Podcasts about new york metropolitan opera

Delaware Opera Star Gina Perregrino celebrates her debut at The New York Metropolitan Opera with Rick Jensen

We begin the show with the wider war nobody wants and the chain reaction playing out in the Middle East. With Israel and Iran's decades-long shadow war now playing out in the open, the rules of engagement are being completely re-written. Christiane spoke to Britain's former top spy John Sawers about the volatile situation. Meanwhile, in the absence of vital US aid for Ukraine, other allies are stepping in to fill the vacuum. The Czech Republic is now leading an international effort to deliver a million and a half artillery shells to Ukraine within a year. Czech President Petr Pavel - a former army general, and senior NATO official – joins Christiane from Prague. The world's biggest democratic exercise is underway in India as nearly a billion eligible voters decide whether Prime Minister Narendra Modi deserves a third term. CNN's Will Ripley explains what's at stake for this crucial US ally. Ukrainian Maestro Oksana Lyniv is a classical music trailblazer with a passion for conducting shaped by her life and the war in her homeland. Christiane met her at the New York Metropolitan Opera. From the Amanpour Archive this week, we revisit Christiane's conversations with the stakeholders at the center of the aborted 2015 nuclear deal, which would have reshaped the Middle East as we know it. And, with military aid locked up in congress, Ukraine's air defense crisis deepens by the day and Putin is pressing the advantage. Christiane asks Donald Trump's former Defense Secretary Mark Esper if he thinks GOP holdouts have fallen victim to Putin's propaganda. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Stāsta muzikologs Jānis Torgāns Nu, un kas? Kas mums daļas par viņu metropolitēna esamību vai neesamību? Izrādās, ka daļa ir gan, it īpaši jau "Klasikas" publikai, kura radināta un radusi pie Ņujorkas Metropolitēna operas – viena no lielajiem, vadošajiem, nozīmīgākajiem opermākslas centriem pasaulē. Pazemes dzelzceļš Ņujorkā ir gan – viens no vecākajiem, senākajiem pasaulē. Taču tas saucas New York City Subway, – nu, burtiskojot tas iznāktu kā apakšzemes ceļš, apakšceļš, zemceļš. Savukārt slavenā opernama New York Metropolitan Opera –  nosaukums [metro`politen] atvasināts no sena grieķu pirmvārda, salikteņa, kas pirms mūsu ēras veidots no mētēr – māte un polis – pilsēta. Jāpiebilst, ka šis polis ir pamatā arī latviešu valodas vārdam "polisa", kas apzīmē galvenokārt senās pilsētvalstis, kuru mūsdienu analogs būtu, piemēram, Monako, Vatikāns vai Singapūra. Un, jā, arī vārds polise – dokuments / apliecība un policija, kas uz mūsdienām nāk pastarpināti no viduslaiku latīņvalodas politia – ar nozīmi "valsts iekārta". Un vēl tālāki atvasinājumi – kā politika ar veselu nozīmju vēdekli… Nemaldīsimies tālāk valodu pazemes gaņģos un atgriezīsimies pie Ņujorkas Metropoles operas. Nu, tātad, "metropole" mūsdienās parasti saprotama kā lielpilsēta, galvenā, vadošā, centrālā – ne tieši galvaspilsēta, ar valstisku statusu, nē. Tādēļ mūsu mīļā opera Ņujorkā ir vienkārši pirmā, lielākā, vadošā un virzošā opera – faktiski visā reģionā vai pat kontinentā. Interesanti, ka otra lielākā Ņujorkas opera saucas Ņujorkas Pilsētas opera (New York City opera), jo bija vajadzīgs abu Ņujorkas galveno opernamu nosaukumu nošķīrums (2013. gadā Pilsētas opera bankrotēja, taču 2016. gadā tika atpakaļ uz kājām). Un – arī Ņujorkas grandiozais tēlotājmākslas muzejs ir Metropolitan Museum of Art, un tieši tāpat latviskojams kā Metropoles, nevis komiskais Metropolitēna muzejs. Arī, atsevišķi ņemot, salikteņa "metropole" pirmā daļa mētēr – māte – laiku gaitā piedzīvojusi lielas pārmaiņas. Nu, piemēram, vārds metrdotels. Tagad gan to vienkāršojam un pat pazeminām, saucot par zāles pārzini. Svešvārdu vārdnīca sniedz drusku smalkāku skaidrojumu – galvenais oficiants restorānā, viesnīcā. Bet franču pirmvārds nozīmē mājas, mājokļa, dzīvesvietas īpašnieks, saimnieks. Un pēc būtības tas tiešām ir gan īpašnieks, gan saimnieks, gan pārzinis (apsaimniekotājs, kārtības uzturētājs). Mātes vārds te jau pavisam izkliedējies. Taču – kā savulaik jauki paskaidroja Mihails Bahtins – žanrs dzīvo tagadnē, taču vienmēr atceras savu pagātni. Izcelsmi, cilmi, biogrāfiju. Tas attiecas ne tikai uz žanru, bet arī uz vārdu. Un arī mums, meklējot kāda apzīmējuma, nosaukuma, titula nozīmi, vislabāk vērsties pie tā izcelsmes. Tad viegli nošķirsim metropolitēnu no metropoles.

