Podcasts about Oratorio

Georg Philipp Telemann (1681 - 1767) – “Die Auferstehung" (La Resurrezione), TWV 6:7 oratorio01. Du tiefe, tote graunvalle Stille ums heilige Grab Accompagnato Coro 3:5802. Der Engel Gottes furh herab-Acompagnato Coro 3:5803. Was Schalt aus allen Tiefen-Acompagnato 0:4304. Es ist Verzweifewlung, so brullet die Verzweifewlung 0:4305. Asl sich der Sieger itst aus seinem Grabe-Recitativo 2:4006. Preis ihm! Dem Starken, der des Raubes-Coro 2:2007. Welch eine herrliche Gestalt kömmt-Acompagnato 1:1208. O laßmich hier zu dainen Füßen-Aria 6:0909. Mit Kaltem Schauder bebt ich sons-Accompagnato 2:0910. Auch ich bin Satub, auch ich –Accompagnato 2:4311. Und o des großen Tags –Accompagnato 0:5412. Laß mich nicht Unerbittlicher-Aria Coro 2:1713. Ao bist du auch für mich erstandem-Recitativo 0:2814. Jauchtz Lieder de Herrn –Coro 2:1615.  Sinfonia 1:1116. Lyksalig –Recitativo 0:4117. Gid vel og læge at leve-Aria 1:4018. Gud det give vor allernaadigste Konge-Recitativo 0:2319. Hav Tak o store for denne –Coro 2:2620. Dag gud glæde skal vor Konges Hierte-Recitativo 0:3921. Store Fyrste! Konge-Aria 1:4322. Ja Konge de Selv er lykkelig-Recitativo 0:5423. Vor Tiid Velsignet er-Coro 1:4624. Hører alle I, som nu her – Recitativo 0:3925. her har ey varet storre Fryd-Aria 1:1926. Saa er det – Coro 0:5827. Das hiesige Gymnasium mit Schmuck besteht-Recitativo 0:2928. Seth auf, steh auf, o große Gott! – Aria 1:3229. Salve pacis amans, Regum Rex maxime! – Aria 1:5330. Esto inmortalis, Pater patriae – Recitativo 0:4631. Tuum est Symbolum, uti perpetuum –Aria 2:5232. O! quam laeta est dies illa – Coro 1:5633. O, quam grata illa erit gratia – Duet 2:3734. Stet inconcussa Pietas – Coro 1:38 Dorothee Mields (Soprano)Britta Schwarz (Contralto)Andreas Post (Tenore)Klaus Mertens (Baritono/Basso)Reinhard Decker (Basso) Magdeberger KammerchorTelemann-Kammerorchester MichaelsteinLudger Remy, conductor

John Riesen is an award winning tenor singer. His genres include opera, musical theatre, oratorio, studio recording, and concerts. He's released 2 albums and over 130 commercial recordings. He is also an associate producer on the Grammy nominated project The Impossible Dream. He was on America's Got Talent as part of the group Metaphysic. He's performed at venues including Carnegie Hall, Lincoln Center and Dallas Symphony. He made his Carnegie Hall debut in Carmina Burana. He's also performed in Sweeney Todd, Carmen, Handel's Messiah, The Pirates of Penzance, and HMS Pinafore. His newest project is Aria Nouveau, his duet program with soprano Laura Auer. My featured song is my new single called “The Buzz”. Spotify link. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for Start Here Click here for All Episodes  Click here for Guest List  Click here for Guest Testimonials Click here for Reflections Click here for Special Collections Click here for Robert's Project Grand Slam Click here for Legends Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH JOHN:www.johnriesen.com —---------------------------------------- ROBERT'S NEWEST RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally Different CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- Audio production: Jimmy RavenscroftKymera FilmsConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com    

Stephen P. White: La Consagración de los Estados Unidos al Sagrado Corazón. El redescubrimiento de la presencia eucarística impulsa la recuperación del arte sacro en las iglesias de Estados Unidos. Los obispos alemanes viajan a Francia para estudiar el auge de bautismos de adultos. Lorenza Formicola: Un brutal apuñalamiento en Belfast desata disturbios antiinmigrantes. Andrea Zambrano: Deriva "cató-mana" en la arquiciócesis de Milán; ,vas al Oratorio, pero rezas a Alá.

