Podcasts about operas

Tuvojoties gadskārtējai teātra balvu pasniegšanas ceremonijai "Spēlmaņu nakts", "Klasikā" viesojas teātra kritiķe, žūrijas komisijas priekšsēdētāja un kultūras žurnāliste Henrieta Verhoustinska. Runājam gan par "Spēlmaņu nakti" un Henrietas vadīto raidījumu "Kultūrdeva" Latvijas Televīzijā, gan mazliet par balvu "Kilograms kultūras", kuras žūrijas pārstāve arī ir Henrieta, gan par kritiķa likteni un vēl virkni citām būtiskām lietām.   Liene Jakovļeva: Vakar esat lēmuši, rezultātus zināt, mēs tos uzzināsim rīt. Bet kā tev šķiet: kāpēc tieši šī balva starp daudzajām citām uzmirdz visspožāk? Henrieta Verhoustinska: Manuprāt, tāpēc, ka teātra skatītājs ir demokrātiskākā publika! Jo – lai klausītos klasisko vai akadēmisko mūziku, klausītājam vajag būt sagatavotam. Tas ir tāpat kā ar labu vīnu un olīvām: tikai pēc gadiem trīsdesmit cilvēks sāk novērtēt klasisko un akadēmisko mūziku, un lielākoties tas ir sagatavots klausītājs. Ar teātri ir citādi. Kā Kirils Serebreņņikovs teicis – viņam vismīļākais skatītājs ir tāds, kurš uz teātri nāk kā balta lapa: kurš nav izlasījis ne recenzijas, ne režisora intervijas, bet nāk uz teātri uzsūkt to, ko mākslinieki viņam sagatavojuši.  Tomēr ir divi cilvēki, kuru vārdus mēs jau zinām: tie ir balvas par mūža ieguldījumu saņēmēji. Šogad cildināsim Liepājas teātra brīnišķīgo aktrisi Ainu Kareli un Jakovu Rafalsonu no Mihaila Čehova Rīgas Krievu teātra. Tas bija Teātra darbinieku savienības piedāvājums, un mēs to ar lielāko prieku akceptējām. Šķietami pilnīgi atšķirīgas personības, vai ne? Vienojošais ir milzīgais Latvijas patriotisms, kas ir viņos abos un ko viņi pārstāv un aizstāv. Ainai Karelei tas ir arī lokālais Liepājas patriotisms, ko viņa allaž uzsver savās intervijās. Tev un pārējiem žūrijas dalībniekiem jābūt ar biezu ādu, jo pēc svētkiem noteikti būs arī pārmetoši skatieni no tiem, kuri balvu nav dabūjuši. Bet tā laikam ir: tiklīdz parādās nominācijas, ir arī reakcija. Kā teica mans šīsnedēļas "Kultūrdevas" viesis Atis Rozentāls – apmierināti ir 20 procenti nominēto: tie, kuri saņēmuši balvu.  Bet kā uzsver Teātra darbinieku savienības vadītājs Ojārs Rubenis – nominācija  vien jau ir liels pagodinājums.  Es arī domāju, ka nominācija ir ļoti liels pagodinājums, un jāsaka, ka arī šogad vairākās kategorijās bija tik ļoti līdzvērtīgs spēku samērs, ka mēs paši līdz pēdējam brīdim, līdz balsu saskaitīšanai, nezinājām, kas ir uzvarētājs. Mums bija aizklātā balsošana: aizpildījām tabuliņas, kurās salikām punktus saviem nominantu favorītiem, un tad Ričards Vorobjovs, mūsu kurators no Teātra darbinieku savienības, rūpīgi visu saskaitīja un iepazīstināja ar rezultātiem. Ir daži jaunumi šajās nominācijās, un viens no tiem ir operas un baleta atgriešanās nominantu sarakstos.  To rosināja Baleta asociācija. Viņi piedāvāja savu izvēli, un mēs rūpīgi noskatījāmies viņu ieteiktās baleta izrādes. Tās, kuras vairs nebija publiski pieejamas, skatījāmies ierakstos, bet uz tām, kuras bija pieejamas, gājām skatīties klātienē. Uzvarētājs tika ieteikts no Baleta asociācijas, un mēs ar prieku un gavilēm to sveicām un apstiprinājām.  Bet mēs varam sveikt arī aktieru vidū iekļuvušo dziedātāju Anniju Kristiānu Ādamsoni, kura ir "Klasikas" šīgada rezidences māksliniece. Annija Kristiāna Olimpijas lomā "Hofmaņa stāstos" bija man atklājums – ak, Dievs, to viņas artistiskumu un vokālo meistarību! Tas bija žilbinošs sniegums! Man ļoti liels prieks viņu redzēt nominantu pulkā! Operas iestudējumos, no kuriem oriģināliestudējumi kļūst aizvien retāki, žūrija var vērtēt arī scenogrāfiju, gaismu, režiju, kostīmus.  Jā, tāpēc arī piekritām lēmumam, ka "Spēlmaņu nakts" kategoriju sarakstā atkal tiek ieviesta opera – kā pilnvērtīga teātra daļa.  Runājot par skatītāju balsojumu, kurā šogad nominantus izvirzīja teātri… Kad ieraudzīju, ko teātri ir izvirzījuši, apmēram par ceturto daļu gadījumu man bija liela neizpratne – nesapratu, kāpēc ir šāds lēmums un kāpēc netiek izvirzīti tie nominanti, kas nominēti žūrijas atlasē. Sapratu, ka man labāk patīk, kā ir "Kilogramā kultūras": ka žūrija piedāvā savu izlasi, jo neviens skatītājs, lasītājs, klausītājs nevar aptvert visu to lauku, ko mēs žūrijā tomēr cenšamies izdarīt. "Spēlmaņu naktī" mēs arī esam žūrija – cilvēku kopa, kas noskatījusies vairāk nekā 120 izrāžu, turklāt – ja konkrētajai izrādei ir vairāki sastāvi, tad skatīti visi sastāvi. Mēs esam šo izlasi iedevuši, un man liekas, ka būtu tikai korekti, ja skatītāji balsotu par šo izlasi, ko jau ir veikusi žūrija – jo tur ir atlases konteksta garants. Bet teātros valda tikai un vienīgi mārketinga apsvērumi, kā ļoti daudzos gadījumos sapratu no šī saraksta, un tas varbūt nav tas pareizākais apsvērums. Vairāk nekā 120 izrāžu... Tā ir ne tikai Rīga, tā ir tālā Liepāja un Daugavpils, un drusku tuvākā Valmiera. Bet saprotu, ka potenciālie nominanti arī sevi paši var pieteikt, ja tas nav profesionālais teātris – vai tā? Piemēram, opera, kas iestudēta kaut kur brīvdabā.  Jā, es vedinu arī neatkarīgos producentus, kuru darbs ir pievērsis manu uzmanību, rakstīt Ričardam Vorobjovam. Viņš tad pārējai žūrijai var izsūtīt informāciju par iespējām apmeklēt neatkarīgo institūciju veidotos iestudējumus.  Ir arī kategorija, kurā jūs klausāties mūziku – vai nu atsevišķi, vai, skatoties izrādi, domājat par to. Šoreiz mums prieks nominantu sarakstā redzēt gan Annu Fišeri, gan Jēkabu Jančevski, gan Aleksandru Tomasu Matjusonu, gan Edgaru Raginski, gan arī Edgaru Mākenu. Tomēr Krista Auznieka milzīgā partitūra izrādei "Dzen savu arklu pār mirušo kauliem" nominantu pieciniekā nav iekļuvusi. Šī sezona ir vienmērīga, bez milzīgiem uzrāvieniem, bet ļoti kvalitatīva. Kad jūnijā lēmām par nominantiem, mums bija garais saraksts, kurā figurēja arī Krists Auznieks. Bet, ja man jāpamato, kāpēc tieši Krists Auznieks neiekļuva nominantu sarakstā, mums, žūrijas pārstāvjiem, Krista mūzika dažos momentos šķita varbūt pārāk pašmērķīga. Tas bija arguments, kāpēc Auznieks palika aiz strīpas, bet kā viens no pirmajiem. Tu saki – sezona bija vienmērīga, laba. To es vairākkārt esmu dzirdējusi arī no taviem kolēģiem – ka trūkst milzīga pārsteiguma momenta. Vai tu tam arī varētu piekrist? Jā, tā tas ir. Varbūt Germana Ermiča scenogrāfija izrādei "Dzen savu arklu pār mirušo kauliem" velk uz pārsteigumu. Tāpat kā Reiņa Dzudzilo scenogrāfija izrādei "Nacionālais kanāls" ir tāds košums, bet tai pat laikā tie ir tādi stabili, vērtīgi teātra darbi, kuros scenogrāfs darbojies kā vizuālās dramaturģijas meistars, kā sevi arī šobrīd piesaka Reinis Dzudzilo. Bet kopumā šī ir diezgan lēzena sezona.  Bet tajā pašā laikā tu saki – laba. Jā, laba, jo bija daudz nominantu. Un ir divas izrādes, par kurām man sāp sirds, ka tās netika nominētas. Viena ir Valmieras teātra izrāde "Diena projām palēja", ko iestudējis Aigars Apinis: tā ir par Helsinku hipsteru nihilistisko attieksmi pret dzīvi. Man tā likās ļoti aktuāla un brīnišķīga izrāde. Šeit gan par scenogrāfiju ir nominēts Reinis Suhanovs, bet par lomu – Rūdis Bīviņš. Otra izrāde, kas mani ļoti, ļoti uzrunāja un ar kuru es dzīvoju vairākas dienas, bet kura ir hronometrāžā neliela, un žūrija tomēr izlēma atstāt to aiz borta – tā ir leļļu teātra izrāde "Gaisma, es tevi dzirdu!" ar vājredzīgām aktrisēm, kuras izstāsta savu cilvēka ar invaliditāti stāstu. Skatītājiem tiek aizvērtas acis, lai varētu iejusties šajā pasaulē, kurā tev nav acu, bet ir rokas un dzirde; tiek dotas taktilas lietas, kuras aptaustīt – čaukstoši priekšmeti… Tā bija jutekliska pieredze, kas mani ļoti uzrunāja un likās ļoti, ļoti vērtīga. Kā tu vari izskaidrot to, ka nav milzīgu pārsteigumu?  Sezonas sākumā tomēr bija viens pārsteigums: tā bija "Dirty Deal Teatro" izrāde "Alfas", kas apbērta ar nominācijām. Tīrs darbs, kurā [lieliskas] ir visas nepieciešamās komponentes: mūzika, aktieri, izpildījums, Jāņa Baloža scenārijs, kuru viņš veidoja, cietumā apmeklējot notikumā iesaistītos, kuri joprojām tur atsēž savu laiku. Bet vai tev ir bijis arī kāds nepatīkams pārsteigums vai kāda skumja nots šajā sezonā? Esmu "ieslēgusi" sevī Līviju Akurāteri. (Smejas.) Tas nozīmē ļoti labvēlīgu attieksmi pret visu, kas man tiek celts priekšā. Es jūtu sevī šo spēju, kas manī mostas – skatoties jebkuru izrādi, katrā atrast kaut ko labu.  Latvijas Televīzijas skatītāji ar tevi tiekas ik svētdienu "Kultūrdevā". Par viesiem noteikti lem kopā ar visu komandu. Tikai tā. Mēs ļoti sekojam līdzi, lai kaut kādā laika griezumā tiktu aptvertas visas jomas – lai nav tā, ka nepārtraukti nāk mani mīļie teātra cilvēki vai redaktores Dairas Āboliņas kino ļaudis, vai redaktora Kaspara Zaviļeiska mīļā popmūzikas lauciņa pārstāvji. Šajās nedēļās teātra kritiķi ir visur. Arī tu esi daudz kur: pie mūsu kolēģiem Latvijas Radio 1, tu esi televīzijā, bet laikam jau no tā neizbēgt – kad tas teātra vilnis ir, tad ir.  Tā ir arī "Kultūrdevas" problēma, jo mans kategorisks uzstādījums ir, ka mēs netaisām "pīāru". Vispirms es aizeju uz izrādi un to noskatos, aizeju uz koncertu un to noklausos: ir svarīgi redzēt, izzināt, un tikai tad runāt par to, nevis "pīārot" pirms tam. Tas nozīmē aptvert milzīgu laukumu, un tas nozīmē arī to, ka viesu ziņā drusciņ ejam iepakaļ "Kultūras rondo" kolēģiem, kuri jau par konkrēto notikumu ir izrunājušies. Man savukārt tas ir liels atspaids, gatavojoties intervijām. (Smejas.) Pa kuru laiku tu raksti savas recenzijas?  Sestdienās un svētdienās! Jā, pārsvarā brīvdienās! (Sirsnīgi smejas.) Un tad ir tas nežēlīgais brīdis, kad tu uzraksti, pasaki to, ko tu domā, un ne vienmēr tas ir cildinoši... Un pēc tam kādā teātra kafejnīcā satiec šos cilvēkus, kurus esi pakritizējusi, un tev jāskatās viņiem acīs. Ar to tu esi sadzīvojusi? Pat ļoti! Esmu piedzīvojusi ļoti daudz dažādu notikumu šai sakarā, ieskaitot iereibuša režisora zvanus un īsziņas, kas turpinās visu nakti pēc tam, kad esmu neuzmanīgi par savu vilšanos ietvītojusi jau pirmizrādes vakarā... To es vairs nedaru. Tā man bija mācība, jo sapratu, ka pirmizrādes vakars teātra cilvēkiem ir jāsvin. Nav ko viņus apgrūtināt ar savām kritiskajām piezīmēm! Paldies Dievam, arī teātra cilvēki iemācījušies būt korekti un vairs nav tā, kā bija pirms gadiem, kad pēc katras recenzijas sekoja reakcija. Lai gan atskan jau dažkārt zvani vai ziņas vatsapā, un arī kādā sociālo mediju vietnē man tiek atrakstīts...  Vai par spīti tam, ka darbošanās žūrijā ir smags darbs un jānoskatās vairāk nekā 120 izrāžu, tu joprojām mīli teātri? Ļoti… Īpaši šobrīd, kad manā dzīvē bijuši dažādi pārbaudījumi – esmu pārcietusi vēzi un izcīnījusi šo cīņu –, teātris man ir kā oāze, kurā es pilnībā aizmirstos, pilnībā saplūstu ar to, kas notiek uz skatuves. Tas ļoti, ļoti palīdz dzīvot.

