un tiem, kam ir trešā, ceturtā, piektā vieta, tiek dota iespēja divas dienas pirms šī koncerta uzstāties vai nu parkā, vai klostera telpā, dziedot vairākus ieskaņas koncertus. Arī es par šo tēmu domāju, jo gan tehniskā, gan muzikālā, gan skatuviskā pieredze ir sakrājusies un gribētos to kaut kādā formātā nodot arī tālāk jaunajiem dziedātājiem. Jo darbs ar jaunajiem dziedātājiem man ļoti patīk, un man varbūt būtu arī, ko viņiem teikt. Skatīsimies. Jo īpaši vasara, kad nav aktīvās studijas un aktīvo mēģinājumu, šādiem pasākumiem ir interesanta platforma. Tas kādreiz nākotnē varbūt varētu kaut kādā veidā attīstīties. Šovasar tev ir arī neliela koncerttūre pa dažām Latvijas pilsētām kā veltījums tavai mammai. Šis lēmums ir personīgs, jo šogad paiet tieši desmit gadi, kopš mammiņa aizgāja mūžībā. Kamermūzika vienmēr bijusi ļoti pamatīga manas karjeras sastāvdaļa. Jau no pašiem pirmsākumiem esmu to dziedājusi, un man bija iekšējā vajadzība aizbraukt uz dažādiem Latvijas novadiem. Būs darbi, kurus kā maza meitene atceros, kad mamma tos dziedāja, tāpat ir skaņdarbi, kurus esmu izvēlējusies tāpēc, ka tie mani uzrunā. Tas ir gan piemiņas veltījums, gan arī tāda gluži egoistiska psiholoģiska turneja man pašai – savilkt kopā zināmas paralēles. Braucot, piemēram, atpakaļ no Rēzeknes, sanāks braukt tieši pa to pašu šoseju, no kuras nobraucot, četrarpus kilometru attālumā ir mana bērnības māja, kurā es augu, un kurā es, segu saņemot aiz visiem četriem stūriem, lēcu ar izpletni lejā no kūtsaugšas. Visādas spilgtas atmiņas... Man ļoti gribētos to atkal pieredzēt.  Šajā programmā būs daudz latviešu komponistu skaņdarbu no Alfrēda Kalniņa, Jāņa Mediņa un Jāzepa Vītola pūra: daudzus no tiem pagājušajā gadā dziedāju Zalcburgas festivālā, un šogad šos latviešu komponistus dziedāšu gan Vigmora zālē Londonā, gan "Musikverein" Vīnē, gan Lincā un Grācā, un Parīzē... Tas arī man tāds emocionāls pārdzīvojums un gandarījums, ka beidzot arī latviešu mūzika manā starptautiskajā ceļā drīkst izskanēt uz vairākām skatuvēm. Cilvēki, kas pagājušajā gadā Zalcburgā to klausījās,  bija ļoti pārsteigti par to, cik bagātīga ir mūsu mūzikas valoda. Ja domājam par mūsdienu komponistiem, daudzi no tiem, kuri aizgājuši, rakstījuši manai mammai kā mecosoprānam: viņu darbi mammas sniegumā piedzīvojuši pasaules pirmatskaņojumu. Plakidis, Kalsons… Tāpat Selga Mence. Jebkuram no viņiem piestāvētu un piederētos atkal tikt atvērtiem un pārlapotiem. Tas man ir tāds projekts: kad vairs nevarēšu operu padziedāt, nākamos desmit gadus vēl varēšu dziedāt kamermūziku. Man šī mūzika ļoti patīk – tā ir tik ļoti dažāda, un fakts, ka latviešu mūzika latviešu valodā izskan kaut vai tajā pašā Zalcburgas festivālā – tas ir liels prieks un gandarījums. Par to