San Felipe Neri, Presbítero Jn 17,20-26 17,20 No ruego solamente por ellos, sino también por los que, gracias a su palabra, creerán en mí. 17,21 Que todos sean uno: como tú, Padre, estás en mí, y yo en ti, que también ellos estén en nosotros, para que el mundo crea, que tú me enviaste. 17,22 Yo les he dado la gloria, que tú me diste, para que sean uno, como nosotros somos uno 17,23 -yo en ellos y tú en mí-, para que sean perfectamente uno, y el mundo conozca, que tú me has enviado, y que los has amado a ellos, como me amaste a mí. 17,24 Padre, quiero que los que tú me diste, estén conmigo donde yo esté, para que contemplen la gloria que me has dado, porque ya me amabas, antes de la creación del mundo. 17,25 Padre justo, el mundo no te ha conocido, pero yo te conocí, y ellos reconocieron, que tú me enviaste. 17,26 Les di a conocer tu Nombre, y se lo seguiré dando a conocer, para que el amor con que tú me amaste, esté en ellos, y yo también esté en ellos». Evangelio según san Juan 17, 20-26 “Mas no ruego sólo por ellos, sino también por aquellos que, mediante la palabra de ellos, crean en Mí, a fin de que todos sean uno, como Tú, Padre, en Mí y Yo en Ti, a fin de que también ellos sean en nosotros, para que el mundo crea que eres Tú el que me enviaste. Y la gloria que Tú me diste, Yo se la he dado a ellos, para que sean uno como nosotros somos Uno: Yo en ellos y Tú en Mí, a fin de que sean perfectamente uno, y para que el mundo sepa que eres Tú quien me enviaste y los amaste a ellos como me amaste a Mí. Padre, aquellos que Tú me diste quiero que estén conmigo en donde Yo esté, para que vean la gloria mía, que Tú me diste, porque me amabas antes de la creación del mundo. Padre Justo, si el mundo no te ha conocido, te conozco Yo, y éstos han conocido que eres Tú el que me enviaste, y Yo les hice conocer tu nombre, y se lo haré conocer para que el amor con que me has amado sea en ellos y Yo en ellos”. Memoria de San Felipe Neri Memoria de san Felipe Neri, presbítero, que, consagrándose a la labor de salvar a los jóvenes del maligno, fundó el Oratorio en Roma, en el cual se practicaban constantemente las lecturas espirituales, el canto y las obras de caridad, y resplandeció por el amor al prójimo, la sencillez evangélica y su espíritu de alegría, el sumo celo y el servicio ferviente de Dios. Llamado «el apóstol de Roma». San Felipe nació en Florencia, Italia, en 1515. Su padre se llamaba Francisco Neri. Desde pequeño demostraba tal alegría y tan grande bondad, que la gente lo llamaba «Felipín el bueno». En su juventud dejó fama de amabilidad y alegría entre sus compañeros y amigos. Habiendo quedado huérfano de madre, lo envió su padre a casa de un tío muy rico, el cual planeaba dejarlo heredero de todos sus bienes. Pero allá Felipe se dio cuenta de que las riquezas le podían impedir el dedicarse a Dios, y un día tuvo lo que él llamó su primera «conversión». Y consistió en que se alejó de la casa del riquísimo tío y se fue para Roma llevando únicamente la ropa que llevaba puesta. En adelante quería confiar solamente en Dios y no en riquezas o familiares pudientes. Felipe había recibido de Dios el don de la alegría y de amabilidad. Como era tan simpático en su modo de tratar a la gente, fácilmente se hacía amigo de obreros, de empleados, de vendedores y niños de la calle y empezaba a hablarles del alma, de Dios y de la salvación. Una de sus preguntas más frecuentes era esta: «amigo ¿y cuándo vamos a empezar a volvernos mejores?». Si la persona le demostraba buena voluntad, le explicaba los modos más fáciles para llegar a ser más piadosos y para comenzar a portarse como Dios quiere. A aquellas personas que le demostraban mayores deseos de progresar en santidad, las llevaba de vez en cuando a atender enfermos en hospitales de caridad, que en ese tiempo eran pobrísimos y muy abandonados y necesitados de todo. Otra de sus prácticas era llevar a las personas que deseaban empezar una vida nueva, a visitar en devota procesión los siete templos principales de Roma y en cada uno dedicarse un buen rato a orar y meditar. Y así con la caridad para los pobres y con la oración lograba transformar a muchísima gente. San Felipe quería irse de misionero al Asia pero su director espiritual le dijo que debía dedicarse a misionar en Roma. Entonces se reunió con un grupo de sacerdotes y formó una asociación llamada el «Oratorio», porque hacían sonar una campana para llamar a las gentes a que llegaran a orar. El santo les redactó a sus sacerdotes un sencillo reglamento y así nació la comunidad religiosa llamada de Padres Oratorianos o Filipenses. Esta congregación fue aprobada por el Papa en 1575 y ayudada por San Carlos Borromeo. El 25 de mayo de 1595 su médico lo vio tan extraordinariamente contento que le dijo: «Padre, jamás lo había encontrado tan alegre», y él le respondió: «Me alegré cuando me dijeron: vayamos a la casa del Señor». A la media noche le dio un ataque y levantando la mano para bendecir a sus sacerdotes que lo rodeaban, expiró dulcemente. Tenía 80 años. Fue declarado santo en el año 1622 y en Roma lo consideraron como a su mejor catequista y director espiritual. Es patrono de Roma y de Italia. Tomado de Santopedia