  JOHN CLAUDE GUMMOE I suppose it's usually not done, but I've decided to write this biography of myself in the first person, so actually, it's my autobiography. It just felt too odd to be writing about myself as though I were someone else. So here goes. I was born in Cleveland, Ohio on August 2nd, 1938 to John Corwin Gummoe and Beulah Foy Harris. John, my father, was the son of James Alfred Gummoe who came to America from Cornwall, England about 1880. I'm told that he jumped ship in New York, but did eventually become a naturalized citizen about 20 years after coming here. My mother also came from English ancestry and her side of the family goes all the way back to the early 1600's and The New Haven Colony and The Massachusetts Bay Colony. Seems like so many people today are searching for their roots and I'm no exception. I've been bitten by the bug and along with music, genealogy has become one of my passions. As a young lad, I first began singing at the kitchen sink with my much older sisters. My mother had me at the ripe old age of 38. When I arrived, there were already three sisters in thier teens. They were very much into the big band sound. Later on, in the sixth grade, I joined Mrs. Clark's Boys Chorus. She seemed to like me and my voice (boy soprano), and she often had me doing solo efforts in school pageants. One year, a touring company from The New York Metropolitan Opera came to town with the opera "Carmen". It starred Risa Stevens and Robert Merrill and Richard Tucker and Mrs. Clark's boys were chosen to be the street urchins in the first act. Very exciting stuff for a 6th grader; costumes, make-up, big stage. It was truly awesome. We had to learn our part in French and we were to be sort of mimicking the soldiers in that scene. On into my teens, I drove my friends and family crazy as I was always singing with everything on the radio, on records or whatever. They were always telling me to keep quiet so they could hear the music. Little did they know, or I for that matter, that I would one day compose one of the biggest and most successful pieces of music in pop/rock history and actually record it with my own group, The Cascades. Last year, Broadcast Music, Inc. named my song "Rhythm of the Rain", the 9th most performed song of the last century. My sincere thanks to radio DJ's everywhere for all the plays. You are all much appreciated. At 18 years of age, fresh out of high school, I had always dreamed of going to Ohio State University to study Veterinary Medicine, but there was just no money to be had for that and my grades, though not bad, were not high enough for a scholarship. Fate had other "ships" in store for me as off to the U.S. Navy I went for four years. That turned out to be exactly what I was meant to do as in San Diego, aboard the U.S.S. Jason, AR-8 is where I met two talented and wonderful guys ; David Wilson and Leonard Green . I'm proud to say that throughout the years, we still remain fast friends, although just a few months ago, sadly, we lost David to cancer. Needless to say I will miss him very much. David was a drummer and singer, Len played guitar and also sang, but more than that Len was a talented composer and quite an inspiration to me to give writing a try. These two men helped me more than anybody I can think of, to drag a shy, insecure young man into the joys of creating music. To you both I'll always be grateful. Your encouragement and friendship has and will always be treasured. It's been an honor and a previlage to have had you in my life. My association with David and Len and the others that made up first, The Silver Strands, and then, The Thundernotes, and finally, The Cascades began with my taking over managing and booking the group. I was their biggest fan and at the point, had not done anything on stage. But, after much encouragement from David and Len, I began getting up on stage with David for some duets; mostly Everly Bros hits and similar two part harmony songs. I was frightened to death at first, but it was'nt long before I was performing solo with the group. Around that time, after watching Len create song after song, I though to myself, "Hey John, I bet you can do that too, if you try!" And so I began writing lyrics, and again with encouragement from Len and David, I began the process of learning to play a musical instrument. I'd had little music training and my first instrument was the vibes, or vibraharp. You know, that big thing with metal keys that you strike with mallets. Well, it has the same keyboard as a piano so it was a natural progression to go there as time went on. Thanks to good genes from Mom and Dad and ancestors passed, I was also blessed with a natural ear for harmony, thus, learning chords came easy to me. So it wasn't long before I was singing, composing, writing and performing as a full fledged member of the band. Shortly before signing our recording contract, we lost Len Green. He decided, for reasons that to this day remain personal, to leave the group to persue other endeavors including going on to become a staff writer with Acuff-Rose Publishing in Nashville and evenually being nominated for his composition of "Slow Country Dancing". You can read and hear all about it by linking up to his web page which you can do from here. Our then manager, Andy Di Martino came and told us that Valiant Records was interested in us, and so with new guitarist, Eddy Snyder we moved on without Len Green. Thus began our whirl-wind climb to the top of the record charts; a period that even now feels like it was all a dream. A dream come true though, none the less. It was magical!! The chemistry was perfect. The group had a perfect sound for the era. We were recording at the famous Gold Star Studios, home of Phil Spectors "wall of sound" with the legendary Stan Ross engineering, Barry De Vorzon producing, Perry Botkin Jr. arranging and behind our smooth vocal sound was probably the best group of studio musicians available; including Hal Blaine on drums, Carol Kaye on bass, Glen Campbell (yes, the now famous Glen Campbell) on guitar. How could we go wrong? And of course, as rock and roll history attests, we didn't go wrong. I'm still composing, still singing and I hope I always will be. Here in my 63rd year on this earth, I feel like I'm better than I've ever been and I'd like to take this opportunity to thank the record buyers, all the Cascade Fans (and there are still many around) and radio, especially Oldies radio for keeping my little ditty on rotation at your respective stations. I'm very grateful!!. It's a great time to be alive and have this wonderful technology around so I can share my story and my thoughts with the entire world. WOW!! Hope those of you visiting my web site are enjoying this as much as I've enjoyed putting it together... With much appreciation......... John Claude Gummoe, Composer of "Rhythm of the Rain" and lead singer with The Cascades. Write to me with your questions and/or comments at RAINSONG4U@AOL.COM

David S. Leong is a certified conflict resolution trainer and fight master whose fight choreography has appeared in over twenty Broadway, London West End, and New York Metropolitan Opera plays. David shares how growing up in a home with domestic violence, a childhood obsession with Zorro, and the stubborn belief in his own growth lead him to where he is today.

ROBERT PATTERI - is a Managing Partner with Connex Partners; a Wall Street Consultancy that serves Fortune 500 Human Capital Departments and the cutting edge companies that serve them. Prior to that, he was VP of Ad Alliances for How Simple, VP of Business Development for Desert Wind Films, and VP of Marketing for Brightside Advertising.  In ministry, Robert served as founder and Senior Pastor of The Creators Church and is honored to serve on the Boards of both Global Ministry and Relief Canada and the prestigious John Raitt Awards. As an actor, Robert performed all over the world from the New York Metropolitan Opera to Toronto's Princess of Wales, London's Dominion to Los Angeles' Hollywood Bowl.   And JADE PATTERI (jadepatteri.com)– is an accomplished triple threat who has performed as a principal dancer in the Golden Globe-nominated movie musical Prom: The Musical starring Meryl Streep, Nicole Kidman, and James Corden, played Olivia in Twelfth Night at the Actors Co-op in Hollywood, and Young Jayne/Adelle in the world premiere of Jane Eyre the Musical. In 2019, Jade was awarded the Broadway Artists Alliance Award at the JRay's (John Raitt Awards)  to perform Off-Broadway at the Symphony Space Theater in NYC and was also chosen as the Artist of the Year for the National Youth Arts Awards. 

Un direttore d'orchestra si frattura un braccio Nel 1969 la New York Metropolitan Opera inaugurò la stagione con l'Aida. Quella rappresentazione fu descritta come “magnifica” e come “una dimostrazione di ciò che significa il professionismo”. Ma quale fu il momento clou di quell'evento, quello che ricordiamo ancora oggi? Il direttore. Due giorni prima dello spettacolo era scivolato sul ghiaccio, rompendosi il braccio destro. Pertanto, per lui fu una sfida dirigere l'intera opera con il solo braccio sinistro, visto che l'altro era ingessato. Ci riuscì? Sì! --- Send in a voice message: https://anchor.fm/corgiov/message