Man prātā nāk vismaz divas – Jāņa Mediņa "Uguns un nakts" un Alfrēda Kalniņa "Baņuta", kuru liktenī kuģiem, jūrai un pat okeāniem bijusi itin nozīmīga loma. Pirmā kuģotāja 1919.gada rudenī bijusi "Baņuta", tomēr stāstu sākšu ar Jāni Mediņu un viņa "Uguni un nakti". Ar operas klavierizvilkumu kamiešos – un tas nav nekāds poētisms, bet skaudra realitāte, it īpaši ņemot vērā to, ka notis svērušas kādus 20 kilogramus – Mediņš kopā ar sievu Olgu līdz ar citiem latviešu strēlniekiem no Sarkanās armijas glābdamies, šķērso visu Sibīriju, līdz 1920.gada maijā beidzot sasniedz Vladivostoku, lai tālāk jau ar kuģiem dotos uz Curugas ostu Japānā. Tur viņus gaida okeāna tvaikoni Voroņeža – zem Anglijas karoga un ar argentīniešu kapteini. Jaunās Latvijas valsts valdība apmaksājusi mūsu strēlnieku mājupceļu.  Pirmā pieturvieta – Nagasaki, tālāk jau seko Singapūra, Kolombo Ceilonā, vētra Indijas okeānā, Sarkanā jūra, Suecas kanāls, Gibraltārs, spāņu vīna žvingulis Malagā, kuģošana gar Portugāles un Spānijas krastiem Atlantijas okeānā. Kad sasniegta Lielbritānija, kuģim Temzas dokos vajadzējis piemontēt mīnu ķērājus, jo Baltijas jūra vēl nebija pilnībā atmīnēta. Mediņš vēl pēc daudziem gadiem atcerējās – mīnu ķeramie izskatījās kā torpēdas, apmēram pusotra metra garumā, ar stipru stiepli priekšgalā, kas tad mīnu uztvertu un kādus desmit metrus no kuģa liktu tai sprāgt. Kad Dancigā uz kuģa uzkāpj locis – īsts jūrnieku puika ar žoķeni galvā, īsts "džonītis", kā saka Mediņš, un pamana visādam gadījumam sagatavotās glābšanas laivas, virves, signālraķetes un dzeramo ūdeni, "džonītis" kapteinim uzkliedz, ko velti baidot karavīrus un sievas ar bērniem. Nevienas mīnas jūrā vairs neesot, lai vācot visu nost, viņš nu atbildot par kuģi. Kad 3. oktobrī laimīgi tikuši līdz Liepājas kara ostai, četrus mēnešus ilgais un 23 000 kilometrus garais kuģojums no Vladivostokas bija galā. Ostā strēlniekus gaidījuši Latvijas karavīri ar orķestri un "Dievs, svētī Latviju!". Raudājuši visi. Un par operu – kaut vēlāk Mediņš pastāvējis uz to, ka viņa "Uguns un nakts" bijusi pabeigta vēl pirms Kalniņa "Baņutas", ir arī liecības, ka 1920. gada oktobrī tā līdz Rīgai nonākusi vēl tikai klavierizvilkumā. Tātad – bija padarām vēl viss lielais orķestrēšanas darbs. Bet "Baņuta"? "Baņuta" jau pirms mēnešiem četriem – maija beigās – bija izskanējusi uz Nacionālās operas skatuves, iemantodama pirmās latviešu nacionālās operas godu. Un izrādās, arī "Baņutas" liktenī savu lomu spēlējuši kuģi un kuģošana. Alfrēds Kalniņš "Baņutu" sācis rakstīt, atsaukdamies Jāņa Akuratera pamudinājumam jau 1918. gadā, un ļoti ražīgi to dara Liepājā arī tad, kad ir sākušās Neatkarības cīņas – vispirms pret sarkanajiem, tad fon der Golca armiju visbeidzot pret bermontiešiem. Kalniņš "Baņutu" komponē Liepājā, itin kā nemanīdams karastāvokli, komandanta stundu, teju pilsoņu kara apstākļos draudošo badu... Nu jā, pret to noturēties palīdz arī meitiņas Birutas ganītais vistu bars pašu mītnesvietas dārzā. Pāris mēnešus pēc tam, kad Latvijas pagaidu valdība jūnijā no dreifēšanas ar kuģi var atgriezties uz cietzemes – vispirms Liepājā, pēc tam jau Rīgā, arī Alfrēds Kalniņš saņem uzaicinājumu doties uz Rīgu un kļūt par Izglītības ministrijas Mākslas departamenta Mūzikas nodaļas vadītāju. Jūrasceļš ir vienīgais daudzmaz drošais, un tā nu septembra vidū, nospēlējis atvadu koncertu pie Svētās Annas baznīcas ērģelēm, Kalniņš ar ģimeni kāpj uz kuģa, lai dotos uz Rīgu. Tad – 1919. gadā – gan vēl jūrā bija arī mīnu lauki, un Liepājas avīzēs pēc kāda laika parādās ziņa, ka Kalniņa kuģis tiešām uzdūries mīnām un nogrimis. Par laimi, ziņu vajadzēja vien atsaukt. Izrādās – kuģim pa ceļam ievajadzējās remontu, un Kalniņi pāris dienas palika Ventspilī,  kur Alfrēds uz pat pamanījās sarīkot ērģeļkoncertu!  Tā nu no Liepājas līdz Rīgai Kalniņi kuģoja četras dienas. Tieši tad, kad viņi beidzot 8. oktobrī tiek līdz Rīgas ostai, sākas Bermonta-Avalova armijas uzbrukums Rīgai, arī gaisa uzlidojumi. Kuģim ar visiem Kalniņiem pavēl atgriezties jūrā. Tikai dienu vēlāk jau vēlā vakarā viņus pa galvu, pa kaklu izsēdina krastā, bet visa iedzīve un arī "Baņutas" partitūra (un arī tie bija pamatīgi saiņi!) atgriežas jūrā. Tā nu "Baņuta" un visa Kalniņu iedzīve kādu laiku dreifē pa līci, līdz beidzot tomēr kuģis atgriežas ostā. Kalniņš gan jau bija sadomājies no Rīgas braukt prom, jo viņam te galīgi nepatīk. Tomēr nu, kad "Baņuta" un mēbeles izkrautas krastā, būs vien jāpaliek. Jo jau ir nolemts "Baņutu" uzvest – 1920. gada pavasarī.  Kalniņu – kā jau ļoti atbildīgu cilvēku (un ļoti atbildīgu ierēdni) –, ļoti uztrauca operas direkcijas nodomi "Baņutas" iestudēšanai tērēt milzu naudas summas. Pēckara laikā pat spainis krāsas dekorācijām vai baķis auduma tērpiem maksāja baltu naudu (ja vispār bija atrodami). Kalniņam viss likās tik pārspīlēti dārgi un grezni, ka pārņēma bailes – vai "Baņuta" vispār ir tamlīdzīgu tēriņu vērta. Pirmizrāde notika 1920. gada 29. maijā. Operu uzņēmuši silti, klāt bija Latvijas prezidents Čakste, bijuši vainagi, puķes, veltes, tomēr pirmie gadi operai bijuši tik grūti, ka iespaidīgās Jāņa Kugas "Baņutas" dekorācijas pēc kāda laika tikušas "nomazgātas", lai uz audekliem varētu gleznot nākamās – citām operām vai baletiem. Jā, "Baņuta" tika iestudēta vien pusgadu pēc Neatkarības cīņu beigām, kad kara postažu Rīgā vēl varēja skaidri redzēt.