durée : 00:30:41 - par : Corinne Schneider - Bach compose cet Oratorio de l'Ascension BWV 11 « Lobet Gott in seinen Reichen, Himmelfahrt Oratorium » / « Louez Dieu en son royaume » à Leipig pour le 19 mai 1735 selon le principe de la parodie, à partir de musiques préexistantes. - réalisation : Noé Mignard, Geneviève Cras Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Guido Saracco"Biennale Tecnologia"http://www.biennaletecnologia.itda mercoledì 15 a domenica 19 aprile 2026Oltre 120 appuntamenti con più di 300 ospiti da tutto il mondoTra i tanti ospiti dell'edizione: Stefano Accorsi, Silvia Bencivelli, Paolo Benanti, Mitchell Baker, Dario Bressanini, Maccio Capatonda, Maurizio Cheli, Andrea Colamedici, Michael Crawley,Marcus du Sautoy, Dario Fabbri, Maurizio Ferraris, Karen Hao, Joe R. Lansdale, Riccardo Luna, Linus,  Daniel Oberhaus, Marco Paolini, Telmo Pievani, Chen Qiufan, Daniel Susskind, Hito Steyerl, Mariarosaria Taddeo, Giorgio Vallortigara, Jacopo Veneziani, Alessandro Vespignani, Gustavo Zagrebelsky Torna a Torino per la sua quinta edizione Biennale Tecnologia, manifestazione culturale organizzata dal Politecnico di Torino e dedicata a esplorare il rapporto tra tecnologia e società, da mercoledì 15 a domenica 19 aprile. Il titolo scelto per questa edizione è Soluzioni, tema che ruota attorno a un interrogativo fondamentale: in che modo la tecnologia può essere messa al servizio dell'interesse collettivo? Le grandi trasformazioni del presente – ambientali, energetiche, sociali, culturali e digitali – vengono affrontate non solo per metterne in luce le criticità, ma per individuare risposte reali, applicabili e condivise. Un ricco e articolato programma, quindi, con un obiettivo: colmare il divario tra le scienze tecnologiche e le scienze umane, all'insegna del claim manifestazione: “Tech Cultures”.  L'obiettivo della manifestazione è andare oltre l'alternativa tra entusiasmo e pregiudizi, creando uno spazio di confronto aperto tra scienze, saperi umanistici, arti e società civile. In questo dialogo, insieme a oltre 300 ospiti nazionali e internazionali e in oltre 120 appuntamenti, si analizzerà l'impatto delle innovazioni in ambiti come istruzione, lavoro, economia, salute, politica, relazioni e produzione culturale. Il programma di Biennale Tecnologia è curato da Guido Saracco e dai co-curatori Simone Arcagni, il collettivo Frame - Divagazioni scientifiche (Alberto Agliotti, Emiliano Audisio, Francesca Calvo, Enrica Favaro, Beatrice Mautino), Federico Bomba (Sineglossa). Sono quattro i filoni tematici seguiti: Saracco ha coordinato l'intero programma e nello specifico si è focalizzato sul filone dedicato all'impatto dell'IA e alle trasformazioni che implica nella società e nel rapporto con l'essere umano; Arcagni sul rapporto tra cultura e tecnologia; il collettivo Frame - Divagazioni scientifiche, si è occupato di incontri che in maniera trasversale toccano più argomenti, dallo spazio alla salute; Bomba (Sineglossa), invece, hanno curato due mostre inserite nel programma, Framing Problems e Dati Sensibili.La V edizione di Biennale Tecnologia si distingue per la sua presenza diffusa nello spazio urbano: quest'anno infatti la manifestazione non si limita a coinvolgere gli ambienti accademici del Politecnico di Torino, che rimane la sede centrale, ma si estenderà in maniera capillare nella città. Le sedi che accoglieranno il programma di Biennale Tecnologia saranno: Circolo dei lettori e delle lettrici, Accademia delle Scienze di Torino, Oratorio di San Filippo Neri, Museo Nazionale del Risorgimento Italiano, Teatro Regio, Piazza San Carlo, Teatro Carignano, Unione Industriali Torino, OGR Torino, Teatro Vittoria, CAP10100, Conservatorio Statale di Musica “Giuseppe Verdi” di Torino, Fondazione Sandretto Re Rebaudengo, Museo Egizio, Palazzo Birago - Camera di commercio di Torino, Museo Nazionale del Cinema, Museo Nazionale dell'Automobile, Gallerie d'Italia – Torino, Area X, XKè? Il laboratorio della curiosità.Anche questa edizione di Biennale Tecnologia propone al suo ampio pubblico non solo incontri e lezioni, ma anche mostre, laboratori, attività per le scuole e iniziative diffuse, trasformando Torino in un laboratorio temporaneo di sperimentazione e confronto.Sarà Alessandro Vespignani, fisico italiano, a tenere la lectio magistralis di inaugurazione della manifestazione. Il titolo dell'incontro è La co-evoluzione di essere umani e intelligenza artificiale: in un circolo continuo in cui dati e decisioni si influenzano reciprocamente, generando effetti sociali complessi, comprendere queste dinamiche è fondamentale per governare l'IA in modo responsabile, sul piano tecnico, etico e politico, e per rafforzare la consapevolezza critica dei cittadini. Inoltre, Biennale Tecnologia inaugura il programma anche con una rappresentazione teatrale, che quest'anno sarà firmata da Marco Paolini: lo spettacolo Dov'è il Po?. In scena, Mirko Artuso, Marta Dalla Via, Ted Keijser raccontano il Po come realtà fisica e politica, mostrando come i fiumi superino i confini nazionali e “ragionino” per bacini idrografici più che per Stati.Saranno diversi i nuclei tematici che verranno affrontati: interfacce cervello-macchina; geopolitica e democrazia della tecnologia; la tecnologia e le scienze umane a confronto; l'IA e il digitale tra lavoro, economia e formazione; uno sguardo verso lo spazio; medicina, matematica e innovazione; sport e benessere e nuove tecnologie; sostenibilità, ambiente e risorse; l'IA tra poesia, robotica ed etica. Quest'anno è stato dato grande rilievo alla relazione tra tecnologia e mondi espressivi tradizionalmente distanti dalle discipline tecniche, attraverso i format delle esposizioni artistiche e le mostre. Parte integrante dell'edizione di Biennale Tecnologia sono le due mostre in programma curate da Federico Bomba, presidente di Sineglossa – Framing Problems e Dati sensibili – e l'installazione BLACK-OUT. Energia, interazioni e mitocondri a cura di Vincenzo Guarnieri. Framing Problems, di Biennale Tecnologia e Fondazione Sandretto Re Rebaudengo, co-curata da Bernardo Follini, è una mostra diffusa in sei sedi cittadine che coinvolge otto artisti internazionali e propone un focus sull'uso e sull'impatto delle nuove tecnologie nella società. Il progetto propone l'arte come pratica per indagare i modi in cui questioni cruciali come la guerra, il genocidio, la disinformazione entrano nel discorso pubblico in un presente in cui le crisi ambientali, le trasformazioni sociali e le accelerazioni tecnologiche si intrecciano. Le opere, concepite come dispositivi di attenzione nello spazio pubblico, invitano a rallentare e osservare criticamente le contraddizioni del presente digitale. Dati sensibili, a cura di Federico Bomba e ospitata al Museo Nazionale del Risorgimento, nasce da una collaborazione con l'Associazione Archivio Storico Olivetti per interrogare il presente attraverso tre temi fondativi: città, tecnologia e lavoro. Il percorso espositivo alterna materiali d'archivio e macchine olivettiane, rendendo tangibile la materialità del sapere e la sua stratificazione nel tempo, restituendo ai dati la loro dimensione originaria di esperienza e di lavoro umano. L'esperienza analogica si conclude nella Sala dei Plebisciti con un incontro di carattere fortemente sperimentale.Come nelle passate edizioni, Biennale Tecnologia incontra il pubblico anche con diversi spettacoli in programma, come Automavie. La vita a rendere, da un soggetto di Luca De Biase, con l'adattamento e regia di Sergio Ferrentino e musiche originali di Gianluigi Carlone. Lo spettacolo è un esperimento radicale che attraversa il pianeta: Automavie promette di liberare l'umanità dal lavoro grazie a robotica avanzata e intelligenza artificiale, garantendo beni e servizi a cinquemila tester distribuiti nei cinque continenti. Prometeo Talks, con la regia di Gabriele Vacis, intreccia il mito eschileo con le visioni contemporanee di Federico Ferrero, Diego Nargiso, Guido Saracco, Angelica Savoini e Virginia Vergero, accompagnati da Vacis e dagli attori di POEM – Potenziali Evocati Multimediali. Lo spettacolo fonde parola accademica e coro scenico, tra intelligenza artificiale, ambiente, lavoro, nel segno del fuoco di Prometeo. Machiavelli Music, invece, presenta due spettacoli: il primo, Tecnomusik. Neurodinamiche dell'esperienza musicale: tra entrainment rimodellamento plastico sarà con Alice Mado Proverbio e con la performance musicale degli allievi del Conservatorio Statale di Musica “Giuseppe Verdi” di Torino. L'incontro affronterà inoltre il tema della neuroplasticità, mostrando come la pratica e l'ascolto della musica possano indurre cambiamenti funzionali e strutturali nel cervello umano. Il secondo spettacolo, invece, Tecnomusik. Il libro del mondo è scritto in musica sarà con Telmo Pievani, le musiche di Giorgio Li Calzi e con la performance musicale di un gruppo Jazz di allievi del Conservatorio di Torino. Lo spettacolo racconta il legame sorprendente tra matematica e natura, mostrando come idee nate per gioco nella mente degli scienziati si rivelino strumenti fondamentali per comprendere il mondo. E ancora: Retrofuturo, per la regia di Antonella Questa, è una commedia brillante che riflette su ciò che cambia, su ciò che resiste e su ciò che vale ancora la pena rivendicare. In scena, Francesca Fiore e Sarah Malnerich rappresentano due donne, due epoche, e, in un appuntamento dal parrucchiere, emergono problemi diversi e la stessa identica domanda: e se la realtà a cui siamo abituate non fosse la migliore possibile? Inoltre, verrà presentato lo spettacolo La sussurratrice – Dialogo con una macchina con Olivia Manescalchi e Guido Saracco, per la regia di François-Xavier Frantz, con i danzatori della Roma City Ballet Company di Fabrizio di Fiore Entertainment e le coreografie di Manuel Paruccini, che racconta la progressione del rapporto tra uno Scienziato, programmatore e creatore di un'Intelligenza Artificiale e la sua Creatura. Socrate 16.22, invece, è uno spettacolo scritto da Filippo Gentili, con la consulenza scientifica del Politecnico Torino, per la regia di Ferdinando Ceriani e le musiche di RobertoDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