Show Notes In this weeks episode I am speaking with Joshua Benaim, formerly an opera singer with the New York Metropolitan Opera before turning his attention to real estate and starting his own company Aria Development Group. Today Aria is building apartment buildings all over the US and they have invested over $300M in equity capital to date. Joshua recently published his first book 'Real Estate: A Love Story" which is available at most stores (link below). I hope you enjoy! Joshua on LinkedIn - https://www.linkedin.com/in/joshua-benaim-40a9b877/ Aria Living - https://www.arialiving.com/ Joshua's Book - https://www.realestatealovestory.com/ *** Gavin's YouTube Channel - https://www.youtube.com/channel/UC_15DAwn7ztsj6UuU4iNSIw?sub_confirmation=1 Book: 'Your Best Life' - https://amzn.to/38WPmVf Book: 'Work Life Blend' - https://clionas.ie/product/work-life-blend/ Meetup Group - https://www.meetup.com/behind-the-facade-community/ Facebook page - https://www.facebook.com/BehindTheFacadePodcast LinkedIn page - https://www.linkedin.com/company/behind-the-facade-podcast If you would like to join the Facebook Group where Gavin posts live videos and responds to question, its called Behind The Facade Community and you can find it here - https://www.facebook.com/groups/1143988072600584 If you are interested in joining a future Behind The Facade Mastermind group for coaching, a WhatsApp group and a weekly Zoom call where you can ask specific questions and get direct advice and feedback then please sign up to the email list via the website www.gavinjgallagher.com/go If you have any questions you'd like answered on the show please make a voice recording and send it to podcast@behindthefacade.fm Subscribe so you don't miss an episode and connect with Gavin on social media (FB Page, LinkedIn, Twitter, Instagram) --- Send in a voice message: https://anchor.fm/gavinjgallagher/message

In this weeks episode I am speaking with Joshua Benaim, formerly an opera singer with the New York Metropolitan Opera before turning his attention to real estate and starting his own company Aria Development Group.  Today Aria is building apartment buildings all over the US and they have invested over $300M in equity capital to date.  Joshua recently published his first book 'Real Estate: A Love Story" which is available at most stores (link below).  I hope you enjoy! Joshua on LinkedIn - https://www.linkedin.com/in/joshua-benaim-40a9b877/ Aria Living - https://www.arialiving.com/ Joshua's Book - https://www.realestatealovestory.com/ *** Gavin's YouTube Channel - https://www.youtube.com/channel/UC_15DAwn7ztsj6UuU4iNSIw?sub_confirmation=1 Book: 'Your Best Life' - https://amzn.to/38WPmVf Book: 'Work Life Blend' - https://clionas.ie/product/work-life-blend/ Meetup Group - https://www.meetup.com/behind-the-facade-community/ Facebook page - https://www.facebook.com/BehindTheFacadePodcast LinkedIn page - https://www.linkedin.com/company/behind-the-facade-podcast If you would like to join the Facebook Group where Gavin posts live videos and responds to question, its called Behind The Facade Community and you can find it here - https://www.facebook.com/groups/1143988072600584 If you are interested in joining a future Behind The Facade Mastermind group for coaching, a WhatsApp group and a weekly Zoom call where you can ask specific questions and get direct advice and feedback then please sign up to the email list via the website www.gavinjgallagher.com/go If you have any questions you'd like answered on the show please make a voice recording and send it to podcast@behindthefacade.fm  Subscribe so you don't miss an episode and connect with Gavin on social media (FB Page, LinkedIn, Twitter, Instagram)

Emily Geller Hardman, a New York Metropolitan Opera singer, gave the performance of a lifetime with her unassisted VBAC in the back of the car as her husband sped down the highway en route to the Connecticut birth center from Pennsylvania.  At 37 weeks, she went into labor unexpectedly while at a wedding three hours from home. In the middle of the night, she knew she was in labor, and it was time to hit the road. After having had a Cesarean for her breech baby the first time around, she was well-prepared for a VBAC this time, and determined to  do whatever it took to have her second baby unmedicated and vaginally.  Little did she know, she would do it entirely on her own with the cool, calm, collected grace of only one who's spent their life performing under pressure with ease, sound, and breath work.  Tune in to this exciting, fun, and inspiring birth story.  * * * * * * * * * *Between episodes, connect with us on Instagram @DownToBirthShow to see behind-the-scenes production clips and join the conversation by responding to our questions and polls related to pregnancy, childbirth and early motherhood. You can reach us at Contact@DownToBirthShow.com or call (802) 438-3696 (802-GET-DOWN). We are always happy to hear from our listeners and appreciate questions for our monthly Q&A episodes. To join our monthly newsletter, text "downtobirth" to 22828.You can sign up for Cynthia's HypnoBirthing classes as well as online breastfeeding classes and weekly postpartum support groups run by Cynthia & Trisha at HypnoBirthing of Connecticut. Please remember we don't provide medical advice, and to speak with your licensed medical provider related to all your healthcare matters. ThaSupport the show (https://www.paypal.com/paypalme/cynthiaovergard)Support the show (https://www.paypal.com/paypalme/cynthiaovergard)