I ftuar në “Live From Tirana” me Ronaldo Sharkën, ka qenë Armaldo Kllogjeri, tenori i njohur e ish-banori i “Big Brother VIP 2”. Ai ka folur më shumë mbi gjyqin e tij pas problemeve me Teatrin e Operas dhe Baletit, jetën familjare e jo vetëm.

Det här är berättelsen om den musikaliska kameleonten som misslyckades helt med att vara vanlig och som alltid gått sin egen väg. Lyssna på alla avsnitt i Sveriges Radio Play. Den 25 mars 1990. På Berns salonger i Stockholm ligger förväntningarna i luften när priserna på årets Grammisgala delas ut. Nedanför scenen, under de enorma kristallkronorna, står bord med vita dukar tätt uppdukade. Vid ett av de borden sitter Titiyo Jah.Hon har på sig en svart tight klänning, ett stort guldhalsband och nya strumpbyxor. Dom hon kom hit i har fått en reva men en snäll tjej på toaletten erbjöd henne ett extra par. Titiyo är nominerad till Årets Nykomling för två olika singlar: Break my heart (but don't waste my time) och Man in the moon. Två låtar som slagit stort under året. Det är mörkt i den stora salen. En stark kontrast till scenen där strålkastarljuset lyser på kvällens konferencierer.Operasångaren Loa Falkman, klädd i mörk kostym, kliver upp på scenen för att kröna Årets Nykomling. När han drar fram det röda pappret med vinnarens namn ur kuvertet rynkar han ihop ögonbrynen. – Vafan står det? Ti-ti-tiyo?Våren 1990 var det uppenbarligen några som hade missat det nya stjärnskottet. Men snart kommer alla att känna till hennes namn. Medverkande: Titiyo Jah, Lisa Wall, Femi Jah, Marimba Rooney och Magnus Frykberg.Programmet gjordes av Alexandra Sannemalm hösten 2025Producent och programledare Siri HillExekutiv producent Lars TruedsonSlutmix Fredrik NilssonP3 Musikdokumentär produceras av Tredje Statsmakten MediaLjudklippen i programmet kommer från: Så mycket bättre (TV4), Grammisgalan 1990 (SVT), rockprogrammet Gig (SVT), programmet Eldorado (Sveriges Radio), Sveriges Radio Ekot och Magnus Frykbergs egna videoinspelningar.

Baltijas jauno solistu programma, kuras patronāža būs operdziedātājas Elīnas Garančas rokās un kuru finansiāli nodrošina latviešu scenogrāfa Pētera Rožlapas ģimenes ziedojums, šajā sezonā iecerējusi Operai piesaistīs četrus jaunus solistus. To sarunā Kultūras rondo atklāja Latvijas Nacionālā opera un baleta valdes priekšsēdētājs Sandis Voldiņš. Raidījuma komanda iztaujā Sandi Voldiņu arī par citām būtiskām nākotnes ievirzēm Baltajā namā.

Composer jake Heggie joins Hattie Butterworth to speak about the recording release of ‘Intelligence', an opera premiered at Houston Grand Opera in 2023 and out now on the LSO Live label. They also look back on 25 years since Heggie's first opera ‘Dead Man Walking' was premiered and ahead to a new production of the work at English National Opera in November

For today's episode, I am joined by disco opera pop chanteuse Meg Smith. Meg joins me to discuss her latest songs "Dive Bar Opera" and "Girls Just Wanna Be Famous," how her mother's dance career inspires her musical output and making fun, unserious bombastic pop with a dash of glitter. ✨ MORE ABOUT MEG SMITH ✨With inspirations ranging from Donna Summer to Britney Spears, Meg Smith is a New York based pop artist whose glitter-soaked disco ballads transform heartbreak and hardship into euphoric club bangers. Her latest song "Dive Bar Opera" is out now. ✨ KEEP UP TO DATE WITH MEG SMITH ✨Web: https://www.megsmithmusic.com/Music: https://open.spotify.com/artist/4MfdeUAPPDpi4xdc1jvnwg?si=dfX6nlaAQ1qgftahjYy6hgInstagram: https://www.instagram.com/megsmithlol/TikTok: https://www.tiktok.com/@megsmithlol✨ CONNECT WITH IZZY ✨Blog: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://agrrrlstwosoundcents.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/channel/UCv6SBgiYCpYbx9BOYNefkIg⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/agrrrlstwosoundcents/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠twitter.com/grrrlsoundcents⁠⁠⁠⁠⁠

In this lively episode of GeekFreaks Podcast, Frank and the gang dig deep into the latest pop culture chatter. We cover the lively debate over which fictional characters would thrive on social media, break down the intense new trailer for One Piece season two, and share candid thoughts on the Highlander reboot casting news. Squeaks and Jonathan pitch their dream remakes and sequels, from Short Circuit to Back to the Future. We also talk about DC's rumored “henchman” movie—and pitch our own cheeky DC headlines. Lastly, the crew celebrates the return of space opera epics and welcomes Distance Nerd's Jen, Liam, and Graveyard for a spirited interview on fandom culture. Timestamps & Topics 00:00:00 – 00:03:00 – Introduction and “Fictional Characters on Social Media” debate: Star‑Lord, Joker, Riddler, and Flash. 00:03:00 – 00:06:00 – One Piece season two trailer reaction: multiple arcs, what to expect from Reverse Mountain and Alabasta, and Chopper's introduction. 00:06:00 – 00:08:00 – Does anime need to stick to the manga? Filler episodes versus character moments. 00:08:00 – 00:11:30 – News: Dave Bautista cast in the Highlander reboot—why the debate around his physique doesn't matter. 00:11:30 – 00:15:00 – What remakes do we actually want? Ideas range from Short Circuit's AI twist to a refreshed Back to the Future. 00:15:00 – 00:20:00 – Squeaks' ultimate pitch: E.T. returns—and he's connected to the Star Wars Senate cameo? 00:20:00 – 00:27:00 – DC rumors: Zach Cregger's “Henchman” script, who could carry a story about the accidental capture of Batman, and why Elseworlds stories are fun. 00:27:00 – 00:38:00 – Main Discussion: The renaissance of space operas. From Dune and Avatar to upcoming Star Wars projects and the importance of spectacle, practical effects vs. CGI, and why grand storytelling is back. 00:38:00 – 00:49:00 – “Geek Culture and Community” interview with Distance Nerd's Jen, Graveyard, and Liam: building an online fan community, favorite sci‑fi properties, and how their live podcast style resonates with listeners. 00:49:00 – 01:09:00 – More pop culture news and games: Marvel's Green Lantern theory, fake DC news challenge, and the crew's comedic speculations on Mr. Freeze, Clayface, and Ryan Reynolds' ultimate crossover. 01:09:00 – end – Wrap‑up: Episode highlights, network updates, content from other podcasts, and personal recommendations—how King of the Hill's return hits the right notes, why Dope Thief on Apple TV is a sleeper hit, and more. Key Takeaways Fictional characters on TikTok? The gang imagines Star‑Lord taking selfies across galaxies, the Riddler fostering a cult following, and Flash zipping around doing livestreams from inside STAR Labs. One Piece season two will be jam‑packed. Squeaks notes the show will likely fold multiple arcs into one season, meaning nonstop action and beloved characters like Chopper and Nico Robin. Remakes done right: While the crew is wary of endless reboots, they'd love to see Short Circuit reimagined with modern AI themes or a thoughtful sequel to E.T. set in today's world. DC's “henchman” movie intrigues. Zach Cregger's script idea follows a low‑level villain who accidentally knocks out Batman and then wrestles with what to do—worth exploring as an Elseworlds story, especially if it digs into Gotham's underclass. Space operas are back. Thanks to Dune, Avatar, and upcoming Star Wars films, the spectacle‑heavy genre is enjoying a resurgence. The team loves the blend of practical effects and CGI when done well, but they emphasize the need for strong characters and meaningful themes. Geek culture lives online. Jen, Liam, and Graveyard from Distance Nerd share how they've cultivated a welcoming space for fans and why live, improvisational podcasting keeps the energy high. Fun with fake news. The hosts plan to prank DC fans with tongue‑in‑cheek rumors—like Batman stealing Green Lantern's ring or Mr. Freeze battling Clayface—just to poke fun at internet speculation. Personal recs: King of the Hill's revival hits all the right notes, Dope Thief on Apple TV delivers gripping crime drama, and Apple TV quietly produces award‑worthy content. Memorable Quotes “Thriving on social media doesn't mean everybody loves you—it just means you have a huge following.” – Frank “Star‑Lord with different aliens, different species, fighting and selfies in strange worlds? Yes, please!” – Squeaks “Sometimes the monsters show us what it means to be human.” – Frank on beloved AI and sci‑fi themes “Practical effects still matter; CGI needs to be done beautifully—think Dune's sandworms or Avatar's Pandora.” – Squeaks “We're casual, we're opinionated, and we're fans of fans. That's what Distance Nerd stands for.” – Jen Call to Action Love what you hear? Help us continue bringing you thoughtful geek discussions every week! Subscribe on your favorite podcast platform so you never miss an episode. Leave us a review and tell us what you enjoy most—it helps new listeners find us. Share the episode on social media using the hashtag #GeekFreaksPod. Spread the geek love! Check out GeekFreaksPodcast.com for all the news mentioned on this show and more geek culture updates. Follow Us & Stay Connected Twitter: @GeekFreaksPod Instagram: @GeekFreaksPodcast Facebook: Geek Freaks Podcast TikTok: @GeekFreaksPodcast Follow us everywhere to join our community, get behind‑the‑scenes content, and chime in on future episode topics! Listener Questions Have a question or topic you'd like us to cover? Submit your question via DM or by emailing GeekFreaksPodcast@gmail.com. We'll feature listener questions on an upcoming episode—so let us know what's on your geek mind! Apple Podcast Tags Geek culture podcast, One Piece season two trailer, Highlander reboot news, Space opera comeback, DC universe henchman movie rumor