fWotD Episode 3257: Easter Oratorio Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Sunday, 5 April 2026, is Easter Oratorio.The Easter Oratorio (Latin: Oratorium Festo Paschali; German: Oster-Oratorium), BWV 249, is an oratorio by Johann Sebastian Bach. He wrote an autograph score in Leipzig in 1738 under this title, matching his Christmas Oratorio and Ascension Oratorio. Bach had already composed the work in 1725, when he used most of its music for two compositions, the congratulatory Shepherd Cantata, BWV 249a (BWV 249.1), and a church cantata for Easter Sunday, Kommt, gehet und eilet ('Come, go and hurry'), BWV 249.3, that later became the oratorio. The two 1725 works, premiered a few weeks apart, are both musical dramas involving characters: in the secular cantata two shepherds and two shepherdesses, and in the Easter cantata four Biblical figures from the Easter narratives in the Gospel of Luke and other Evangelists. In the oratorio, Bach assigned the music to voice parts instead.Bach performed the Shepherd Cantata on 23 February 1725 for his patron Christian, Duke of Saxe-Weissenfels. Its text was written by Picander, in his first documented collaboration with Bach. Picander may also have adapted his text for the Easter cantata that Bach first performed on Easter Sunday, 1 April 1725, in both a morning service at the Nikolaikirche and a vespers service at the Thomaskirche.In 1738, Bach revised the Easter cantata as the Easter Oratorio, BWV 249.4. He wrote an autograph manuscript of the score with the title Oratorium Festo Paschali (Easter Oratorio), making only minor changes to text and music. This version is also known as Kommt, eilet und laufet ('Come, hasten and run'). Uniquely among Bach's oratorios, it features no original Biblical text, no Evangelist narrator, and no chorale.The work is structured in eleven movements. Two contrasting instrumental movements are followed by a duet for tenor and bass, assigned in the cantata to two disciples running to the tomb of Jesus, where they meet two women who followed Jesus (soprano and alto). The middle movements are alternating recitatives in conversation, and arias of contemplation. The final movement is a chorus of thanksgiving. The music is scored for a festive Baroque instrumental ensemble of three trumpets, timpani, a variety of wind instruments, strings and continuo. In the 1740s, Bach again revised the work (BWV 249.5), which he seems to have regarded highly, arranging the third movement partly for choir. He performed the oratorio once more in 1749, the year before his death.Early Bach scholars, beginning with his biographer Philipp Spitta, were critical of the Easter Oratorio because of its libretto and its character as a musical drama. When the relation to the Shepherd Cantata was discovered in 1940, criticism of the parody music was added. In more recent studies, Christoph Wolff evaluates it as a skillful transformation "from theatrical into devotional music", and Markus Rathey sees the oratorio as a sequel to the St John Passion, "continuing the dramatic narrative but also its theological and musical interpretation".This recording reflects the Wikipedia text as of 00:12 UTC on Sunday, 5 April 2026.For the full current version of the article, see Easter Oratorio on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Kimberly.