In this episode, I'm really happy to bring you a very special artist, cello professor and Feldenkrais practitioner Uri Vardi. In our conversation, Uri talks to us about the basic principles of the Feldenkrais method, how it aims to bring new awareness and possibility into every aspect of our life using gentle, mindful movements, and he elaborates on his philosophy of teaching, which I think you will find very beautiful!   Frustrated with your playing?  Unsatisfied with you career?  Ready for a change? Whatever your challenge, you don't have to go at it alone, and I can help.  Visit www. https://www.mindoverfinger.com/workwithme to learn more and book your call and let's discuss how to get you from where you are to where you want to be!   THE MUSIC MASTERY EXPERIENCE is back in June 2021!  This is my LIFE CHANGING, highly personalized group coaching program where I show you how to implement mindful & effective practice techniques, how to make them habits, and how to get RESULTS. Save your spot at http://www.mindoverfinger.com/mme and get access to some really cool bonuses!     MORE ABOUT URI VARDI: Website: http://www.harmoniousmovement.com/ YouTube channel: Find videos here Your Body Is Your Strad: http://www.yourbodyisyourstrad.com/   Uri Vardi has performed as a recitalist, soloist, and chamber player across the United States, Europe, South America, Asia, and his native Israel. Born in Szeged, Hungary, Vardi grew up on kibbutz Kfar Hahoresh, Israel. He studied at the Rubin Academy in Tel Aviv, was an artist diploma student at Indiana University, and earned his master's degree from Yale University. His teachers have included Janos Starker, Aldo Parisot, Eva Janzer, and Uzi Wiesel. Vardi has recorded and toured widely with the Israel Chamber Orchestra and was a founding member of the Sol-La-Re String Quartet. He has served as assistant principal cellist of the Israel Chamber Orchestra and principal cellist of the Israel Sinfonietta. In 1990, following an extensive teaching and performing career in Israel, Vardi was appointed professor of cello at the University of Wisconsin-Madison. In addition to his work at Wisconsin, Vardi has taught and conducted master classes at numerous music schools, including: Juilliard, Eastman School, New England Conservatory, Indiana University, Yale University, Oberlin College, Cleveland Institute of Music, University of Iowa, Ohio State University, Geneva Conservatory (Switzerland), Paris Conservatory (France), Tunghai University (Taiwan), Bartok Conservatory (Budapest, Hungary) , and the Jerusalem Music Center (Israel). In recent years, Vardi has initiated four major projects. –The St. Petersburg School – Music for Cello. In the St. Petersburg project, Vardi researched, performed and recorded (with pianist Uriel Tsachor), compositions written by Russian-Jewish composers, many of which had never been previously recorded. In 1977 Beth Hatfutzot (the Diaspora Museum in Tel Aviv) released the recording on a CD, which was favorably reviewed by the Jerusalem Post. —Fusions, a chamber music project sponsored by the University of Wisconsin- Madison and the Consulate General of Israel in NYC. Fusions was a chamber music project of Jewish music and Arabic art music, culminating in a commissioned Trio for Oud, Cello and Piano. In this project, Vardi collaborated with Oud artist Taiseer Elias and pianist/composer Menachem Wiesenberg. The project toured Israel and the U.S and was positively reviewed by major newspapers such as the Washington Post and the Boston Globe. This successful chamber music project was the inspiration for the commission of a full orchestral composition. —Forty Steps, a double concerto for cello, oud and symphony orchestra. In 2007 Joel Hoffman composed Forty Steps for Taiseer Elias and Uri Vardi. It was premiered on the Madison Symphony Orchestra's 2007-2008 concert series in March 2008. –The National Summer Cello Institute in conjunction with the Feldenkrais for Musicians Workshop. The National Summer Cello Institute is a unique program exploring the relationship between body awareness, creativity in performing and teaching, and prevention of music related injuries. This Institute is geared towards professional and graduate cellists and other performing musicians. It has been co-sponsored by The College Music Society and the UW-Madison Mead Witter School of Music, since 2010. Internationally renowned cello teachers, including Timothy Eddy, Laurence Lesser, Steven Doane, Ralph Kirshbaum, and Richard Aaron have been involved in instruction and in conducting masterclasses. Vardi's students have been successful as soloists, chamber players, faculty members of major music schools including Oberlin College, and the Peabody Institute, and members of major orchestras such as The New York Metropolitan Opera (associate principal), the Israel Philharmonic Orchestra (principal), the Boston Symphony Orchestra, the Simon Bolivar Orchestra in Caracas, Venezuela (principal), and the Seattle Symphony Orchestra. Click here for full list. In his teaching, Vardi puts great emphasis on the relationship between movement and sound. In order to further his understanding of this approach, Vardi has specialized in the Feldenkrais Method, for which he received the 1999 UW-Madison Arts Institute Faculty Development Award. He completed a Feldenkrais Practitioners Training and in 2003 was certified by the Feldenkrais Guild of North America and by the International Feldenkrais Federation as a Feldenkrais practitioner. For five years, Vardi taught a Feldenkrais for Performing Artists course at UW-Madison. Vardi was awarded the UW-Madison Arts Institute Emily Mead Baldwin Award to create a program for somatic education in the performing arts at UW-Madison. My Teaching Philosophy I believe that my principal role as a teacher is to help my students become aware of who they are and to help them grow. It is not to define their faults nor cure them. The driving force in this process is my curiosity in the unique makeup of each of my students. As a cello teacher, I not only challenge my students to understand the intentions of each composer, I also help them to explore their inner world, and to express their unique voice within the context of the composition. Most of the learning occurs in the process of working towards a musical goal. When I teach a musical composition, I often guide my students to attend to their habitual ways of musical expression. Musical expression encompasses the whole range of human emotions. Although the exploration of expressive nuances does not necessarily lead directly to the ultimate mastery of a composition, it frequently results in the expansion of the student's personality and music-making abilities. This way of learning is organic rather than linear. Instead of setting concrete, simple goals and learning the prescribed tools to attain them, in organic learning, the experimentation with different ideas provides the student with the freedom to choose among a whole array of options for expressing a musical intention. The same principle of encouraging the search for a variety of options applies to the technical mastery of the musical instrument. In order for my students to gain the ability to meet any composition's demands, they must have a vast repertoire of movements that will give them the freedom to use their bodies with maximum efficiency. Most of us accept the ways we move as if they are a part of our genetic makeup, whereas in reality, we learned to move by trial and error, and our nervous system is wired according to our experiences. Unless we are challenged to question this wiring, and to explore new possibilities of movement, we limit our range of expression. I constantly challenge my students to explore new ways of moving while playing, and to correlate them with minute differences in the quality of sound. Through my experience, I have found that when students discover the power of becoming aware of minute differences in their movement, it is not only their sound that changes, but also their coordination, and overall technical proficiency. The most fascinating aspect for me in approaching teaching in this manner, is that my students come to not only discover their personal involvement in the communication of a musical composition, and their ability to efficiently express it on their instrument, but they also very often gain self-confidence and imagination. The benefits of body awareness also help them in the prevention of injury, and in the healing after a disabling injury.    Join the Mind Over Finger Tribe for access to my weekly live videos and to exchange with a community of like-minded musicians   Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to an exceptionally productive practice using the metronome.  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights.   If you enjoy the show, leave a review on Apple Podcast or your favorite podcast provider!  I genuinely appreciate your support!     THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for 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. Thank you to Susan Blackwell for the introduction!  You can find out more about Susan, her fantastic podcast The Spark File, and her work helping creatives of all backgrounds expand their impact by visiting https://www.susanblackwell.com/home.   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

The opera La campana sommersa (The Sunken Bell) is Respighi's operatic masterpiece. A symbolist drama on a supernatural theme, it is steeped in beauty, mystery and foreboding, and orchestrated with the Romantic opulence familiar from his sumptuous trilogy of Roman tone poems. Its triumph at the New York Metropolitan Opera in 1928 was repeated at La Scala, Milan, and this most recent production at the CMD Grand Opera Company of Barcelona Spain, world-renowned for its staging of rarities, was hailed for its brilliant production and magnificent performances. Directed and Produced by Joana Filipe Martinez. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1304/Respighi%3A_The_Sunken_Bell.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

This week, we start out with a rousing round of “2 Truths and a Lie” and then we move on to our three topics:MET OPERA NYE BROADCAST FROM GERMANYAFM Lambasts Metropolitan Opera (Operawire)Donate at: https://www.metorchestramusicians.org/FULL-NAMING CLASSICAL COMPOSERSChris White in SlateTHE INSTITUTE FOR COMPOSER DIVERSITY WITH JOHN HONGJohn Hong's article in I Care If You ListenJohn Hong's Web SiteJohn Hong on TwitterCLASSICAL MIXTAPEThe full playlistJohnBrahms, Piano Trio No. 1 in BTiffanyStella Sung, Dance of the White Lotus Under the Silver MoonKenshoMozart, Quartet No.15 in D minor, mvmt. 2. Andante WillMozart, “Contessa perdono” from Le nozze di FigaroTHINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” GET A COPY OF JOHN BORSTLAP'S “THE CLASSICAL REVOLUTION” FOR OUR BOOK CLUBhttps://www.amazon.com/dp/B073BKG4J9You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

Two New Zealand-based Pasifika singers have secured places on the prestigious New York Metropolitan Opera's Lindemann Young Artist Development Program.