It is a pleasure to welcome singer-songwriter Nadia Younes to The Jake's Take with Jacob Elyachar Podcast.  Nadia is an independent recording artist, songwriter, and dancer from Saratoga, CA. Before stepping into pop and R&B, Nadia studied classical music and performed in Operas and musical theatre while also training in ballet and competitive dance. In 2019, she released her debut single, “You Can't Love Me at All.” This ultimately led her to Los Angeles in 2020, where she collaborated with young artists as a songwriter, mentor, choreographer, and backup dancer. Nadia is featured on rapper Conejo's song “H.O.P.E,” earning a GRAMMY nomination for Best Gospel Performance Song. She can also be heard on the theme song for season three of YouTube's Austin High series, upcoming independent film soundtracks, Warner Chappell's “Cover Nation” pages, and on Kevin Bacon's forthcoming film, Connescence.  In June 2024, Nadia Younes opened for American R&B singer, songwriter, and record producer Jon B. at the first-ever Independent Artists Music Awards (IAM Awards). In September 2024, she released her first-ever EP, Anybody but You, in collaboration with 3013 Music. With many more to come, Nadia released her first single of 2025, “One Day,” in partnership with The Kickback Music.Nadia draws inspiration from musical legends such as Ariana Grande, Chaka Khan, Mariah Carey, and the late Whitney Houston. Her music creatively blends the nostalgic sound of early 2000s R&B and Soul with contemporary pop elements to craft a distinctive, catchy, and danceable style that appeals to both older and younger audiences alike.  On this edition of The Jake's Take with Jacob Elyachar Podcast, Nadia Younes spoke about her musical influences. She shared the stories behind some of her most streamed Spotify songs, including “Tombstone” & “Cruise.”Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

Turpinām, iespējams vērienīgākās un ilgākās svinības, kas jelkad veltītas grāmatām. Latvijas Nacionālā bibliotēka (LNB) notikumu ciklā „Latviešu grāmatai 500” aicina izstaigāt latviešu autoru citātu ceļu Rīgas parkos un apkaimēs, vienlaikus rosinot dziļāk ielūkoties izvēlēto autoru daiļradē. Sarunā ar LNB pārstāvi Agiju Ābiķi un „Latviešu grāmatai 500” komunikācijas vadītāju Aivu Rozenbergu izzinām svarīgus pieturas punktus, gaidot svētku kulmināciju latviešu grāmatas piecsimtgadē. Dodoties pastaigā pa Rīgas parkiem vai izbraukājot ar velosipēdu dažādas apkaimes, ikviens aicināts atrast 35 dažādas tematikas un noskaņas citātus no latviešu literatūras, lielākoties dzejas, kas izvietoti uz soliņiem Uzvaras parkā, Arkādijas parkā, pie Māras dīķa, Dzegužkalnā, Nordeķu parkā, Bolderājas velo ceļā, Ķengaraga promenādē, Strēlnieku laukumā, pie Bastejkalna, Brīvības laukumā, Operas nama skvērā, pie Rīgas Doma, pie Latvijas Universitātes, Vērmanes parkā, Esplanādē, Viestura dārzā, Neatkarības laukumā, Ziedoņdārzā, kā arī pie Mežaparka estrādes un citur. Latvijas Nacionālā bibliotēka notikumu ciklā „Latviešu grāmatai 500” aicina izstaigāt latviešu autoru citātu ceļu Rīgas parkos un apkaimēs, vienlaikus rosinot dziļāk ielūkoties izvēlēto autoru daiļradē. Sarunā ar LNB sabiedrisko attiecību vadītāju Agiju Ābiķi un „Latviešu grāmatai 500” komunikācijas vadītāju Aivu Rozenbergu izzinām svarīgus pieturas punktus, gaidot svētku kulmināciju latviešu grāmatas piecsimtgadē. Runājot par cikla "Latviešu grāmatai 500" kulminācijas pasākumiem, Aiva Rozenberga atzīst, ka vēlētos lai tie būtu "grāmatniecības dziesmu svētki".  "Mes runājam par notikumiem Rīgā, bet ir svarīgi, lai visas publiskās bibliotēkas, cilvēki, kas dzīvo dažādos novados, diasporā visā pasaulē, lai mēs visi justos vienoti. Jau šobrīd ir daži ieteikumi, lai iesaistītos šajos grāmatniecības dziesmu svētkos," atzīst Aiva Rozenberga. Plašāk par pasākumiem informēs rudenī bet jau tagad var ielūkoties cikla mājaslapā un sadaļā "Piedalies" izvēlēties, kurā aktivitātē vēlētos iesaistīties. Bet noteikti kalendārā ir jāatzīmē 8. novembris, tas ir datums, kurā pirmā latviešu grāmata fiksēta vēstures liecībās. Pētnieki arvien meklē, kur tā vienīgā grāmata varētu būt.  

Som sexåring blir Ole totalförälskad i opera. Men när står på samma scen som Sveriges operalegendarer så försvinner rösten. Vad ska han göra? Lyssna på alla avsnitt i Sveriges Radio Play. Reporter och ljuddesign: Alice EdwardsProducent: Gustav AsplundSlutmix: Astrid AnkarcronaVerkligheten görs av produktionsbolaget Filt.

Operasångerskan Marianne Eklöf Törnblom berättar om hur det är att vara en orolig mamma när ens son gör allt som är farligt, tricket med att dö på scen och vilka vänner hon behöll från tv-programmet trots att de angav henne som förrädare. Lyssna på alla avsnitt i Sveriges Radio Play.

Orkestranın en kaba enstrümanlarından biri olan ama sesiyle duygulara dokunan bir saz kontrbas. Yaklaşık bir metre 85 santimetre boyundaki bu devasa enstrümanı bütün zorluklarına rağmen yol arkadaşı seçen Deniz Akgün (    / @akgndeniz   ), müzikle ilk defa sekiz yıl boyunca çalacağı gitar ile tanıştı ve piyano ile serüvenine devam etti.Piyano hocasının kendisini yönlendirmesiyle kariyerinde bir kırılma yaşayan ve kontrbasla tanışan genç müzisyen, uluslararası arenada dikkatleri üzerine çekiyor. Avrupa'da ve Türkiye'de birçok başarıya imza atan ve Türkiye Eğitim Vakfı'nın (TEV) Üstün Başarı Sanat Bursu'na layık görülen Akgün, son olarak İstanbul Kültür Sanat Vakfı'nın (İKSV) Yarının Kadın Yıldızları projesine seçildi.21 Haziran'da Süreyya Operası'nda kendisi gibi parlak 13 arkadaşıyla müzikseverlerin karşısına çıkacak olan Akgün; müzikle kurduğu bağı, kendinden uzun olan enstrümanı kontrbas ile tanışmasını, uluslararası başarılarını, sahne pratiğini ve geleceğe dair hayallerini T24'e anlattı.Video

In this deeply touching episode, Guy talked with Jeralyn Glass, a musician and professor of music, and shared her profound journey of healing through the power of sound. She discussed the transformative role of crystal singing bowls in her life, especially following the tragic loss of her son. The conversation dives into the significance of vibrational frequencies, music as a universal language, and the importance of embodying love and presence. Jeralyn also provides a mini session of healing sounds, illustrating the soothing capabilities of the bowls. This episode is a heartfelt exploration of grief, resilience, and the potential for music to connect us to deeper, spiritual dimensions. About Jeralyn: Jeralyn Glass is an international acclaimed singer, crystal alchemy sound healer, inspirational speaker, musician, and teacher blending a classical career with meditation and transformational high-vibration sound.  She has performed on Broadway and on the Opera and Concert stages of the world, where she is known as a “Mozart singer of the first order.” Jeralyn established her classical music career in Europe, Japan and USA, singing regularly in theaters including the Los Angeles Opera, San Diego Opera, Michigan Opera, Pittsburg Opera,Teatro la Fenice, Zurich Opera, the Operas of Nice, Nantes, Lille, Strasbourg, Marseille, Montpellier, Toulouse, Paris, Antwerp, Amsterdam, Rotterdam, Maastricht, Malaga, Leipzig, Bonn and Munich. Praised as an artist with “glamour and style” by London's Opera Magazine, she has collaborated with a.o. Sir Neville Marriner, Sir Peter Hall, Jonathon Miller, Vladimir Jurowski, Louis Langree. She sang the National Anthem for over 18,000 people in her hometown of Los Angeles and is a well loved Gala performer, having written and sung tributes to Kareem Abdul Jabar and the late Kobe Bryant as well as the former German President Horst Kohler and the former French President Valerie Giscard d'Estaing. Key Points Discussed:  (00:00) - Mum Loses Her Son — Then Uses the Portal of Sound to Bridge Worlds (00:43) - Republishing the Episode (00:57) - Connecting with the Audience (01:09) - Invitation to Retreats and Events (01:27) - Welcoming Jeralyn to the Podcast (01:52) - Jeralyn's Unique Career Path (02:57) - The Power of Music and Sound (05:44) - Jeralyn's Musical Journey (12:35) - Overcoming Grief Through Sound (15:33) - The Healing Power of Crystal Bowls (18:20) - A Mother's Journey Through Loss (19:47) - Spiritual Connections and Energy (27:10) - Finding Purpose After Loss (30:38) - A Mother's Grief and Healing Through Sound (34:03) - A Spiritual Encounter and Signs from Beyond (35:33) - Journey to India and Miraculous Signs (37:24) - Navigating Deep Grief and Finding Light (46:58) - The Sacred Science of Sound (53:14) - Healing Through Sound and Vibrations (01:02:53) - Final Thoughts and Reflections How to Contact Jeralyn Glass:www.jeralynglass.com crystalcadence.com www.sacredrainbowcurrent.com/jeralyn-glass Crystal Cadence by Jeralyn Glass YouTube Channel   About me:My Instagram: www.instagram.com/guyhlawrence/?hl=en Guy's websites:www.guylawrence.com.au www.liveinflow.co''