HAYDN: La Creación (Oratorio en tres partes) (selec., Parte II) (9.11). E. Gruberova (sop.), J. Protschka (ten.), R. Holl (baj.), Coro Arnold Schönberg, Orq. Sinf. de Viena. Dir.: N. Harnoncourt. BACH: Courante (Suite para violoncello solo nº 2 en Re menor, BWV 1008) (2.23). N. Harnoncourt (vc.).Escuchar audio

Invités : Jérôme Berney et Alain Rochat Bach a écrit un grand oratorio, en six cantates, pour les fêtes de Noël. Mais il n'a jamais réalisé l'équivalent pour Pâques. Le poète Alain Rochat et le musicien Jérôme Berney comblent cette lacune : les six concerts se tiennent ces jours à l'église Saint-François de Lausanne. Mais comment s'approprier cette tradition et s'approcher de ces mystères ? Les deux artistes répondent à Matthias Wirz. Oratorio de Pâques, six créations en concerts à l'église St-François à Lausanne, du 29 mars au 12 avril 2026. Photo : Le poète Alain Rochat et le musicien Jérôme Berney (copyright : Pierre-Antoine Grisoni / CCL / Strates)

Recuperamos la tradición de producir, grabar y transmitir conciertos en vivo #DesdeElAuditorio de Radio UV.Disfruta en esta emisión a las y los estudiantes de la Mtra. Guadalupe Colorado, de la Faculta de Música de nuestra casa de estudios, quienes proponen a nuestras audiencias un programa titulado “Recital de canto: cuatro siglos de música vocal: del oratorio luterano a la canción impresionista del siglo XX”.

Come ogni anno così anche oggi, giorno di San Valentino, l'appuntamento è fissato alle 14.30 in contrà Cavallaro a Laghi, punto di raccolta per chi salirà insieme verso l'antico Oratorio dedicato al santo degli innamorati. Un rito che si rinnova e che, nonostante il tempo che passa, continua a richiamare giovani coppie, famiglie e tanti affezionati della valle.

The 17th annual Arizona Bach Festival takes place February 15th through March 8th at various locations throughout the Valley. KBACH's Greg Kostraba recently talked to the festival's Artistic Director Scott Youngs about the concerts, which include chamber and orchestral music by J.S. Bach, as well as the Arizona premiere of an oratorio commissioned by the Jewish community in Amsterdam in the 1770s. Tickets for the performance are available at the Arizona Bach Festival website.

The 17th annual Arizona Bach Festival takes place February 15th through March 8th at various locations throughout the Valley. KBACH's Greg Kostraba recently talked to the festival's Artistic Director Scott Youngs about the concerts, which include chamber and orchestral music by J.S. Bach, as well as the Arizona premiere of an oratorio commissioned by the Jewish community in Amsterdam in the 1770s. Tickets for the performance are available at the Arizona Bach Festival website.

Oratorio condannato a risarcire il condominio vicino per gli schiamazzi dei bambini.See omnystudio.com/listener for privacy information.

Andrés Amorós nos deleita esta Nochebuena con piezas de Bach y Haendel como el Oratorio de Navidad: Jauchzet o El Mesías.