Samson Setu & Manase Latu are only two of fourteen successful applicants, chosen from thousands of applicants worldwide, to win a place at the prestigious New York Metropolitan Opera’s Lindemann Young Artist Development Program 2020/2021 roster.  They are the first ever Pasifika or New Zealand singers to do so.  Samson, a proud NZ born Samoan bass-baritone recently studied at the Royal College of Music, London, completing a post-graduate diploma.  He is also a former student in the Dame Kiri Te Kanawa Programme for Young Singers, Freemason’s New Zealand Opera Artist, and the Dame Malvina Major Emerging Artist of 2018 for New Zealand Opera. His most recent accomplishments include competing as a finalist in the 2019 IFAC HANDA Australian Competition, where he received awards of a three-week program at the State Opera House in Saarbrücken, a four-week intensive course at any Goethe Institut Centre in Germany, and an opportunity to participate in the International Vocal Arts Institute Summer Program in New York in 2020. Manase, a proud NZ born Tongan tenor graduated from the University of Auckland. A previous Dame Malvina Major Emerging Artist, in 2019, he placed first in the Dame Malvina Major Napier Aria competition and was selected as the 2019 Circle 100 Scholarship recipient. Most recently, he won the IFAC Handa Australian Singing Competition, arguably the most prestigious singing competition in Australia. Other recent accomplishments include being a finalist for the Lexus Song Quest Competition and winning the renowned New Zealand Aria Competition, one of the biggest singing competitions in Australasia.  In 2017, he was invited to join the Singer Development Programme run by the Kiri Te Kanawa Foundation, and he recently pursued his master’s degree at London’s Royal College of Music as a Kiri Scholar under the tutelage of Russell Smythe. See omnystudio.com/policies/listener for privacy information.

Samson Setu & Manase Latu are only two of fourteen successful applicants, chosen from thousands of applicants worldwide, to win a place at the prestigious New York Metropolitan Opera’s Lindemann Young Artist Development Program 2020/2021 roster.  They are the first ever Pasifika or New Zealand singers to do so.  Samson, a proud NZ born Samoan bass-baritone recently studied at the Royal College of Music, London, completing a post-graduate diploma.  He is also a former student in the Dame Kiri Te Kanawa Programme for Young Singers, Freemason’s New Zealand Opera Artist, and the Dame Malvina Major Emerging Artist of 2018 for New Zealand Opera. His most recent accomplishments include competing as a finalist in the 2019 IFAC HANDA Australian Competition, where he received awards of a three-week program at the State Opera House in Saarbrücken, a four-week intensive course at any Goethe Institut Centre in Germany, and an opportunity to participate in the International Vocal Arts Institute Summer Program in New York in 2020. Manase, a proud NZ born Tongan tenor graduated from the University of Auckland. A previous Dame Malvina Major Emerging Artist, in 2019, he placed first in the Dame Malvina Major Napier Aria competition and was selected as the 2019 Circle 100 Scholarship recipient. Most recently, he won the IFAC Handa Australian Singing Competition, arguably the most prestigious singing competition in Australia. Other recent accomplishments include being a finalist for the Lexus Song Quest Competition and winning the renowned New Zealand Aria Competition, one of the biggest singing competitions in Australasia.  In 2017, he was invited to join the Singer Development Programme run by the Kiri Te Kanawa Foundation, and he recently pursued his master’s degree at London’s Royal College of Music as a Kiri Scholar under the tutelage of Russell Smythe. See omnystudio.com/policies/listener for privacy information.

Samson Setu & Manase Latu are only two of fourteen successful applicants, chosen from thousands of applicants worldwide, to win a place at the prestigious New York Metropolitan Opera’s Lindemann Young Artist Development Program 2020/2021 roster.  They are the first ever Pasifika or New Zealand singers to do so.  Samson, a proud NZ born Samoan bass-baritone recently studied at the Royal College of Music, London, completing a post-graduate diploma.  He is also a former student in the Dame Kiri Te Kanawa Programme for Young Singers, Freemason’s New Zealand Opera Artist, and the Dame Malvina Major Emerging Artist of 2018 for New Zealand Opera. His most recent accomplishments include competing as a finalist in the 2019 IFAC HANDA Australian Competition, where he received awards of a three-week program at the State Opera House in Saarbrücken, a four-week intensive course at any Goethe Institut Centre in Germany, and an opportunity to participate in the International Vocal Arts Institute Summer Program in New York in 2020. Manase, a proud NZ born Tongan tenor graduated from the University of Auckland. A previous Dame Malvina Major Emerging Artist, in 2019, he placed first in the Dame Malvina Major Napier Aria competition and was selected as the 2019 Circle 100 Scholarship recipient. Most recently, he won the IFAC Handa Australian Singing Competition, arguably the most prestigious singing competition in Australia. Other recent accomplishments include being a finalist for the Lexus Song Quest Competition and winning the renowned New Zealand Aria Competition, one of the biggest singing competitions in Australasia.  In 2017, he was invited to join the Singer Development Programme run by the Kiri Te Kanawa Foundation, and he recently pursued his master’s degree at London’s Royal College of Music as a Kiri Scholar under the tutelage of Russell Smythe. See omnystudio.com/policies/listener for privacy information.