tev milzīgs paldies arī no Latvijas sabiedrības un Latvijas Radio 3 "Klasika"! Liels paldies, ka tu to dari, jo ne tik bieži mēs ar mūsu komponistu dziesmām esam klausītājus iepriecinājuši. Un visbeidzot man gribas pajautāt: dažādu iemeslu dēļ tu ļoti ilgi neesi dziedājusi Latvijas Nacionālajā operā. Tagad tai ir jauns direktors – talantīgs un enerģisks. Vai jums ir bijušas sarunas, ka tu tomēr varētu nodziedāt kādas lomas arī uz Nacionālās operas skatuves? Ir bijušas sarunas, un, visticamāk, droši vien tas arī īstenosies. Voldiņa kungs bija atbraucis uz Vīni, skatījās "Donu Karlosu", nākamajā rītā kopā brokastojām un diezgan daudz ko izrunājām un sarunājām. Tagad tas viss tiek oficiāli uzrakstīts un salikts uz papīra, un mēģināsim visu saskaņot tā, lai patiešām sanāktu arī atgriešanās Latvijas Nacionālajā operā. Paldies par tavu stāstījumu, Elīn, un nu laiks jautājumiem! Gunda Vaivode: Vai tu esi redzējusi filmu "Straume"? Protams! Mēs visi noskatījāmies. Raudāji? Nē, es neraudāju. Esmu racionāliste. Bet man ir ārkārtīgs lepnums… Pilnīgi neiedomājami! Un mani visvairāk satriec fakts, kādā veidā šī filma tika uz tās pašas "Oskara" lielās biznesa skatuves uz to ento miljonu vērto filmu fona! Re, ko nozīmē talants! Nav vajadzīgi skaļi vārdi – ir vajadzīgs talants un darbs. Uzņēmība un disciplīna. Un vīzija. Man liekas, tik tiešām – ja neklausās visās tanīs ārišķībās un nepievērš uzmanību patērētājsabiedrībai, bet patiešām rok, ceļ un ar savu morāles vīziju strādā tam, kam sirsniņa atvērti strādā, var sasniegt ļoti lielas virsotnes. Ojārs Rubenis: Zinu, ka tu lēnām esi sākusi nodarboties ar to pašu darbu, ko darīja tava mamma – ar pedagoģiju. Vai tu domā par to, ka pēc gadiem desmit tu varētu būt arī laba skolotāja? Jo mums Latvijā vokālā pedagoģija arī ir ļoti, ļoti nepieciešama. Protams, es par to domāju. (..) Nezinu, vai būšu laba skolotāja, bet es noteikti būšu skarba skolotāja, jo uzskatu, ka šajā pasaulē ar visu to, ka katra otrā ir pasaules zvaigzne, mēs esam pazaudējuši tādu kā iekšējo morāli – ko nozīmē būt labam dziedātājam. Konkursos, kuros pati esmu piedalījusies un kuros mani sāk pamazām saukt žūrijā, esmu novērojusi, kādā vidē daudzi dziedātāji ir auguši, ko viņi domā un kā viņi iedomājas, kā visam vajadzētu notikt. Kāpēc nav tā, ka pēc akadēmijas beigšanas Metropole nākamajā rītā viņiem nezvana un nesaka: "Mēs jau sen gaidījām, lai jūs atbrauktu!" Ir nepieciešams šiem jaunajiem cilvēkiem palīdzēt nevis tikai ar tehniku un tikai muzikāli, bet arī ar padomiem par ikdienas dzīvi, jo daudzi no viņiem nezina, ko lai dara pēc akadēmijas beigšanas. Saņēmi savu bakalauru, bet – ko tālāk? Viņš nezina, ka jābrauc uz noklausīšanos, kādās programmās var iestāties, kāpēc vienam der viena