George Frideric Handel (1685-1759) was a German-British Baroque composer. His most famous work, the 1742 oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music. The text from Messiah was compiled from the King James Bible and the Book of Common Prayer. Handel was born, raised, and trained in German Prussia but settled in England where he spent the bulk of his career and was buried in London’s Westminster Abbey. ACAPELLA 5. Handel’s Messiah Oratorio (part 2) American Conservative University podcast at https://amzn.to/3ZMEq7g George Frideric Handel books at https://amzn.to/49zkBDW NYC Metropolitan Opera books at https://amzn.to/41nHkAE Mormon Tabernacle Choir books at https://amzn.to/4gbiMzw ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORY OF NORTH AMERICA podcast: www.parthenonpodcast.com/history-of-north-america Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: American Conservative University podcast, The Story of the Writing of “The Messiah” by George Frideric Handel with the Metropolitan Opera Soloists and The Tabernacle Choir, narrated by Martin Jarvis. Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

George Frideric Handel (1685-1759) was a German-British Baroque composer. His most famous work, the 1742 oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music. The text from Messiah was compiled from the King James Bible and the Book of Common Prayer. Handel was born, raised, and trained in German Prussia but settled in England where he spent the bulk of his career and was buried in London’s Westminster Abbey. ACAPELLA 4. Handel’s Messiah Oratorio (part 1) American Conservative University podcast at https://amzn.to/3ZMEq7g George Frideric Handel books at https://amzn.to/49zkBDW NYC Metropolitan Opera books at https://amzn.to/41nHkAE Mormon Tabernacle Choir books at https://amzn.to/4gbiMzw ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORY OF NORTH AMERICA podcast: www.parthenonpodcast.com/history-of-north-america Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: American Conservative University podcast, The Story of the Writing of “The Messiah” by George Frideric Handel with the Metropolitan Opera Soloists and The Tabernacle Choir, narrated by Martin Jarvis. Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

Send us a textDescriptionThe Oratorio: Opera Without the Costumes in 60 Seconds. Take a minute to get the scoop!Fun FactWhen Messiah premiered in Dublin, audiences were asked to leave their swords at home and ladies were encouraged not to wear hoop skirts—so more people could fit in the hall. Even then, Handel was drawing a crowd. The famous tradition of standing during the “Hallelujah” Chorus came later and wasn't Handel's idea at all.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.Support the show

Alessia Ardesi"Oratorio Italia"Viaggio nel paese del benePrefazione di Pietro ParolinPostfazione di Aldo CazzulloRubbettino Editorewww.store.rubbettinoeditore.itUn libro sulla storia e il metodo dell'oratorio, da San Filippo Neri a don Bosco ai Salesiani. L'oratorio di oggi e le storie di terzo settore e di chi fa bene (Le Scuola della Pace di Sant'Egidio e le testimonianze del volontariato). Vite narrate in prima persona dalle persone che da ragazze e ragazzi hanno frequentato l'oratorio e si sono distinte poi nella vita lavorativa, Alcide De Gasperi, il presidente di Copasir Lorenzo Guerini, l'ex ministro della Giustizia Paola Severino, il Capo  di Stato Maggiore della Difesa generale Luciano Portolano, Aldo Cazzullo, i cardinali Camillo Ruini, Gianfranco Ravasi, Gualtiero Bassetti e Matteo Zuppi, Gianluca Vialli e Cesare Prandelli, Dolce & Gabbana, Angelo Gaia. I capitoli finali lanciano uno sguardo sull'oratorio del futuro, luogo costruttivo di integrazione tra diverse culture.Alessia Ardesi è nata a Manerbio (Brescia) ed è cresciuta all'oratorio di Chiari. Dopo la laurea in Comunicazione allo Iulm ha iniziato la carriera tv al Tg2 e poi a Sky. Nel 2010 è entrata nello staff di comunicazione di Palazzo Chigi e poi è diventata assistente personale del presidente Berlusconi. È stata consigliere per le relazioni istituzionali del Comitato Italiano del World Food Programme, ha fondato l'associazione i Bambini di Nassiriya, ha collaborato con la Comunità di Sant'Egidio e la chiesta di Sant'Ignazio di Loyola. È stata commentatrice televisiva in programmi Rai, Mediaset e La7, in Italia e dagli Stati Uniti. Vive a Washington, dove ha conseguito un master in International Public Policy a SAIS -Johns Hopkins University – ed è vicepresidente for Governmental Affairs di GV-Group, la più grande azienda tipografica d'Europa con sedi e investimenti negli Stati Uniti.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Camille Saint-Saëns — sim, o mesmo gênio que mais tarde escreveria O Carnaval dos Animais — estava no seu segundo Natal como organista da Église de la Madeleine. Nada de holofotes, nada de grandes encomendas imperiais. Só ele, o órgão, a liturgia e uma ideia elegante: criar um oratório de Natal curto, direto, espiritual e… profundamente musical.O resultado foi apresentado naquele mesmo ano: um oratório em latim, com textos retirados da Bíblia na versão da Vulgata. Saint-Saëns escolheu focar apenas em um trecho específico do Evangelho de Lucas — os versículos 8 a 14 do capítulo 2. É ali que os anjos aparecem para os pastores. Ou seja: nada de reis magos, nada de longas genealogias. Só o momento exato em que o céu invade o campo.E aqui já aparece a primeira jogada de mestre. Em vez de criar um espetáculo grandioso, Saint-Saëns constrói o oratório como uma lente que vai se abrindo aos poucos. Começa com solos. Depois dueto. Trio. Quarteto. Quinteto com coro. É quase cinematográfico, só que em versão século XIX. Em cerca de 40 minutos, ele diz tudo o que precisava dizer — algo raro numa época em que compositores adoravam esticar ideias como quem não quer sair da ceia de Natal.Musicalmente, o DNA da obra é claríssimo: isso é música de organista. A orquestra é enxuta — cordas, órgão solo e a harpa, instrumento que Saint-Saëns amava com devoção quase religiosa. O prelúdio já entrega o clima: uma melodia pastoral, suave, como se os pastores estivessem afinando instrumentos sob um céu estrelado.Apresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg e Rafael Hassan.#OratorioDeNatal #CamilleSaintSaens #OratorioDeNoel #SaintSaens #musicaClassica #musicaSacra #historiaDaMusica #oratorioNatalino #podcastMusical #natalNaMusica