3. jūlijā Dzintaru koncertzālē notiks jau trešais starptautiskais jauno operdziedātāju galā koncerts, kurā Lihtenšteinā dibinātā labdarības fonda „Sic itur ad astra” (“SIAA foundation”) stipendiāti muzicēs Latvijas Nacionālās operas galvenā diriģenta Mārtiņa Ozoliņa vadībā. Pirmais koncerts Latvijā notika 2017. gada augustā Latvijas Nacionālajā operā, otrais - pirms diviem gadiem izskanēja Dzintaru koncertzālē. Trešajā ar Festivāla orķestri uzstāsies: mecosoprāns Eglė Wyss (Lietuva), baritons Romanas Kudriašovas (Lietuva), soprāns Fan Zhou (Ķīna), tenors Lian Wang (Ķīna), soprāns Sandra Sarikovaite (Lietuva), mecosoprāns Léontine Maridat-Zimmerlin (Francija) un bass Msimelelo Mbali (Dienvidāfrika). Par gaidāmo notikumu stāsta diriģents Mārtiņš Ozoliņš un Baltijas koncertu aģentūras menedžere Marija Graudiņa. Mārtiņš Ozoliņš: Vasaras pasākumi vienmēr ir ar īpašu garšu. Organizācija, kas veicina jauno solistu attīstību - starptautiskais Luksemburgas labdarības fonds - izvēlējusies perspektīvus jaunos dziedātājus no dažādām valstīm un ved viņus pie mums. Ir liels prieks redzēt, dzirdēt jaunas balsis un iepazīt jaunus cilvēkus. Šī attīstība no gada uz gadu dod daudz ko gan pašiem dziedātājiem, gan mūsu publikai, kas var iepazīt jaunus vārdus, ko agrāk vai vēlāk mēs varbūt redzēsim arī uz lielo opernamu skatuvēm. Kāda būs programma, kā vakars kopumā muzikāli veidosies? Dzintaru koncertzāle ir brīnišķīga vieta, arī laikapstākļus sola skaistus. Opermūzika brīvā dabā - tam ir īpaša garša un publikai tas patīk. Mūsu opernamā bieži vien vasaras laikā mēs cīnāmies ar bezgaisu, krēslu ērtumu vai neērtumu, bet tur ir akustiskās priekšrocības, savukārt Dzintaru koncertzālē ir dabas klātbūtne. Tās ir divas atšķirīgas lietas. Par programmu - šādos koncertos, kur ir daudz solistu, tā ir raiba, krāšņa un daudzveidīga, sākot no Mocarta un Verdi un beidzot ar Štrausu, Ofenbahu un Kālmānu. Bet gribētu akcentēt, ka arī šeit ir interesanti darbi, kas Latvijā tik bieži neskan - šis tas no Rosīni operas “Bruskino kungs”, Masnē “Herodiāde” - tie ir nosaukumi, kas varbūt ir svešāki ikdienas lietošanā, tā kā tas arī mums ir interesants un izziņas process. Tur droši vien balsis var īpaši parādīties. Jā, domāju, tāds arī ir uzdevums, ka jaunie dziedātāji meklē un atved kaut ko tādu, kas varbūt ir ārpus ierastā un klasiskā. Vai būs īpašs Festivāla orķestris? Jā, tas būs vasaras festivāla orķestris, kur liela daļa, protams, ir Operas mūziķi, kas līdzīgi šādos opermūzikas festivālos piedalās visā Latvijā, un šis ir pirmais koncerts kopš atvaļinājuma sākuma. Tas palīdz mūziķiem uzturēt formu. To varbūt neizmanto visi mākslinieki, bet tie, kam ir interese, piedalās šādos koncertos.

Stāsta Latvijas Nacionālās operas un baleta izrāžu vadītāja Ieva Kārkliņa. Pie Latvijas Nacionālās operas un baleta bieži sastopami operas kolēģi, kuri īpaši smaidīgi izkāpj no tramvaja iepretim opernamam. Sabiedriskajā transportā atskaņotais operas zvans publikai ir samulsinājis. Šie zvani ir rekordisti, jo izrādes vakarā izskan pat līdz 24 reizēm, ja kopā saskaitām visus starpbrīža zvanus. To radītājs, komponists Arturs Maskats, strādājot pirms daudziem gadiem operā un esot nemierā ar atstāto mantojumu, lēmis, ka jāķeras klāt pie šī žanra mūzikas rakstīšanas. Pieaicinātais mūziķis Edgars Saksons atklāj daudzveidīgo zvanu krāsu pielietojuma mākslu. Komponists spēlēto pārklāj ar spainī birstoša stikla lausku glazūru. Kā uz puantēm pastiepies Do mažora sekstakords, kas atspēries uz augšējo skaņu, vēja zvanu noglāstīts, rosina skatītāju doties zālē, lai, gaismām izdziestot, ienirtu mākslas pasaulē. Publikas pusē melodiskos zvanus atskaņo 32 maskēti skaļruņi. Skaņas pastiprinātāju kopējā jauda ir 1000 vatu. Zvanu atskaņo ar speciālu digitālu atskaņotāju. Ja gadās kāda tehniska kļūme, ir iespēja publiku aicināt arī ar vienkāršu vibrozvanu signāliem. Operas gaiteņos klīst teiksmains pastāsts: Salāgojot operas vēsturiskās ēkas zvanu sistēmu ar jauno operas piebūvi, sanācis misēklis, un publikas zvanus nav varējuši atskaņot. Attapība zelta vērtē. Rekvizitoru noliktavā, kur mājo dārgumi un raritātes, atrasts glābējzvans. Izrāžu vadītājs, skandējot zvanu, izstaigājis visus stāvus un aicinājis viesus doties uz skatītāju zāli. Jādomā, ka daudzi operas apmeklētāji tovakar kavējās arī tālajās skolas laika atmiņās, kad uz klasēm skolēnus mudinājis doties skolotāja ieskandināts zvans. Teātra ēkās svarīga ir translācija, Tā ir iespēja māksliniekiem dzirdēt gan orķestra mūziku savās ģērbtuvēs un gaiteņos, gan atsaukties izrāžu vadītāja aicinājumam doties uz skatuvi. Ja šī iespēja liegta, teātrī valda zināms satraukums. Dažkārt translācijā dzirdamas viļņu šalkas vai čerkstoņa, tātad ir klāt vadu nomaiņas pasākums. Kad Verdi operā “Aīda” Ramfisa vietā kulisēs ierodas Radamess, steidzamības kārtā ierīko arī “ausu saspicēšanas” – brīdinājuma signālu, tad nu ir droši, ka ieklausīsies runātājā. Ir zvans, ko respektē visi izrādes dalībnieki – „uzmanību, gatavību…” aicinājums piecas minūtes pirms izrādes sākuma. Tā iedarbības spēks ir milzīgs, visiem uzrunātajiem jādodas uz starta pozīcijām. Tas ir arī bīstams, jo zvanam piemīt īpašas atmodināšanas spējas un tieksme ielauzties arī publikas pusē. Zvans, kuru operas darbinieks vai viesis nevēlētos dzirdēt, ir brīdinājums par ārkārtas situāciju ēkā. Šos zvanus un brīdinājuma ierakstu sevišķi rūpīgi pārbauda visas sezonas garumā. Pārbaudes tiek veiktas vēlos pirmdienu vakaros, kad teātrī rimusi kņada un iestājies naktsmiers. Kad jautā kolēģiem, kā tad tie skan, atbilde pārsteidz – kā drūmi kapu zvani, šķiet, citējot kādu literatūrklasiķi. Gluži vai baznīcas zvanu sauciens, Vecrīgas gotikai piestāvošs, bet rokmūzikas mīļotājiem atgādina grupas “Metallica” kāda episka hita ievadu. Sava dziesma ir arī operas dzelzs priekškaram. To kustinot, atskan nepārtraukts, uzmanību piesaistošs signāls, līdz cēlais bruņnesis savu darāmo paveicis. Par visu šo plašo skaņu signālu valstības labklājību rūpējas opernama  signālsistēmu tehniķi Vilnis Straume un Aivars Lukovskis. Tā opernamā it visur skan mūzika, un pat zvaniem ļauj dziedāt!

Perde açıldı, 42 yıllık bir eser yeniden sahnede canlandı. Türk opera tarihindeki en önemli sanat olaylarından biri olarak gösterilen Gilgameş operası prömiyerini yaptı. 20. yüzyılın en büyük Türk bestecilerinden Ahmed Adnan Saygun'un eseri olan Gilgameş'i, İsanbul Devlet Opera Balesi'yle sahneye koyan İDOB Başrejisörü Caner Akın eserin hikayesini ve sahneye hangi duygularla taşındığını, Gilgameş'in bugüne verdiği mesajı Pencere'de anlattı. NEDEN PENCERE? Sinemadan müziğe, çizgi romandan dijital sanata, sokak oyunlarından uçurtma uçurmaya, gölge oyunlarından illüzyon gösterisine, tiyatrodan plastik sanatlara, romanlardan masallara, çocuk şarkılarından operaya, geçmişten bugüne, geleneklerden modern zamanlara kültür, sanat... Unutulmasınlar, kuşaktan kuşağa aktarılsınlar, diye... Zeynepgül Alp'le Pencere cumartesi 09.30, pazar 19.10'da NTVRadyo'da. Programın tüm bölümleri kaçıranlar ve tekrar dinlemek isteyenler için NTVRadyo'nun arşivinde (ntvradyo.com.tr) ve podcast platformlarında.

A Chicago woman, Irna Phillips, birthed the daytime serial — and a Chicago woman, Michele Val Jean, is ushering in new interest in the genre. Val Jean has written for several shows, including Generations, Santa Barbara, General Hospital and The Bold and the Beautiful. Now, she's the creative force driving Beyond the Gates, the newest American soap, which debuted on CBS in February. The drama features a core Black family, the Duprees, who live outside Washington, D.C. It's full of delicious soapy drama, with slaps, villains, cliffhangers and fabulous clothes. Val Jean talks about her career, from writing the infamous catfight scene on Generations and revisiting the Luke and Laura rape on General Hospital to the joy she feels watching the reception of Beyond the Gates.