programma, bet otram jābrauc uz B klases teātri un jāsāk dziedāt mazās lomas. Daudziem dziedātājiem – arī man savulaik – šī palīdzība nav pieejama. Mūsdienu pasaulē diemžēl teātru intendanti un aģenti tikai "slauc": šodien vari – labi, ja rīt nevarēsi, pasauksim nākamo. Diemžēl ļoti daudziem dziedātājiem jāpieņem arī sāpīgi lēmumi. Šajā profesijā ir tā, kā mana mamma reiz teica: ja nevari būt labākā, tad nemaz nesāc. Jo gandarījuma mirkļu noteikti būs mazāk nekā to, kas tevi pavada ikdienā. Pusgadu tu vari gatavot partiju, tad sešas nedēļas - iestudējumu,  bet kritiķis uzraksta, ka viss ir galīgi garām. Tam jābūt gatavam, un tas ir jāpieņem. Ja es mācītu, tad gribētu ne tikai nodot savas zināšanas, bet arī palīdzēt cilvēkiem atrast savu ceļu un varbūt ieteikt kaut ko. Tas ir skarbi, bet uzskatu, ka tāda patiesības atklāšana ir nepieciešama, jo nav nekā sāpīgāka, ja cilvēks cer, cer un cer, bet beigās dzīve viņam parāda, ka cerības bijušas veltas. Tieši šajā profesijā ir ārkārtīgi nepieciešams diezgan ātri saprast, vai vari, vai nevari. Paldies, Elīn, un man ir milzīgs prieks, ka tev cerības bijušas sabalansētas ar to, ko esi darījusi un nav bijis milzīgu vilšanos. Jo es pat neatceros, kad pret tevi būtu vērsta kāda negatīva kritika. Nav runa tikai par kritiku. Mans lielākais kritiķis esmu es pati, un gandarījuma sajūta – vai nu tā ir, vai tās nav. Tā var neparādīties pat pēc ļoti labas kritikas. (..) Bet kritika, protams, var būt arī palīdzoša.  (Jautājums no žurnālistu puses): Kas jūs saista ar Latviju bez šiem koncertiem? Vai vasarā būs atkal savs dārziņš un tomāti?  Protams, būs ikgadējā dārza ballīte, kurā sanāk draugi, ir skaļi un līksmi. Vēl taču ir sēnes – ar meitenēm stāvā sajūsmā vienmēr septembrī un oktobrī atrodam laiciņu atbraukt un tās salasīt. Tā ir arī zaļā zāle jūlijā; tā ir Sigulda un Jūrmala, un arī lauki. Absolūta nepieciešamība! Es ļoti bieži šeit parādos, un neviens pat nemaz nezina, ka esmu ieradusies, jo izvairos; atbraucu mājās uzlādēties bez tāda pompa – sak', esmu atbraukusi, pievērsiet man uzmanību! Es vienkārši iebraucu, tētis atver durvis, un mierīgi divas dienas varu nodzīvot mājās un satikties tikai ar saviem ģimenes locekļiem. Dažreiz pat draugi nezina, ka esmu bijusi Latvijā.  (Jautājums no žurnālistu puses): Vai sarunas bijušas arī ar Maestro Raimondu Paulu par tālāko sadarbību?  Šobrīd notiek darbs pie [ideju] izstrādes. Pēc koncertiem esam runājušies par to, ko esam paveikuši. Jāskatās, ko vēl varētu paspēt. Ir sagatavoti daudzi jauni aranžējumi Maestro darbiem, un man ir tāda doma: sarīkot ne tikai klasisku koncertu, bet tādu kā popūriju, tā saucamo krosovera žanra koncertu, un Maestro Pauls ar savām melodijām ir unikāls šajā ziņā. Tas kaut kad tiks īstenots.