A penguin with an amazing voice dares the doubts of others and a dangerous ocean voyage to follow his unusual dreams and successfully sing in the New York Metropolitan Opera. Emperor the Penguin of the Antarctic loves to sing, even if his friends and family don’t appreciate his talent. One day he comes across a pamphlet drifting in the ocean. It features “The Marriage of Figaro” by Wolfgang Amadeus Mozart at the Metropolitan Opera House in New York City. He notices a male vocalist named Alberto Matteo dressed in a black and white outfit, which looks like his penguin suit with tails. Despite the discouragement of his family, Emperor decides he is born to sing the Opera and must travel to New York City. Emperor courageously sets off on his ice raft with the pamphlet. Along the way, he meets Delfina Dominique and her dolphin family who love to sing. They travel with Emperor, keeping sharks away. He also meets Jack the Albatross, whose unlucky luck helps by feeding him fish. Persevering through lonely nights, wind, and storm, Emperor arrives months later in New York. The dolphin family says goodbye to Emperor, while Jack goes with him into the big city. He asks Delfina to send word to his family that he made it to New York and to please come visit him. Walking through Times Square, most pedestrians wondered what a penguin was doing on the sidewalk, insisting he is meant to sing Opera at the Metropolitan Opera House. Emperor budges at the front doors until the manager asks him to come back tomorrow for tickets. Emperor explains he needs to audition. The manager says penguins don’t sing and turns off the lights. To prove him wrong, Emperor croons with a beautiful baritone voice in front of the dark Opera House. As the penguin keeps singing, a crowd gathers. The manager bursts through the doors, telling him to come back tomorrow morning for an audition. Of course, a penguin who can sing might attract crowds. Emperor pleads to sleep in the Opera House for the night with Jack. So, Emperor snores on a soft chair in the auditorium. In the morning, Emperor stands inside the stage door, nervously. After the penguin finishes singing a gorgeous passage from “The Marriage of Figaro” he bows and stands with pride. The casting director is impressed that he is already dressed for the job, and he is hired immediately as Alberto Matteo’s understudy. After meeting Mr. Matteo with the help of Jack, Alberto tells Emperor he must follow his dreams. Months later, Emperor’s family arrives in New York to happily see him perform the Opera. Emperor the Penguin becomes as famous as Alberto Matteo, not only for his voice, but for his black and white suit. It all started because Emperor had enough courage to take a journey alone on an ice raft through unchartered waters.

There's only one person on the planet who has played Coachella, the New York Metropolitan Opera, and hit the stage at Eurovision; and that person is Kate Miller-Heidke. With her soaring voice, Kate's talent has taken her to stages all across the world. And her talent has made her creative life a rich tapestry; writing musical theatre, performing in many different guises, and penning her own albums over the past fifteen years. With that in mind, I asked her to choose songs for the stages. Music that, through her life, had soundtracked or lifted her into another zone. From Joni Mitchell to Gurrumul to Annie Lennox, this conversation paints a beautiful picture of a polymath's heart. Joni Michell - All I Want Divinyls - Science Fiction The Ballad of Sweeney Todd: Attend the Tale of Sweeney Todd Gurrumul - Waak (Crow) Annie Lennox - No More I Love You's

There’s only one person on the planet who has played Coachella, the New York Metropolitan Opera, and hit the stage at Eurovision; and that person is Kate Miller-Heidke. With her soaring voice, Kate’s talent has taken her to stages all across the world. And her talent has made her creative life a rich tapestry; writing musical theatre, performing in many different guises, and penning her own albums over the past fifteen years. With that in mind, I asked her to choose songs for the stages. Music that, through her life, had soundtracked or lifted her into another zone. From Joni Mitchell to Gurrumul to Annie Lennox, this conversation paints a beautiful picture of a polymath’s heart. Joni Michell - All I Want Divinyls - Science Fiction The Ballad of Sweeney Todd: Attend the Tale of Sweeney Todd Gurrumul - Waak (Crow) Annie Lennox - No More I Love You's

There’s only one person on the planet who has played Coachella, the New York Metropolitan Opera, and hit the stage at Eurovision; and that person is Kate Miller-Heidke. With her soaring voice, Kate’s talent has taken her to stages all across the world. And her talent has made her creative life a rich tapestry; writing musical theatre, performing in many different guises, and penning her own albums over the past fifteen years. With that in mind, I asked her to choose songs for the stages. Music that, through her life, had soundtracked or lifted her into another zone. From Joni Mitchell to Gurrumul to Annie Lennox, this conversation paints a beautiful picture of a polymath’s heart. Joni Michell - All I Want Divinyls - Science Fiction The Ballad of Sweeney Todd: Attend the Tale of Sweeney Todd Gurrumul - Waak (Crow) Annie Lennox - No More I Love You's

Note: This conversation with Brother Ah was the first program produced for AWNP Radio. It aired as the inaugural program in 2016. Brother has joined the ancestors today (May 31 2020). We will need to hear him speak with us on a higher frequency. He was, is and will continue to be. --------------------------------------------------------------------------------------I recently had the pleasure to sit down with one of our scribes…Bro. Ah…to Reflect upon Africa's Deep Influence on Diasporic Cultural Production. Robert Northern (aka Brother Ah) is the musical director of the World Music Ensemble and The Sounds of Awareness Ensemble. He specializes in Wind Instruments, African Drums, and Percussions. Brother Ah constantly seeks to celebrate the emergence of a world culture, while retaining the distinct expressions of each cultural style in it, paying particular attention to African inflections. Brother Ah extensive experience spans the musical field. He was the musical director of “Sounds of Awareness”. A musical collective that utilizes music, dance, poetry and the sounds of nature to inspire and raise individual levels of consciousness. The group also produces music for meditation, relaxation and healing. He also founded The World Community School of Music in 1992 and offers instrumental and vocal music classes to students of all ages from. As a lecturer and educator, he has taught at public and private schools in New York and Washington, DC, as well as Brown University in Rhode Island (9 years), Dartmouth College in New Hampshire (3 years), Talladega College (Alabama). Brother Ah is a performer, educator, lecturer, composer and arranger both in Western and non-Western traditions. He has composed and directed numerous extended works including “Ode to Creation”, The Forces of Nature” and “Tribute to the Ancestors”. Brother Ah, as a French horniest, has played and recorded with musical greats including, but not limited to, Thelonius Monk, John Coltrane, Miles Davis, McCoy Tyner, Freddie Hubbard, Sun Ra, Dizzy Gillespie, Eric Dolphy, Max Roach, John Lewis, to name a few. His classical performances include the New York Metropolitan Opera (stage band), Radio City Music Hall Orchestra; symphony orchestras in Vienna, Austria, West Germany and Broadway Theatre orchestras. He studied at the Manhattan School of Music in New York City, the Vienna State Academy in Vienna, Austria, and he is a graduate of Howard University in Washington, DC. This is Africa World Now Project…I am James Pope. [Our show was produced today in solidarity with the Native/Indigenous, African, and Afro Descendant communities at Standing Rock; Venezuela; Cooperation Jackson in Jackson, Mississippi; Brazil; the Avalon Village in Detroit; Colombia; Kenya; Palestine; South Africa; and Ghana and other places who are fighting for the protection of our land for the benefit of all peoples!] Enjoy the program…

Graciela Rivera de Ponce, Puerto Rico hizo historia el 4 de Febrero de 1952, al ser la primera boricua de cantar en la Opera Metropolitana de Nueva York. Su cadena de éxitos fue grande; canto en los mejores escenarios de la ópera a nivel mundial. Además tuvo un bello programa semanal de radio en NYC durante cinco años. Además fue maestra de historia de la música; en varios idiomas durante quince años en Hostos Community College del Bronx. Graciela Rivera, in 1945, was given the role of Adele in the musical "Rosalinda", a Broadway version of an opera. She traveled to France and Germany with the production. Graciela Rivera. In 1951, became the first Puerto Rican to sing a lead role at the New York Metropolitan Opera. She earned accolades for her performance from critics around the world. In 1953, Rivera was proclaimed "Citizen of the Year" by the City of New York. In 1959, Graciela Rivera, from Ponce, Puerto Rico, had a weekly radio show at WHOM AM in NYC Later on she taught Puerto Rican music history at Hostos Community College for 15 years before retiring in 1987. She moved on to the spirit world in 2011.