The most famous and instantly recognisable part of the whole Messiah - the Hallelujah Chorus. In many ways this is the defining moment in the Oratorio. We join the combined voices of every creature in heaven and earth worshipping God and the Messiah, the Lamb of God. We glimpse the great moment which will be the culmination of the great story of God and people, the Wedding Supper of the Lamb. Revelation 19:6, Revelation 11:15, Revelation 19:16 All musical samples are taken from: Messiah by Handel; Jennifer Vyvyan; Norma Procter; George Maran; Owen Brannigan; London Philharmonic Choir; London Philharmonic Orchestra; Sir Adrian Boult London Records (XLLA-19) Contributor Internet Archive

Heather Christian is a singer, playwright, composer and recent winner of a MacArthur "genius grant."  Her compositions use spiritual music forms to explore themes as varied as ghosts, grief, the Odyssey and the Big Bang. She describes them as " choral-based complex music theater works." They are often presented in the round, in part to obliterate the hierarchy between audience and performers. "I'm interested in existence. I'm interested in unanswerable questions," she says in our interview. "Our lives have become so much about the in and out business of our civilization. The email, the phone alerts, the economy. When you zoom way way out, all of those things seem so arbitrary and small. I wanted [to] imagine what it would be like if we had the time, space and bandwidth to ask the big questions - like why and how we are here."  Heather's  two best known works are Animal Wisdom, which was staged in 2017, and Oratorio for Living things, which has been staged three times, including a string of extremely sold-out performances in 2022.  Originally from Natchez, Mississippi, Heather has lived in Beacon for 13 years, largely under the radar. "I've tried to keep a separation of church and state. Beacon is church," she says. "Beacon reminded me a lot of my hometown. There's something about river people. There's a reverence to the landscape you're inhabiting. We use it, it grounds us." 

Welcome to the Pod-Pod Fruit: One Piece Through New Eyes!Join our host, Michael, as he reads through the saga of One Piece with our One Piece Rookies, Dylan and Vee. In this episode the crew discusses the second half of volume 29, "Oratorio” Thanks for listening!Check out our Discord! ⁠⁠⁠⁠⁠⁠https://discord.gg/P2fXtzT52k⁠⁠⁠⁠⁠⁠ Chapter Breakdown- Ch. 271 (00:00:23)- Ch. 272 (00:22:29)- Ch. 273 (00:40:44)- Ch. 274 (01:09:09)- Ch. 275 (01:50:18)- Final Thoughts (02:24:56) Music: Bon Voyage by Ren Avel(https://www.instagram.com/ren_avel/)

En este segundo capítulo de la serie "Lev Tahor: los niños y niñas en disputa", narramos un momento trascendental en esta historia. El 20 de diciembre de 2024 un operativo con alrededor de 600 agentes de policía, fiscales del Ministerio Público, personal de la Procuraduría General de la Nación y otras instituciones irrumpió en el complejo de Lev Tahor en Oratorio, Santa Rosa.

This week for What Where When-sday, we feature a local music festival centered on the holiday season's iconic Handel's MESSIAH. The Music City Oratorio Festival is a 2-day event: Saturday has sessions to learn about the music from scholars and artists, followed by a concert. Sunday is a sing-a-long that's open to the public.The festival is hosted by Early Music City and Christ Church Cathedral. WPLN Afternoon Host LaTonya Turner talked with organizer and classical artist, Patrick Dailey.

Welcome to the Pod-Pod Fruit: One Piece Through New Eyes! Join our host, Michael, as he reads through the saga of One Piece with our One Piece Rookies, Dylan and Vee. In this episode the crew discusses the first half of volume 29, "Oratorio” .Thanks for listening!Check out our Discord! ⁠⁠⁠⁠⁠⁠https://discord.gg/P2fXtzT52k⁠⁠⁠⁠⁠⁠Contents: Chapter Breakdown-Ch. 265 (00:02:26)- Ch. 266 (00:20:38)- Ch. 267 (00:49:45)- Ch. 268 (01:04:26)- Ch. 269 (01:25:40)- Ch. 270 (01:41:06)Music: Bon Voyage by Ren Avel (https://www.instagram.com/ren_avel/)

Jenny Steingart and Heather Christian of New York's Ars Nova Theater share a poignant tale of creative inspiration and motivation, and how in the case of Oratorio for Living Things, it came from the presence of a departed loved one. Plus Heather shares more about her gifted family. This is one supernatural tale where art, love, and the afterlife collide. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Swami Atmavidyananda gave this talk and presentation of the second part of the Chandi: An Oratorio, on Sunday, September 14, 2025.To see the full presentation, with lyrics, see https://www.youtube.com/live/S3dUxGP022E?si=VfknAw8qJjdxs_Z7. Hosted on Acast. See acast.com/privacy for more information.

Messiah has since become one of the most frequently performed choral works in Western music with the “Hallelujah” chorus becoming a central piece in the choral ...

Swami Atmavidyananda gave this talk and presentation of the first part of The Chandi: An Oratorio, on Sunday, August 31, 2025.To see the full presentation, with lyrics, see https://www.youtube.com/live/cky5vO_uYd8?si=O3ZQP1rFkAAmbsGa. Hosted on Acast. See acast.com/privacy for more information.