Pierre Boulez at 100 - Broadcast by CSO Association

Journey up the Rhine River, as lovingly portrayed in Robert Schumann's Rhenish Symphony. Listen for the flowing water and contemplate the majesty of the Cologne Cathedral. To begin, Nikolaj Szeps-Znaider leads and performs the rich and alluring melodies of Bruch's First Violin Concerto. Pierre Boulez's iridescent Livre pour cordes marks the centenary of the composer's birth. This program will also be performed at Wheaton College on Friday, March 28. Learn more: cso.org/performances/24-25/cso-classical/bruch-and-schumann-rhenish

Shostakovich's Eleventh Symphony unfolds with the immediacy of a newsreel as it depicts the harrowing events of the 1905 Russian Revolution. Brimming with rebellious anthems and prisoners' songs, the Cold War-era score is widely heard as a veiled critique of the Soviet regime. Rachmaninov's First Piano Concerto, a farewell to Russia, features the captivating Simon Trpčeski. Learn more: cso.org/performances/24-25/cso-classical/hrusa-trpceski-and-rachmaninov

Composed as Napoleon's forces were threatening Austria, Haydn's Mass in Time of War features an extraordinarily ominous use of timpani and ends with a plea for peace. Beethoven's spirited First Symphony bears the influence of Haydn but also foreshadows the development of his own compositional style. MacMillan's eloquent Larghetto is based on his choral setting of Psalm 51. Learn more: cso.org/performances/24-25/cso-classical/haydn-mass-in-time-of-war

E oggi con Lorenzo Vita commentiamo la situazione in Siria dopo la nuova strage di civili , con Anna Guaita andiamo invece in America dove per la prima volta Trump parla di recessione, per la pagina di spettacolo Gloria Satta ci rivela il segreto di Ornella Muti al suo settantesimo compleanno, quindi l'imperdibile e irriverente domenica di Sorrentino, il commento alla serie A di calcio.

Celebrating Womens History Month - Broadcast by CSO Association

Hear why Ravel is a classical music master, whether capturing the sensuous allure of Spain in Rapsodie espagnole or summoning “the Greece of [his] dreams” in his ravishing suite from Daphnis and Chloe. Barber's Second Essay reflects the turbulent emotions of wartime. CSO Principal Clarinet Stephen Williamson solos in the world premiere of Indigo Heaven, a work written for him by American composer Christopher Theofanidis. Learn more: cso.org/performances/24-25/cso-classical/ravel-daphnis-and-chloe

The cool of the Arctic meets the warmth of Italy. The brooding, majestic themes of Sibelius' Fifth Symphony evoke the remote landscapes of conductor Santtu-Matias Rouvali's native Finland. Tchaikovsky transports listeners to a Roman carnival in his Capriccio Italien. Seong-Jin Cho, lauded for his “expert music-making … miraculous in its execution” (The New York Times), takes on Prokofiev's incendiary Second Piano Concerto. This program will also be performed at Wheaton College on Friday, February 28. Learn more: cso.org/performances/24-25/cso-classical/seong-jin-cho-plays-prokofiev/

Glover & Jacobs - Broadcast by CSO Association

Mixing ceremonial pomp with pastoral splendor, this survey of British classics features Haydn's last and grandest symphonic statement, the London Symphony; exquisite gems by Elgar and Britten, and the soaring beauty of Vaughan Williams' The Lark Ascending with violinist Stella Chen, winner of the prestigious Queen Elisabeth Competition and Gramophone's 2023 Young Artist of the Year. Marking the 150th anniversary of Ravel's birth, the program crosses the English Channel for the composer's beguiling Tzigane. CSO Concertmaster Robert Chen has withdrawn from his planned solo appearances in these performances due to rotator cuff tendinitis symptoms. Learn more: cso.org/performances/24-25/cso-classical/glover-and-english-classics

Last year was the first calendar year with a global mean temperature of more than 1.5°C above the 1850-1900 average. Since 90% of global warming is occurring in the ocean, due to the earth's rising energy imbalance resulting from continuing and increasing GHG emissions, not surprisingly research published in “Environmental Research Letters” in late January concluded ocean temperatures for the 450 day period between April '23 and July '24 were the warmest ever. Ocean surface temperatures are now warming 40 times faster than 40 years ago. As I've noted in previous discussions with Prof. Abraham, because warming oceans/ocean heat content plays a fundamental role in our planet's energy, water and carbon cycles, warming ocean temperatures disrupt marine life that substantially threaten the availability of food we eat and the oxygen we breathe.The “Environmental Research Letters” article, “Quantifying the Acceleration of Muti-decadal Global Sea Surface Warming Driven by Earth's Energy Imbalance,” is at: https://iopscience.iop.org/article/10.1088/1748-9326/adaa8a/pdf. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thehealthcarepolicypodcast.com

The rugged, windswept beauty of Sibelius' Violin Concerto is a perfect showcase for Christian Tetzlaff, whose “fiery and compelling” 2022 CSO performance was named one of the year's 10 best by Chicago Classical Review. Schoenberg's Pelleas and Melisande is a lush, quintessentially romantic orchestral portrait of Maeterlinck's mysterious, symbolist play, while Wagner's prelude delivers a thrilling opener. Learn more: cso.org/performances/24-25/cso-classical/tetzlaff-plays-sibelius