Say hello to Benjamin Case, bestselling author of “21 Tips for Highly Successful Fundraisers,” principal at Focused on Fundraising and our guest to talk about How Entrepreneurs Can Get People to Donate.   Ben is a professional fundraising consultant with 41 years’ experience in the nonprofit sector. He’s been personally involved in the solicitation of over $1.1 billion in gifts, and worked for and with organizations that have raised $4.8 billion. Names of note include the New York Metropolitan Opera, Duke University and Children’s Hospital of Philadelphia.   Ben and I met through the Best Seller Publishing Mastermind. I thought of you, because if you’re a Radically Generous Entrepreneur there’s a good chance you’re somehow connected to a nonprofit or community cause. If so, you want to attack the responsibility of leveraging relationships to procure support with intention, consistency and respect for the process. Nonprofits live and die by the same rules of positive cash flow and getting the right people on the bus, and experience a similar success or failure rate as for-profit businesses.     Get Ben’s FREE Book, “21 Tips for Highly Successful Fundraisers” HERE

Episode 206: The Prepped and Polished Podcast is an educational and inspirational show that offers tutoring and test prep tips as well as interviews with celebrities and leaders in education. It is hosted by Alexis Avila, founder of Prepped and Polished LLC, a tutoring and test prep firm for K-college. On today's episode of the Prepped and Polished Podcast, Alexis Avila talks with to Jon Pearson. Jon Pearson is an artist, writer, speaker, educator, and creativity guru. He has written over three hundred short stories and has been nominated for two Pushcart Prizes. He writes now for the same reason he played with his food as a kid – to make the world a better place. Jon also was a cartoonist for the Oakland Tribune, an extra for the New York Metropolitan Opera, a classroom teacher, a college professor, and is now a coach and consultant who has taught creative thinking and learning techniques to more than one million people around the world. Secretly, though, Jon is still eight years old and believes that courage, caring, and creativity will save the world! Jon gives us tips on how to get out of your own head and make your creative writing pieces more creative and meaningful. What is creative writing about? Creative writing is more about imagination than writing. Writing isn't just saying something but seeing stuff. Don't put so much pressure on yourself, don't care what other think of you, and be brave, go deeper. If you just write you will get better. Can you make a living out of it? You can make a living out of being a creative person. You can write, speak, do art and sell things based upon your imagination. Misconception about writing? You don't have to be a writer with a capital “W” to be a writer. Just write. How can parents help? Parents should read to their kids! Jon's parents used to read to Jon a lot. Don't put a lot of pressure on your kids and encourage kids to use their imagination. It's ok to write poorly at first, the key is to practice writing consistently. How to overcome writer's block? There is no such thing as writer's block. If you feel like there is such a thing, remember it will pass, get comfortable in it and write some garbage and don't care if it's bad, the writing will get better eventually. Don't try to write perfectly to overcome writer's block. Write to find out who you really are in great detail. Jon's tips for teens: 1. Believe in yourself no matter what! 2. if you want to land on your feet, have fun and be of service 3. Pleasure, mastery, values. Make a list under each category. And then write about these things on your list! 4. Have fun, writing should be fun, it's not easy but make it fun. For another related conversation, check out my podcast Episode 52 with Bonnie Singer on How to Overcome Writing Challenges. For More Information Visit: preppedandpolished.com. Enjoy, Thanks for Listening and remember at The Prepped and Polished Podcast, We Empower You to Take Control of Your Education!

Slezak's international career commenced in London at the Royal Opera House, Covent Garden, where he sang Siegfried (a punishing role that he would soon drop from his repertoire) and Lohengrin in 1900. (He would return to Covent Garden in 1909 after undertaking further vocal studies in Paris the previous year with a great tenor of a previous era, Jean de Reszke.) Slezak secured a three-year contract with the New York Metropolitan Opera in 1909. Met audiences acclaimed him in performances of works by Wagner and Verdi. Along with Italy's Giovanni Zenatello, he became the most famous Otello of his generation, famously performing the role at the Met with Arturo Toscanini conducting. He was a convivial person, and many anecdotes reveal his amiable sense of humour. The best-known example is as follows: during a performance of Wagner's Lohengrin, a stage hand sent the swan out too early, before the tenor could hop aboard. Seeing his feathered transportation disappear into the wings, Slezak ad-libbed to the audience: "Wann fährt der nächste Schwan?" ("When does the next swan leave?"). Slezak had a versatile repertory which embraced 66 roles. They included notably Rossini's Guillaume Tell, Manrico, Radames, Walter, Tannhäuser, Hermann and, as we have seen, Otello and Lohengrin. He sang 44 roles in Vienna alone, where he chalked up 936 appearances in 1901-12 and 1917–27 and became an idol of audiences.   Dame Blanche,Euryanthe,Queen of Sheba

ArtSees Diner Radio welcomes, Kathleen Procter-Moore Classical/Celtic Crossover Artist    Kathleen began her singing career in Perth, Scotland where she won many competitions including the Premiership award at the prestigious Edinburgh Festival. She performed throughout Scotland and broadcast regularly on Scottish radio. She studied at The Royal Academy of Music.   After Leaving Scotland and settling in Australia, Kathleen won one of two scholarships with the Western Australian Opera Company and went on to become a Major Principal with the Company performing many roles.   Kathleen also performed and broadcast with the W.A. Symphony Orchestra in Concert and Oratorios.  She was chosen as a finalist in the ABC Young performers Awards and the New York Metropolitan Opera competition.   It was during this time that she was spotted by the Australian Opera Company and was asked to join the Opera Studio for young principals. Whilst in the studio she was asked to perform the role of Malika in Lakme and as a result became a major principal where she went on to perform over 30 roles.   Kathleen also performed with Companies such as The Gilbert & Sullivan Society, University of NSW Opera, The Savoy Arts Company, Rockdale Musical Society, and Chatswood Musical Society.