Stāsta Latvijas Nacionālās operas un baleta izrāžu vadītāja Ieva Kārkliņa Reizēm man ir vēlme paskatīties kādu no "Midsomeras slepkavībām". Vienā no filmām, kas risinājās angļu teātrī amatierizrādes laikā, skatuves aizkulisēs pamanu personāžu, kurš ik pa brīdim, neizlaižot no rokām adīkli, ielūkojas lugas eksemplārā. Tas ir izrāžu vadītājs. Tā šo amatu dēvē Latvijā. Angliski runājošajās zemēs viņu sauc par "stage manager", savukārt vācieši pārliecinoši pieturas pie stingrā "Inspizient". Mūsdienās profesionālajā teātrī paveras pavisam cita aina – izrāžuu vadītājs ir koncentrējies amata lietpratējs, kurš, aprīkojies ar dažādām saziņas ierīcēm, gatavs lidojumam izrādes garumā, gandrīz vai pacelt gaisa kuģi un maigi nosēdināt! Izrāžu vadītāja darbs ir saikne starp iestudējuma māksliniecisko un tehnisko norisi. Katrā teātrī viņa pienākumi ir dažādi. Mūsu operteātrī izrāžu vadītājs pārliecinās par pilnīgu un drošu skatuves uzbūvi, kā arī par izrādē iesaistīto klātbūtni, informē dalībniekus un organizē izrādes gaitu. Pats svarīgākais uzdevums ir precīzi novadīt visus tehniskos procesus, vadoties pēc klavierizvilkumā ieliktajām atzīmēm, tā, kā iecerējis režisors vai horeogrāfs. Latvijā šo amatu apgūst prakses ceļā, savukārt Lielbritānijā un citviet pasaulē – īpašās Drāmas skolās. Operas un baleta teātrī izrāžu vadītājam ir muzikālā izglītība, jo jālasa notis. Piemēram, mana kolēģe Gundega Maizīte ir diplomēta muzikoloģe, es pati esmu beigusi Liepājas mūzikas vidusskolas klavieru nodaļu, pēc tam apgūstot režijas mākslu Latvijas Valsts konservatorijā. Mums ir jāstrādā ne tikai ar orķestra partitūrām, bet arī ar komponista roku rakstītu nošu materiālu, ar lielu bijību izpētot gan labojumus, gan remarkas. Mūzikā "jāiesēdina" ne tikai dažādi skaņu efekti, bet arī muzikālas fonogrammas, pat atsevišķi instrumenti vai solistu balsis. Priekškara muzikāla atvēršana un aizvēršana ir iekļaujama izrāžu vadītāju mūžizglītības sarakstā. Te jāpiemin mūsu opernama priekškaru meistars, "Aldara" balvas laureāts, orķestra mūziķis un izrāžu vadītājs Andris Dalbiņš. Dodoties viesizrādēs uz Itāliju, kur vēsturiskajos teātros priekškara vēršana vēl notiek manuāli – ar virves palīdzību, var atviegloti uzelpot, atliek vien bilst vietējiem meistariem: tagad lūdzu "allegro" vai "andante". Mūsu darbs ir īsta stresa noturības pārbaude. Ja izrāde novirzījusies no maršruta, jāspēj tā "iegriezt" pareizajā trajektorijā. Te palīgā tad traucas teju viss teātris. Kolēģu atsaucība, pieredze, zināšanas ir neatsveramas. Kā gan izskanētu "Traviatas" izrāde, ja diriģents Farhads Stade laicīgi nebūtu izdzirdējis izrāžu vadītāja izmisuma pilno balsi, saucot Violetu – Kristīni Gailīti, kura ģērbtuvē, kolēģes nejauši ieslēgta, prāto, kā aizkļūt līdz skatuvei? Radoša pieeja problēmsituācijām vienmēr bijusi lielā cieņā. Izrādē "Džanni Skiki" uz skatuves nolūst atzveltnes krēsla kāja. Galvenajam varonim, tur sēžot, svarīga mizanscēna. Izrāžu vadītājs, pieplacis dekorācijām, lūdz citam solistam krēslu "salabot|, izmantojot scenogrāfijā iekļautās grāmatu kaudzes. Izrādes laikā dažkārt nākas aizrāpot līdz videoprojektora slēdzim, jo kāds to nejauši atvienojis, bet jaunais kolēģis darbā ieradies žilbinoši baltā kreklā. Tieši tāpēc izrāžu vadītājiem garderobē dominē tumšas krāsas apģērbs. No scenogrāfijas viedokļa raugoties, izrādes mūsdienās ir kļuvušas sarežģītas. Iestudējuma laikā uz skatuves gan pamanāmas, gan neredzamas risinās neskaitāmas dekorāciju pārbūves, kuras jāveic īsā laikā. Izrāžu vadītājs kopā ar savu tehnisko komandu izdarīs visu, lai skatītājiem dāvātu mākslas brīnuma sajūtu. Un tieši tāpēc Dmitrijs Hvorostovskis pēc tehniski sarežģītās "Jevgēņija Oņegina" izrādes Londonas "Covent Garden" saņemt aplausus uz skatuves aicināja izrāžu vadītāju.

On this week's episode, we are joined by the legend Kevin McDonald of The Kids In The Hall, who talks about his upcoming rock opera, Superstar (A Rock Opera), and the films and music that influenced it.  We also discuss Kevin's love of musicals, why comedians want to be musicians and vice versa, Kevin discovering Jesus Christ Superstar and the effect it had on him, the musicality of Kevin's voice in his comedy, writing the Kids In The Hall sketches ‘The Suburbs', ‘Daddy Drank, and ‘The Bass Player,' why rock operas are always so dire and full of trauma, how hard it is to write an ending for a sketch, Monty Python, Phantom Of The Paradise, Hedwig & The Angry Inch, why Kevin chooses to turn truly painful moments in his life into his comedy, Chris' Colonel Jeffrey Pumpernickel concept LP with Stephen Malkmus & Ann Magnuson, how Kevin wrote his rock opera lyrics and melodies, the magic of Dave Hill, upsetting Flo and Eddie references in Kevin's rock opera, Paul Williams, The Mountain Goats, why "rock music" in a rock opera often rings false, who should direct the film the version of Kevin's rock opera and more!So, let's do our vocal exercises before hitting the stage on this week's episode of Revolutions Per Movie!KEVIN McDONALD:See Superstar (A Rock Opera) Live At Soho Playhouse March 19-23, 2025Tickets: www.sohoplayhouse.com/upcoming-events/kevin-mcdonald-superstarREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome to the opera!! It's episode 247 of the Dub R! This week's open covers some of the latest NFL off-season news. Then, it's a full blown review of the huge AEW PPV, "Revolution 2025"! Then, it's our first visit to the drive-in in a long time! We join Joe Bob and Darcy for a review of their latest season of "TLDI"! We go back 100 years! It's a celebration of the centennial of "Phantom of the Opera"! Then we get some Dario Argento goodness with his 1987 cult classic, "Opera". As is tradition, we head on down to the waterfall and lagoon to take things home. Please enjoy responsibly!PRESENTED by CHURCHILL PICTURESTimestamps:00:00:00 - Intro: NFL + Steelers Free Agency 0:27:53 - AEW Revolution Review (2025)1:04:06 - Last Drive-In Double Feature: Phantom of the Opera (1925) and Opera (1987)1:34:21  - Goofs R GoofsThanks for Listening!

Daron Hagen is a renowned composer of Operas, Operafilms, Symphonies, Concertos, Chamber Works and Artsongs. He's worked with numerous orchestras including the New York, Philadelphia and Buffalo Philharmonic. He's a Guggenheim Fellow. He's been awarded the Kennedy Center Friedman Prize among others. And he's written a memoir.My featured song is “The Winner” from the album Made In New York by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Daron:www.daronhagen.com—----------------------------------------ROBERT'S RECENT SINGLES:“LOVELY GIRLIE” is Robert's latest single. It's a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

When you think of a opera performance you may think its only for a certain kind of audience with these ideas of the artform many might be quick to write it off as a pastime for cultural snobs. Ahead of her lead role in Irish National Opera's L'elisir d'amor, Claudia Boyle, leading irish soprano joins us to dispel some notions around operas.

Rod and Karen respond to listener feedback. Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@rodimusprime⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SayDatAgain⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@TBGWT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@TheBlackGuyWhoTips⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠theblackguywhotips@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Blog: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.theblackguywhotips.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Teepublic Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon Wishlist⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Crowdcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Voice Mail: 704-557-0186 Live Show Link – https://www.blumenthalarts.org/events/detail/the-black-guy-who-tips-liveGo Premium: https://www.theblackguywhotips.com/premium/See omnystudio.com/listener for privacy information.

How can opera, with words we rarely understand, make us cry? Why does opera, filled with melodrama, move us? Listen as poet and librettist Dana Gioia explains to EconTalk's Russ Roberts why words matter more than we think, in both opera and on Broadway.

The 1950s looks placid from the outside, but underneath that calm post-war exterior roiled the intellectual and activist beginnings of the political movements that tore through the 1960s and 1970s. In Women in American Operas of the 1950s: Undoing Gendered Archetypes (University of Rochester Press, 2023), Monica A. Hershberger considers the main female characters in four operas written in the 1950s: The Ballad of Baby Doe, Lizzie Borden, The Tender Land, and Susannah. For each work, Hershberger analyzes the historical context and musical treatment of these four characters, who are all stereotyped as the virgin or the whore, or sometimes even both. In an unusual and productive analytical choice, Hershberger also includes the interpretive decisions and perspectives of the sopranos who originated or popularized these four roles, rather than focusing exclusively on the scores and the views of the male creative teams that wrote the works. Several of the operas include instances of emotional abuse as well as gendered and sexual violence that have long been ignored or downplayed by opera scholars, but Hershberger does not shy away from these disturbing subjects in the book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The 1950s looks placid from the outside, but underneath that calm post-war exterior roiled the intellectual and activist beginnings of the political movements that tore through the 1960s and 1970s. In Women in American Operas of the 1950s: Undoing Gendered Archetypes (University of Rochester Press, 2023), Monica A. Hershberger considers the main female characters in four operas written in the 1950s: The Ballad of Baby Doe, Lizzie Borden, The Tender Land, and Susannah. For each work, Hershberger analyzes the historical context and musical treatment of these four characters, who are all stereotyped as the virgin or the whore, or sometimes even both. In an unusual and productive analytical choice, Hershberger also includes the interpretive decisions and perspectives of the sopranos who originated or popularized these four roles, rather than focusing exclusively on the scores and the views of the male creative teams that wrote the works. Several of the operas include instances of emotional abuse as well as gendered and sexual violence that have long been ignored or downplayed by opera scholars, but Hershberger does not shy away from these disturbing subjects in the book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The 1950s looks placid from the outside, but underneath that calm post-war exterior roiled the intellectual and activist beginnings of the political movements that tore through the 1960s and 1970s. In Women in American Operas of the 1950s: Undoing Gendered Archetypes (University of Rochester Press, 2023), Monica A. Hershberger considers the main female characters in four operas written in the 1950s: The Ballad of Baby Doe, Lizzie Borden, The Tender Land, and Susannah. For each work, Hershberger analyzes the historical context and musical treatment of these four characters, who are all stereotyped as the virgin or the whore, or sometimes even both. In an unusual and productive analytical choice, Hershberger also includes the interpretive decisions and perspectives of the sopranos who originated or popularized these four roles, rather than focusing exclusively on the scores and the views of the male creative teams that wrote the works. Several of the operas include instances of emotional abuse as well as gendered and sexual violence that have long been ignored or downplayed by opera scholars, but Hershberger does not shy away from these disturbing subjects in the book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