A taut and gripping thriller, Bartók's one-act opera follows Duke Bluebeard and his newest wife Judith as she opens the seven doors of his castle and discovers increasingly disturbing sights. Opera stars Christian Van Horn and Ekaterina Gubanova bring to life these ill-fated characters. Juxtaposed with this macabre folktale is Beethoven's joyful Second Symphony. Sung in Hungarian with English supertitles. Bluebeard's Castle by arrangement with Boosey & Hawkes, publisher and copyright owner. Learn more: cso.org/performances/24-25/cso-classical/salonen-and-bluebeards-castle

Kanneh-Mason Plays Elgar - Broadcast by CSO Association

Revel in the sonic splendor of the CSO with two of its signature works: Strauss' brash symphonic portrait of the infamous libertine Don Juan and Bartók's exhilarating Concerto for Orchestra, a virtuosic tour de force for every instrument. The organ in Salonen's “boldly cinematic” (Los Angeles Times) Sinfonia concertante adds another thrilling aural dimension. Learn more: cso.org/performances/24-25/cso-classical/bartok-concerto-for-orchestra

durée : 00:24:33 - Disques de légende du mercredi 22 janvier 2025 - Riccardo Muti nous offre l'une des très grandes versions d'Aïda. Loin de l'époque où il se perdra parfois dans la recherche d'une plénitude et d'une extase un peu forcées, le chef italien s'affirme ici comme un maître des grands ensembles et un accompagnateur hors pair.

Liese, Kirsten www.deutschlandfunk.de, Kultur heute

Susanna Mälkki conductor Stefán Ragnar Höskuldsson flute

In 1788 London, a mysterious assailant known as "The Monster" terrorized fashionable women by slashing their clothing and flesh, leading to a sensational manhunt that captured a suspect - but was he really the culprit?Darkness Syndicate members get the ad-free version. https://weirddarkness.com/syndicateInfo on the next LIVE SCREAM event. https://weirddarkness.com/LiveScreamInfo on the next WEIRDO WATCH PARTY event. https://weirddarkness.com/TVIN THIS EPISODE: In March 1788 Maria Smythe was attacked by a stranger who uttered some foul words, stabbed her, then ran. She survived, but was only the first of more than fifty women to suffer the same in London. This wasn't Jack The Ripper – he wouldn't come along for another 100 years. This was the Monster of London. (The Monster of London) *** On his first day walking to the bus stop alone before school, Etan Patz was abducted – and became one of the first children whose face ended up on a milk carton. (The Boy On The Milk Carton) *** If you are left-handed, you might be offended by one of the stories I have in this episode. But then, you lefties are all sinister anyway, right? (The Sinister Left-Handers) *** In 1827, young Maria Marten slipped into a red barn to meet her secret lover. It was the last time she would be seen alive. (The Red Barn Murder) *** It sounds like the makings of a paranormal slasher film – a woman is followed home one day by a paranormal entity – an entity that is angry because it used to be a human that was murdered. (The Haunting of Leah Lewis) *** Imagine your business is failing and you need to drum up customers, so you hire a consultant. “No problem,” he says. “All I need is a few things to get started… do you happen to have have any problems chopping off your closest living relative's hand?” Welcome to Muti magic that some say still takes place even today. (Murderous Muti Magic) *** Edward Howard Bell was a murderer on the run and evaded capture for close to twenty years. When finally captured, authorities found out they didn't just have a murderer… but a serial killer, who he claims had sent eleven young girls to heaven. (He Sent Eleven Young Girls to Heaven)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Disclaimer and Show Open00:03:18.900 = The Monster of London00:17:59.644 = The Boy on the Milk Carton00:27:08.660= Sinister Left-Handers00:37:14.828 = The Red Barn Murder00:46:20.768 = The Haunting of Leah Lewis00:51:48.836 = Murderous Muti Magic00:59:53.589 = He Sent Eleven Young Girls to Heaven01:07:03.421 = Show CloseSOURCES AND REFERENCES FROM THE EPISODE…“The Boy On The Milk Carton” by Liz Jin for Medium: https://weirddarkness.tiny.us/e3htkxka, and from History.com: https://weirddarkness.tiny.us/d4x2zkbs“The Sinister Left-Handers” by Dr. Romeo Vitelli for Providentia: https://weirddarkness.tiny.us/nxucebke“The Red Barn Murder” by Stephanie Almazan for The Line Up: https://weirddarkness.tiny.us/wp8sm47m“The Haunting of Leah Lewis” by Helen Kreft for Staffordshire-Live.co: https://weirddarkness.tiny.us/3ces9xcs“The Monster of London” posted at Strange Company: https://weirddarkness.tiny.us/kxc8hvrm“Murderous Muti Magic” posted at The Scare Chamber: https://weirddarkness.tiny.us/48tp8te7“He Sent Eleven Young Girls to Heaven” by Matthew Lavelle for Unspeakable Times: https://weirddarkness.tiny.us/c4yy3b7hWeird Darkness theme by Alibi Music Library. = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =Originally aired: August 10, 2021SOURCES PAGE: https://weirddarkness.com/MonsterOfLondonTRANSCRIPT: https://weirddarkness.tiny.us/2p86kz4m