 One of the world's greatest aingers, Lilli Lehmann recorded a wide variety of material (announced) and I sincerely hope you enjoy it. Remember,she was almost 60 here.  (66 min.) Lehmann sang in the first Bayreuth Festival in 1876, singing in the first complete performances of The Ring Cycle as Woglinde and Helmwige. She performed in London in 1884, and appeared at the New York Metropolitan Opera in 1885–1890. Together with her Met colleagues Fischer, Alvary, Brandt, and Seidl, she helped to popularise Wagner's music in America. By remaining in America beyond the leave granted her by the Berlin Opera, she faced a ban following her return to Germany. After the personal intervention of the Emperor, the ban was lifted. She appeared at London's Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909 respectively. In 1905, she sang at the Salzburg Festival, later becoming the festival's artistic director. Lehmann was also renowned as a Lieder singer. She continued to give recitals until her retirement from the concert stage in the 1920s. Her mature voice, of splendid quality and large volume, gained for her the reputation of being not only one of the greatest Wagnerian singers of her day but also an ideal interpreter of Bellini's Norma and the operatic music of Mozart. She was considered unsurpassed in the rôles of Brünnhilde and Isolde but sang an astonishingly wide array of other parts. Indeed, across the span of her career, she performed 170 different parts in a total of 119 German, Italian and French operas. She was noted not only for her rendering of the musical score, but also as a tragic actress.[1] She was also a noted voice teacher. Among her pupils were the famous sopranos Geraldine Farrar and Olive Fremstad. In 1888, she married the tenor Paul Kalisch. Portrait with signature, 1903 Lehmann founded the International Summer Academy at the Mozarteum in Salzburg in 1916. The academy's curriculum concentrated on voice lessons at first but it was extended later to include a wide variety of musical instruction. [2] The Lilli Lehmann Medal is awarded by the Mozarteum in her honour. Her voice can be heard on CD reissues of the recordings which she made prior to World War I. Although past her peak as an operatic singer when she made these records, they still impress.

Catherine Bott profiles harpsichordist & conductor Harry Bicket - regular at Glyndebourne & the New York Metropolitan Opera, and current musical director of The English Concert - about his career and his recordings. Music includes works by Handel, Bach, Pergolesi and Gluck in performances by Renée Fleming, Lorraine Hunt Lieberson, Susan Graham, Andreas Scholl and Elizabeth Watts.

Today's episode will be centered around Opera Works & Songs from our classical collection. We have 4 pieces for you today, and we will end with a piece from our featured release, "Donizetti: Lucia di Lammermoor." Nicolai Ghiaurov, Sesto Bruscantini, Alfredo Kraus, Gundula Janowitz, Sena Jurinac, Walter Monachesi, Dimitri Petkov, Olivera Miliakovic "Don Giovanni" (mp3) from "Mozart: Don Giovanni" (Opera d'Oro) Buy at Napster Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This AlbumSteven Kimbrough, Wolfgang Schmid, Andreas Kreisel "Kommt wieder aus der finst'ren Gruft" (mp3) from "Geistliche Lieder - Sacred Songs of Bach (from the 1736 Songbook of Georg Schemelli)" (Arabesque Recordings) Buy at iTunes Music Store More On This AlbumInessa Galante, Vladimir Choclov, Janis Bulvas "A idise mame" (mp3) from "Goldins: Jewish Folk Songs - Rachmaninov: Romantic Songs" (Campion) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumValery Gergiev, Natalie Dessay, Sergei Skorokhodov, Ilya Bannik, Vladislav Sulimsky, Mariinsky Chorus, Mariinsky Orchestra from "Donizetti: Lucia di Lammermoor" (Mariinsky) More On This AlbumThe Mariinsky label’s opera recordings have garnered acclaim and awards from around the world, most recently for Valery Gergiev’s recording of Parsifal released in 2010. For the label’s fifth opera, Gergiev conducts Donizetti’s masterpiece with a magnificent cast led by Natalie Dessay. Donizetti’s tragic opera in three acts depicts a family feud set in the Lammermuir hills of Scotland. The opera was premiered on 26 September 1835 at the Teatro San Carlo in Naples, with the coloratura soprano Fanny Tacchinardi Persiani, and a revised version in French followed suit in 1839. Inspired by Sir Walter Scott’s novel The Bride of Lammermoor, the central character of Lucia Ashton (Dessay) is in love with Edgardo di Ravenswood, her brother Enrico’s sworn enemy. With his fortune waning, Lord Enrico plots to force Lucia to marry Lord Arturo Bucklaw, in order to guarantee his continued power. Torn between her family and true love, Lucia submits to her brother’s desires but in turn loses her mind. Lucia’s delicate disposition is tested and results in the famous ‘mad scene’ where Lucia kills her new bridegroom Arturo. Natalie Dessay is one of the world’s most sought-after sopranos and an admired interpreter of lyric heroines. She is particularly renowned for her interpretation of the role of Lucia, which she has performed at the Metropolitan Opera, Royal Opera House and the Mariinsky Theatre. Future engagements include Verdi’s La Traviata with the LSO at the Aix-en-Provence Festival in July and at the Wiener Staatsoper in October. Piotr Beczala is rapidly establishing a reputation as one of today’s leading lyric tenors. He has recently sung Edgardo with the Metropolitan Opera in New York and on tour in Japan, and this summer will perform at the Bayerische Staatsoper and Salzburg Festival. Valery Gergiev recently won the Disc of the Year Award from BBC Music Magazine for his LSO Live recording of Prokofiev’s Romeo & Juliet. In July, Gergiev will conduct the Mariinsky Ballet at New York Metropolitan Opera and in August he conducts at the Edinburgh Festival and BBC Proms with the Mariinsky Orchestra before opening the LSO’s 2011-12 concert season. In October he embarks on a major tour of the USA and Canada with the Mariinsky Orchestra, including residencies at Carnegie Hall and Berkeley. Forthcoming releases include the final instalment in his Mahler cycle on LSO Live featuring Symphony No 9 and the Mariinsky label’s first DVDs and Blu-Ray Discs. Natalie Dessay appears courtesy of Virgin Classics.

Host: Michael Greenberg, MD Guest: Anthony Jahn, MD "A night at the opera" means more than mere entertainment for some. For guest Dr. Anthony Jahn, otolaryngologist and volunteer medical director for the New York Metropolitan Opera, it's part of a second career. Host Dr. Michael Greenberg speaks with Dr. Jahn about his practiced art of caring for professional singers, addressing several unique occupational health issues from this select population.

Host: Michael Greenberg, MD Guest: Anthony Jahn, MD Dr. Anthony Jahn, an otolaryngologist and volunteer medical director for the New York Metropolitan Opera, introduces you to the art of caring for professional singers. What are the idiosyncrasies of providing care to this select population, who must be doggedly devoted to preserving strong health and maintaining good overall occupational status, most specifically those breathtaking voices? Host Dr. Michael Greenberg talks with Dr. Jahn about the delicate balance of prescribing steroids to elite vocalists, their exposure to alternative medicines and belief systems, as well as the role of placebos in mollifying superstition among high-level performers.