The 1950s looks placid from the outside, but underneath that calm post-war exterior roiled the intellectual and activist beginnings of the political movements that tore through the 1960s and 1970s. In Women in American Operas of the 1950s: Undoing Gendered Archetypes (University of Rochester Press, 2023), Monica A. Hershberger considers the main female characters in four operas written in the 1950s: The Ballad of Baby Doe, Lizzie Borden, The Tender Land, and Susannah. For each work, Hershberger analyzes the historical context and musical treatment of these four characters, who are all stereotyped as the virgin or the whore, or sometimes even both. In an unusual and productive analytical choice, Hershberger also includes the interpretive decisions and perspectives of the sopranos who originated or popularized these four roles, rather than focusing exclusively on the scores and the views of the male creative teams that wrote the works. Several of the operas include instances of emotional abuse as well as gendered and sexual violence that have long been ignored or downplayed by opera scholars, but Hershberger does not shy away from these disturbing subjects in the book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The 1950s looks placid from the outside, but underneath that calm post-war exterior roiled the intellectual and activist beginnings of the political movements that tore through the 1960s and 1970s. In Women in American Operas of the 1950s: Undoing Gendered Archetypes (University of Rochester Press, 2023), Monica A. Hershberger considers the main female characters in four operas written in the 1950s: The Ballad of Baby Doe, Lizzie Borden, The Tender Land, and Susannah. For each work, Hershberger analyzes the historical context and musical treatment of these four characters, who are all stereotyped as the virgin or the whore, or sometimes even both. In an unusual and productive analytical choice, Hershberger also includes the interpretive decisions and perspectives of the sopranos who originated or popularized these four roles, rather than focusing exclusively on the scores and the views of the male creative teams that wrote the works. Several of the operas include instances of emotional abuse as well as gendered and sexual violence that have long been ignored or downplayed by opera scholars, but Hershberger does not shy away from these disturbing subjects in the book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The 1950s looks placid from the outside, but underneath that calm post-war exterior roiled the intellectual and activist beginnings of the political movements that tore through the 1960s and 1970s. In Women in American Operas of the 1950s: Undoing Gendered Archetypes (University of Rochester Press, 2023), Monica A. Hershberger considers the main female characters in four operas written in the 1950s: The Ballad of Baby Doe, Lizzie Borden, The Tender Land, and Susannah. For each work, Hershberger analyzes the historical context and musical treatment of these four characters, who are all stereotyped as the virgin or the whore, or sometimes even both. In an unusual and productive analytical choice, Hershberger also includes the interpretive decisions and perspectives of the sopranos who originated or popularized these four roles, rather than focusing exclusively on the scores and the views of the male creative teams that wrote the works. Several of the operas include instances of emotional abuse as well as gendered and sexual violence that have long been ignored or downplayed by opera scholars, but Hershberger does not shy away from these disturbing subjects in the book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The 1950s looks placid from the outside, but underneath that calm post-war exterior roiled the intellectual and activist beginnings of the political movements that tore through the 1960s and 1970s. In Women in American Operas of the 1950s: Undoing Gendered Archetypes (University of Rochester Press, 2023), Monica A. Hershberger considers the main female characters in four operas written in the 1950s: The Ballad of Baby Doe, Lizzie Borden, The Tender Land, and Susannah. For each work, Hershberger analyzes the historical context and musical treatment of these four characters, who are all stereotyped as the virgin or the whore, or sometimes even both. In an unusual and productive analytical choice, Hershberger also includes the interpretive decisions and perspectives of the sopranos who originated or popularized these four roles, rather than focusing exclusively on the scores and the views of the male creative teams that wrote the works. Several of the operas include instances of emotional abuse as well as gendered and sexual violence that have long been ignored or downplayed by opera scholars, but Hershberger does not shy away from these disturbing subjects in the book. Learn more about your ad choices. Visit megaphone.fm/adchoices

2'inci Mehmet Operası… Türklerle ilgili operalar içindeki en önemli yapıtlardan biri. Romantik dönemin en önemli bestecilerinden biri olan Rossini'nin bu 220 yıllık eseri yeniden İDOB tarafından sahneleniyor. Eserin önemini ve bugüne gelişini araştırmacı İsmail Hakkı Aksu Pencere'de anlatıyor.

On today's Extra, Operas, Dracula, Vlad the Impaler, the Vegetarian Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this three-part series, Ethan sits down with his screenwriter friends to do a deep dive into the creative process, the power of storytelling, and how identity plays a role in both. In Episode 2, Ethan is joined by screenwriter Whit Anderson, known for her work on Daredevil, The Twilight Zone, and Ozark.  Whit and Ethan talk about, among other things:  How a life-changing illness inspired one of her screenplays The cultural role that storytellers and screenwriters play Whit's approach to writing, including the use of visuals and detailed outlines The challenges of working in a male-dominated industry And more Content warning: In our conversation we talk briefly about suicidal ideation — both in the context of a movie Whit is working on but also in the context of the illness she experienced.  Whit Anderson has written both original and adapted content for HBO, Showtime, NBC, Warner Brothers, Paramount, Stars, Netflix, and Sky UK. She's also worked on such shows as Daredevil, The Twilight Zone, and Ozark, as well as on screenplays for her original film Players, and the Netflix hit, Damsel. Most recently for Netflix she wrote a feature script for the epic space opera Empress and she's currently in development with Paramount Studios, George Clooney's company Smokehouse, Margot Robbie's LuckyChap, and Jude Law's Riff Raff, among others.  And, like Ethan, Whit studied Theater at Northwestern University. We hope you enjoy.    Play-by-Play: 1:47 - When did Whit realize she was a storyteller? 3:48 - How has her storytelling shifted over the years? 5:56 - How has Whit's identity and experiences influenced her writing?  11:30 - Where does “Whit” show up in her stories? 17:47 - How does Whit decide what to write about next?  22:00 - What is Whit's writing process like? 23:14 - How does music influence Whit's writing?  28:15 - What does a typical week look like when working on a project?  31:30 - How does Whit work through writer's block or moments of feeling uninspired?  35:12 - What is something Whit wants to share about screenwriting? 47:58 - What has Whit learned about being a writer since starting?  56:00 - What change would Whit like to see in Hollywood?  1:05:01 - If Whit could do college again, what might she do differently? 1:09:23 - What upcoming projects is Whit excited to work on? 1:11:14 - Wrap up and closing thoughts   Resources: The Little Porch and a Dog College Essay Guy's Personal Statement Resources College Essay Guy's College Application Hub  

On this edition of The Arts Section, host Gary Zidek takes a closer look at two new opera productions taking the stage in Chicago that both share an interesting backstory. The Dueling Critics, Kelly Kleiman and Jonathan Abarbanel, join Gary to review Goodman Theatre's INHERIT THE WIND. Later in the show, we'll hear from New Philharmonic music director Kirk Muspratt as he looks back at 20 years leading the suburban orchestra. And Gary talks with the executive artistic director of the Hyde Park Jazz Festival about some of the challenges the fest is facing.

The Phantom of the Opera by Jennifer Basset词汇提示1.phantom 幽灵原文Story BackgroundThe Opera House in Paris is a very famous and beautiful building. It is the biggest Opera House in the world. Work on the building began in 1861 finished in 1875 and cost 47 million francs.It has 17 floors 10 above the ground, and 7 under the ground. Behind and under the stage, there are stairs and passages and many many rooms. Dressing rooms for the singers and the dancers, rooms for the stage workers, the opera dresses and shoes.There are more than 2500 doors in the building. You can walk for hours and never see daylight under the Paris Opera House. And the Opera House has a ghost, a phantom, a man in black clothes.He is a body without a head or a head without a body. He has a yellow face. He has no nose. He has black holes for eyes. This is the true story of the Phantom of the Opera. It begins one day in 1880 in the dancer's dressing room.Chapter 1: The dancers"Quick, quick, close the door. It's him." Annie Sorelli ran into the dressing room, a face white.One of the girls ran and close the door. And then they all turned to Annie Sorelli."Who? Where? What's the matter?" They cried."It's the ghost" Annie said. "In the passage, I saw him. He came through the wall in front of me! And ... and I saw his face!"Most of the girls were afraid, but one of them, at all girl with black hair laughed. "Pooh!" she said. "Everybody says they see the Opera ghost, but there isn't really a ghost. You saw a shadow on the wall".But, she did not open the door or look into the passage. "Lots of people see him," a second girl said. "Joseph Buquet saw him two days ago. Don't you remember?"Then all the girls began to talk at once. "Joseph says the ghost is tall, and he wears a black evening coat". "He has the head of a dead man, with a yellow face and no nose.…." "... And no eyes - only black holes!".Then, little Meg Giry spoke for the first time. "Don't talk about him. He doesn't like it. My mother told me." "Your mother?" The girl with black hair said. "What does your mother know about the ghost?""She says that Joseph Buquet is a fool. The ghost doesn't like people talking about him, and one day Joseph Buquet is going to be sorry, very sorry." "But what does your mother know? Tell us tell us" All the girls cried."Oh dear!", said Meg. "But please don't say a word to anyone. You know my mother is the doorkeeper for some of the boxes in the Opera House. Well, Box 5 is the ghost's box!. He watches the Operas from that box, and sometimes he leaves flowers for my mother!""The ghost has a box! And leaves flowers in it!""Oh, Meg, your mother's telling you stories! How can the ghost have a box?" "It's true. It's true. I tell you!" Meg said. "Nobody buys tickets for box 5, but the ghost always comes to it on opera nights.""So somebody does come there?""Why, no! the ghost comes, but there is nobody there."The dances looked at Meg."But how does your mother know?" One of them asked."There's no man in a black evening coat, with a yellow face. That's all wrong. My mother never sees the ghost in Box 5, but she hears him! He talks to her, but there is nobody there. And he doesn't like people talking about him!".But that evening, the dancers could not stop talking about the Opera ghost. They talked before the opera, all through the opera, and after the opera. But they talked very quietly, and they looked behind them before they spoke.When the opera finished, the girls went back to their dressing room. Suddenly, they heard somebody in the passage, and Madame Giry, Meg's mother, ran into the room. She was a fat, motherly woman, with a red happy face. But tonight, face was white."Oh, girls," she cried. "Joseph Buquet is dead! You know he works a long way down, on the fourth floor under the stage. The other stage workers found his dead body there an hour ago, with a rope around his neck!"."It's the ghost!" cried Meg Giry."The ghost killed him!".翻译故事的背景巴黎歌剧院是一座非常著名和美丽的建筑。它是世界上最大的歌剧院。这座建筑始建于1861年，于1875年完工，耗资4700万法郎。它有17层，地上10层，地下7层。在舞台的后面和下面，有楼梯、通道和许多房间。歌手和舞者的化妆室，舞台工作人员的化妆室，还有戏服和鞋子。大楼里有2500多扇门。你可以在巴黎歌剧院下走上几个小时，却看不到日光。歌剧院里有一个鬼，一个幽灵，一个穿黑衣服的人。他是一个没有头的身体，或者是一个没有身体的头。他有一张黄脸。他没有鼻子。他的眼睛像黑洞一样。这是《歌剧魅影》的真实故事。故事始于1880年的一天，在舞者的化妆间里。第一章:舞者“快，快，把门关上。这是他。”安妮·索雷利跑进化妆室，脸色煞白。其中一个女孩跑过去把门关上。然后他们都转向安妮·索雷利。“谁?在哪里?怎么啦?”他们哭了。“是鬼，”安妮说。“在过道里，我看见了他。他在我面前穿墙而入!和…我看见了他的脸!”大多数女孩都很害怕，但其中一个黑发女孩笑了。“呸!”她说。“每个人都说他们看到了歌剧院的鬼，但实际上并没有鬼。你看到墙上有个影子。”但是，她没有打开门，也没有往走廊里看。“很多人看到他，”另一个女孩说。“约瑟夫·比凯两天前见过他。你不记得了吗?”然后所有的女孩立刻开始说话。“约瑟夫说鬼魂很高，穿着一件黑色晚礼服。”“他长着死人的头，黄脸，没有鼻子.....”“…而且没有眼睛——只有黑洞!”然后，小梅格·吉丽第一次开口说话了。“别说他了。他不喜欢它。我妈妈告诉我的。”“你妈妈?”黑发女孩说。“关于鬼魂，你妈妈知道些什么?”“她说约瑟夫·比凯是个傻瓜。鬼魂不喜欢人们谈论他，总有一天约瑟夫·比凯会后悔的，非常后悔的。”“可是你妈妈知道什么?告诉我们，告诉我们”所有的女孩都哭了。“哦，天哪!”麦格说。“但是请不要告诉任何人。你知道我妈妈是歌剧院一些包厢的看门人。5号包厢是鬼的包厢!他在那个包厢里看歌剧，有时还会给我妈妈送花!”“鬼有一个包厢! 里面还有花!”“噢，麦格，你妈妈在给你讲故事呢!鬼怎么会有包厢呢?”“这是真的。这是真的。我告诉你!”梅格说。“没有人买5号包厢的票，但在歌剧之夜，鬼魂总是来这里。”“那么，确实有人到那儿去了?”“为什么,不!鬼来了，但那里没有人。”跳舞的人看着梅格。“可你妈妈是怎么知道的?”其中一个问道。“没有一个穿黑色晚礼服、黄脸的男人。这都是错的。我妈妈从来没见过5号包厢的鬼，但她听到了!他和她说话，但那里没有人。而且他不喜欢人们谈论他!”但那天晚上，跳舞的人不停地谈论着歌剧院的幽灵。他们在歌剧开始前，在歌剧的整个过程中，在歌剧结束后都在交谈。但他们说话的声音很轻，说话前都回头看了看。歌剧结束后，女孩们回到了她们的化妆间。突然，他们听到走廊里有人，麦格的母亲吉丽夫人跑进了房间。她是一个肥胖的、慈母般的女人，红着一张快乐的脸。但今晚，脸是白的。“哦，姑娘们，”她叫道。“约瑟夫·比凯死了!”你知道他在很远的地方工作，在舞台下面的四楼。一小时前，其他工作人员在那里发现了他的尸体，脖子上缠着一根绳子!”“是鬼!”梅格·吉丽叫道。“是鬼杀了他!”