References Neuropharmacology. 2014. 79, April : 1-9 Alcoholism: Clinical and Experimental Research 2007. 31.12. Cancer Epidemiol Biomarkers Prev. 2014 Oct 3;23(12):2943–2953. Alcohol Research. Current Reviews. 2017.38.2: 55-76. Alcohol Clin Exp Res. 2011 Feb;35(2):235-9. Neuropsychopharmacol Rep. 2021 Sep;41(3):352-361. Bracken, J. 1972. "Steppin Out". Live Cream Vol II. https://youtu.be/XAB6K-5XWU4?si=wURdUuCQpssf8tUA Betts, D. 1972 "Blue Sky" Allman Brothers on Eat a Peach lp. https://youtu.be/JSMubgZoL58?si=QGYWPPywXkV8Qk0D Tchaikovsky,P.I. 1878. Violin Concerto D. Major. Op. 35 https://youtu.be/2Q_DzWUvcL8?si=iSqyBV2Fpy2BWOfW Beethoven. LV. 1824.Ninth Symphony. D Minor Op. 125. Chicago Philharmonic .Muti. https://youtu.be/rOjHhS5MtvA?si=r-zvj5jYQ6uQVLs5 --- Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

The widow of the late Eswatini human rights and pro-democracy activist Thulani Maseko says she has found courage knowing that though her husband was assassinated, what he fought for lives on. Maseko, the chair of the Muti-stakeholders Forum, was killed in early 2023. This month US Secretary of State Antony Blinken gave Thulani's widow Tanele the Secretary's Human Rights Defenders Award. She tells VOA's James Butty the award is bittersweet.

Brimming with wry wit and affectionate warmth, Shostakovich's Second Piano Concerto was a gift for his teenage son. Here, it's a showcase for the brilliant Lahav Shani, who conducts from the keyboard. Beethoven's powerful Egmont Overture captures the brave struggle for freedom and justice, while Brahms' stormy and heroic First Symphony is the culmination of years of labor by the composer. Learn more: cso.org/performances/24-25/cso-classical/shani-shostakovich-and-brahms

Tangazo cohost Tim Person,  hosted two special guest for Thursday's show.  In the first half of the 12 pm hour, in preparation for the holiday's, Pat Nogar treated us to with our annual pre-holiday visit with helpful tips about preparing for the festival season with convergence of Christmas, Hanukah and Kwanza.  Pat shared how to make our homes more festival and inviting and how to enjoy and incorporate diverse cultures.  We also took a walk down memory lane by revisiting the past with family gatherings, how we engaged and celebrated and even discussed our favorite holiday movies.  In the second half of the hour, we were joined by the multi-talented Paulette Sankofa who is an mixed media artist, an Ordained Elder in the AME church and an author.  Paulette recently published a book entitled: St. Louis Black Women's Quilting and Cuisine: Stories of Love and Hope.  Her book documents the stories of St. Louis Black women who are passionate about quilting and culinary arts. This is an essential part of the local quilting and culinary arts history of the state of Missouri. 

Embark on a seafaring journey as Tchaikovsky summons Shakespeare's magical island and storm-tossed seas in The Tempest. Korngold evokes the swashbuckling sailors of the 1940 Hollywood epic The Sea Hawk, and Britten portrays the coastal village of his opera Peter Grimes. The voyage concludes as Konstantin Krimmel presents Mahler's song cycle about a traveling journeyman. Learn more: cso.org/performances/24-25/cso-classical/the-tempest-and-the-sea-hawk

Musicians of the Orchestra - Broadcast by CSO Association

Rachmaninov's majestic First Symphony churns with youthful romantic fervor and ethereal mystery — perfect for a December outing. Grieg's Peer Gynt Suite No. 1, inspired by Norway's national folk hero, includes the instantly familiar dream-like fantasy of “The Hall of the Mountain King.” Johannes Moser brings his “remarkably visceral and vivid playing” (Gramophone) to Lutosławski's wild and enchanting Cello Concerto. Learn more: cso.org/performances/24-25/cso-classical/grieg-and-rachmaninov

Boulez Conducts Mahler, Bartók, & Stravinsky - Broadcast by CSO Association

Tugan Sokhiev, conductor Yulianna Avdeeva, piano

Experiencing a Bruckner symphony is often compared to walking around inside a massive gothic cathedral. Step inside this sacred space and experience its awed silences, reverent melodies and towering brass chorales. Francesco Piemontesi, “a performer in total, joyful command of his material” (The Guardian), brings power and panache to Liszt's formidable Second Piano Concerto. Learn more: cso.org/performances/24-25/cso-classical/liszt-and-bruckner-3/

Be transported to the landscapes of southern Spain with vivacious, dance-inspired works by Falla and Chabrier. The journey begins in Riccardo Muti's native Italy with a boisterous overture by Donizetti and sumptuous ballet music by Verdi. Golijov's Megalopolis Suite features music from his score to the 2024 release of Francis Ford Coppola's epic film, in which the fate of Ancient Rome haunts a modern world. Learn more: cso.org/performances/24-25/cso-classical/muti-and-the-cso

Music Director Emeritus for Life Riccardo Muti returns with Beethoven's Eroica Symphony, a work that shattered the symphonic conventions of its day, with themes of heroism, struggle and triumph. Beethoven's majestic Emperor Concerto features Mitsuko Uchida, who brings “the unaffected wisdom and clarity that comes with decades of interpretive rigor and commitment” (The New York Times). Learn more: cso.org/performances/24-25/cso-classical/muti-uchida-emperor-and-eroica

Vozila koja su fabrički ofarbana u crveno biće prefarbana u plavo, a novi autobusi, tramvaji i trolejbusi biće kupovani samo ako ih fabrike proizvode u nijansi plave koju su ljubili svi Nemanjići, Grad će u te fabrike poslati pedesetoro ili stotinu istoričara, heraldičara i autolakirera da nadziru proces farbanja i lakiranja.

Vozila koja su fabrički ofarbana u crveno biće prefarbana u plavo, a novi autobusi, tramvaji i trolejbusi biće kupovani samo ako ih fabrike proizvode u nijansi plave koju su ljubili svi Nemanjići, Grad će u te fabrike poslati pedesetoro ili stotinu istoričara, heraldičara i autolakirera da nadziru proces farbanja i lakiranja.

This week on Bring the Juice; Detroit Lions Netane Muti.

Maestro Riccardo Muti is a fixture at the Salzburg Festival. This year, he conducted the Vienna Philharmonic in Bruckner's Eighth Symphony. Between rehearsals and performances, he sat down with Jay to discuss a variety of matters—musical and even social. What constitutes harmony in society? And what can music teach us about how to live together? A session with Muti is informative, enriching—and, not least, fun. 

Despite some opposition from within their own faith communities, Muti'ah and Angelica are on a mission to teach other Muslim women how to have healthy and safe sex lives.Geeta Pendse meets them both and finds out how to deliver sex education that is both useful and appropriate for their students.Presenter: Geeta Pendse Producer: Linda Walker Series producer: Rajeev Gupta Production co-ordinator: Mica Nepomuceno