#HerkeseSanat

聊中西文化，也聊很多东西！ 第六十六期，我们来聊一下中国传统戏曲，包括京剧、黄梅戏、越剧、粤剧、豫剧等等。作为一个新票友，刚刚发现戏曲的魅力，知道的还很少。希望有更多朋友喜欢中国传统戏曲：） 00:00 为什么看了10几场中国戏曲 01:40 越剧演员陈丽君参加了《乘风2024》 04:30 中国五大戏曲和表演形式 06:10 我看的第一场黄梅戏，印象深刻的几件事 11:00 京剧《盗库银》最喜欢小青的打戏 14:00 粤剧《白蛇传.情》 16:45 王珮瑜和京剧《失空斩》 19:35 戏曲角色：生旦净丑 20:15 总结 欢迎给我们来信： ttmiChinese@gmail.com Have online class with Candice, please email candicex2018@gmail.com YouTube: Candice X Chinese Mandarin Instagram: CandiceXMandarin2022 免费学习资料 Free study materials please visit Patreon: https://www.patreon.com/candicex PDF full script for episode 66: https://www.patreon.com/posts/066-i-watched-2-107750622 Full subtitles with Pinyin for episode 66: https://youtu.be/EOPy7eoKhAE

My guest this episode is Karl Drinkwater, who writes dystopian space opera, dark suspense and diverse social fiction. But as he develops stories about far-off locales, he also writes with one eye on the real world. And that's where his writing meets his environmental advocacy and political life in the Green Party. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of 2,000+ blog posts, and a handy search box to find key info on the topic you need. We invite you to join our organization and become a self-publishing ally. About the Host Howard Lovy has been a journalist for more than 35 years and now amplifies the voices of independent author-publishers and works with authors as a developmental editor. Find Howard at howardlovy.com, LinkedIn, and X.

The testing of your faith is more precious than gold. -------- Thank you for listening! Your support of Joni and Friends helps make this show possible.   Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Become part of the global movement today at www.joniandfriends.org.   Find more encouragement on Instagram, TikTok, Facebook, and YouTube.

EPISODE 363 - Richard Sparks - Rowan Atkinson, Operas and a New Rock, New Role - Words MatterRichard SparksOne morning in 1979 I got a call from an understandably excited Rowan Atkinson.“John Cleese just called. He's asked me to be in his new charity show – and can I do The Schoolmaster?”Er, yes.I'd written The Schoolmaster for Rowan the previous year, for a revue at the Hampstead Theatre (Rowan with Elspeth Walker and Peter Wilson). John and his co-producer, Martin Lewis, had seen it; and a year later, Rowan and I were backstage at Her Majesty's Theatre, meeting John and other members of the cast of The Secret Policeman's Ball.https://www.youtube.com/watch?v=FiWJWLCoH2MRowan went on stage an unknown, with his gown and clipboard and pen, and came off a star. The Schoolmaster became his signature piece, the encore of his live shows. Eventually, he got tired of doing the same old routine and wrote another (ruder) version, generously giving me half the royalties. By that time, I'd cut my teeth on various TV shows, from HTV (Wales) to ITV (Southern and Central) to the BBC. I'd also written some stage shows (reviews, original plays, and adaptations of Goldoni comedies), and done a lot of freelance script editing. In 1992, I was hired by Columbia Picture Television to work with Blake Hunter and Marty Cohan, the creators of Who's the Boss?. My wife and I moved with our young daughter to her parents (converted) garage and we've lived in Los Angeles since.I've written a number of libretti for operas, almost all for the LA Opera – some original pieces, some translations from German or Italian. My writing partner, the composer, Lee Holdridge, was – in a way – once G.R.R. Martin's ‘writing partner' in that he composed the scores for the TV series Beauty and the Beast, for which Martin was a script writer.I'd been a hard-core RPG gamer for years when the idea for these books just fell out of the sky one morning, and I started writing. I have hardly had a moment to log on to any game — I'm too busy exploring the New Rock stories as they unfold.My publisher, Caezik SF & Fantasy, is a company of enthusiasts who love these genres. I am delighted to join their family of authors, and to be working with their executive editor, Lezli, Robyn.Three sequels – New Rock New Realm, New Rock New Rules, and New Rock New Roads, have been completed and will be published in due course. I'm currently working on the fifth book.https://richardsparks.com/___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Support the Show.https://livingthenextchapter.com/Want to support the show and get bonus content?https://www.buzzsprout.com/1927756/subscribe

Laura Oakes joins Chad and Dave this week for a lively game of Overrated, Underrated or Properly Rated!

Wherein the Antiques Freaks come into possession of a curious little book and recite the scintillating tale of Dinorah.

Stephen Colbert (Host, Writer, Executive Producer, Has-His-Name-On-The-Building) and Becca (Podcast Producer, Writer's AP, Softball Team Captain) talk about their hobbies outside of work and favorite food spots in NYC before launching into another podcast exclusive compilation of Stephen answering audience members' questions. In this cut, Stephen chats with his audience about his upcoming birthday plans, late night host dinner etiquette, his favorite museums, favorite operas, favorite Late Show guests, shaving his head in Iraq in 2009, and his favorite parts from the Rally To Restore Sanity And/Or Fear. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's conversation features Jane Fitzpatrick, a contributing writer to Religion Matters who covers the intersection of religion and the performing arts, with a particular emphasis on the opera. Conversations about religion in the public square happen in all kinds of contexts. This episode considers the many ways that religion is both represented and critiqued in the high cultural form of the opera. We also consider storytelling within both the performing arts and religion, in particular the interpretation and reinterpretation of narrative that is a hallmark of both.Show Notes:"What we can still learn from Dialogues of the Carmelites" (LSE):(https://blogs.lse.ac.uk/religionglobalsociety/2023/10/what-we-can-still-learn-from-dialogues-of-the-carmelites/)"Religious Pluralism at the Opera" (The Interfaith Observer):(http://www.theinterfaithobserver.org/journal-articles/2023/10/2-religious-pluralism-at-the-opera)"The Show Must Go On For Boris Godunov" (Appreciate Opera):(https://www.appreciateopera.org/post/the-show-must-go-on-for-boris-godunov)

Host Jeremy C. Park talks with Will Shutes, Director of Marketing and PR with Nashville Opera, who shares some of the history for the organization and then spotlights some of their upcoming productions, like FLORENCIA EN EL AMAZONAS, which is a work that Nashville Opera gave its New York premiere in 2016 and is bringing back to Middle Tennessee.During the interview, Will talks about the artistry and importance of the Opera, how they collaborate and work with other Operas and nonprofit organizations, and how they are taking performances out in the community with Nashville Opera's Opera on Wheels, a mobile stage where the organization can meet people where they live and share concerts of opera, Broadway, and the Great American Songbook for free. He also spotlights Nashville Opera's Education Tour, which will reach over 25,000 Middle Tennessee children for free in their schools, and Nashville Opera's HBCU Fellowship with Fisk and Tennessee State. He wraps up with ways the community can support the arts and their efforts, get involved, and enjoy their performances.Visit www.nashvilleopera.org to learn more.

Looking forward to this season's Recovered Voices project, Dr. Tiffany Kuo shares the history of Traces, a staged vocal work by Luciano Berio, censored at the height of the Civil Rights Movement. Listen in as Dr. Kuo explores the intricacies of this controversial and important work. Tickets to LA Opera's Recovered Voices Double Feature are available now at LAOpera.org.

This week we decided to bring a touch of culture to the podcast by discussing some musical theater. Unfortunately we took suggestions from the listeners and picked Repo! The Genetic Opera which is neither cultured or an opera. However it is a steaming pile of crazy and we're going to talk all about it! In this episode we discuss mascara, bad ideas, genetics, Pennywise, gothic carnivals, slumming it, quests, Operas, money, indentured servitude, eyelids, surgery, faces,the taste of chicken, musicals and so much more! Hatepod.com | TW: @AlbumHatePod | IG: @hatePod | hatePodMail@gmail.com  Episode Outline: Top of the show "Do you hate it?" Personal History History of Artist  General Thoughts  Song by Song - What do they mean!?! How Did it Do Reviews Post Episode "Do you hate it?"

You may feel weary and tired now, but one day the mud and dirt of your earthly heartaches will be washed away, revealing the gold of refined faith.