Gerianne Pérez joins us for a candid and hilarious conversation about her winding path from choir kid to Broadway scene-stealer. She shares how an early love of a cappella shaped her artistry, why walking away from a “safe” office job was the best decision she ever made, and what it's like to audition for Six in front of a room full of other queens going for the same role. We get into her current adventure in Operation Mincemeat, where she covers multiple roles and leans into the joy—and chaos—of live theater, from botched hat tosses to full-on breaking on stage. Gerianne also opens up about navigating performance anxiety, the nuanced realities of being a Latina performer in a typecasting-heavy industry, and the thrill of telling a story that honors forgotten heroes of history. Whether she's singing backup for a fellow principal, leading the charge as Monty, or making the audience laugh through an unexpected mishap, Gerianne embodies resilience, humor, and heart at every turn. Gerianne Pérez is an NYU Tisch-trained actor and singer whose career spans Broadway, national tours, and acclaimed off-Broadway productions. She made her Broadway debut in In Transit before joining Waitress and the national tour of Six: The Musical. She has also appeared in In the Heights, Grease, and Oratorio for Living Things, and is currently bringing her comedic chops to Operation Mincemeat on Broadway. This episode is powered by WelcomeToTimesSquare.com, the billboard where you can be a star for a day. Connect with Gerianne: Instagram: @gerianne.perez TikTok: @gerianne.perez Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter & Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Summer 1991 and Macca's Oratorio

Nuova puntata dell'appuntamento domenicale di «Giorno per giorno»: le repliche dell'editorialista alle domande e osservazioni che avete mandato via WhatsApp al 345 6125226.I link di corriere.it:Ritorno alla Maddalena, 16 anni dopo il G8 annullato, tra ruggine e letame: «Quei copriletto da 4.000 euro nella suite di Obama»Trump annuncia: «Dal primo agosto dazi del 35% al Canada». Oggi la lettera anche all' Unione europeaDazi Usa, ecco perché l'Italia è il secondo Paese più penalizzato dell'Ue

Renato Pennisi"La Sicilia salverà il mondo"Interlinea Edizioniwww.interlinea.comLa Sicilia salverà il mondoperché ci vive gente vittoriosa sul malegiunto dalla creazionee sul male germinato dentro te stesso.«Io non so se la Sicilia salverà il mondo, almeno quanto non credo che sarà salvata dai ragazzini. Ma so che se non lo potrà salvare – questo mondo – lo potrà almeno salvaguardare la poesia, accompagnandolo nei meandri della sua e nostra condizione in perdita. Questo di Pennisi è un libro di splendida maturità, che si muove tra un elogio, una speranza, e un “de profundis” magnifico di echi e litanie, inarcandosi con lucida passione sulle rovine della sua città, di una Catania così incardinata nei suoi passi, nei suoi fantasmi, nella sua luce e nella sua miserabilità. In questo nitore (“voglio restare chiaro”) ci sono tutti i rituali di una vita perturbata, cui la poesia continua a opporre la sua resistenza del dire e del dirsi, con la luce dei “fratelli libri” che nutrono e fanno cantare» (Giovanni Tesio).Renato Pennisi è nato a Catania nel 1957. Avvocato. Dopo l'esordio con Letture senza sparito (in 7 Poeti del Premio Montale, Scheiwiller 1987), ha pubblicato i libri di poesia La correzione del saggio (Tringale 1990), Mai più e ancora (Edizioni l'Obliquo 2003), La notte (Interlinea 2011), L'impazienza (Interlinea 2019) e Luce (Carabba 2023).È anche autore dei libri di poesia in dialetto siciliano Allancallaria (Prova d'Autore 2001), La cumeta (Edizioni l'Obliquo 2009) e Pruvulazzu (Interlinea 2016); e dei romanzi Libro dell'amore profondo (Prova d'Autore 1999), La prigione di ghiaccio (Prova d'Autore 2002), Romanzo (Prova d'Autore 2006) e Nel mio futuro non ti porto (Interlinea 2022).Per il teatro ha scritto Oratorio di resurrezione (Edizioni Novecento 2015), e Alcibiade (Edizioni Novecento 2019).Ha curato l'antologia di poesie di Salvo Basso Scriviriscriviri (1979-2002) (Interlinea 2014), e con Gualtiero De Santi il saggio-antologia Dalle carte dell'isola. Il libro della poesia neo-volgare siciliana oggi (Carabba 2021). IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 00:16:15 - Le Disque classique du jour du jeudi 13 février 2025 - Une nouvelle version de ce vaste oratorio de Franz Liszt qui raconte l'histoire de Jésus : un véritable défi par ses dimensions et sa virtuosité que relèvent ensemble le Collegium Vocale de Leipzig, le Chœur Philharmonique de Dresde, le Merseburger Hofmusik et Michael Schönheit

durée : 00:16:15 - Le Disque classique du jour du jeudi 13 février 2025 - Une nouvelle version de ce vaste oratorio de Franz Liszt qui raconte l'histoire de Jésus : un véritable défi par ses dimensions et sa virtuosité que relèvent ensemble le Collegium Vocale de Leipzig, le Chœur Philharmonique de Dresde, le Merseburger Hofmusik et Michael Schönheit

To mark his inauguration as Chief Conductor of the Bavarian Radio Chorus and Symphony Orchestra, Sir Simon Rattle chose Joseph Haydn's oratorio The Creation. After two concerts on September 21 and 22, 2023 in Munich's Herkulessaal, the work was performed on September 24 in the historic basilica of Ottobeuren in Upper Swabia, together with the three outstanding soloists Lucy Crowe (soprano), Benjamin Bruns (tenor) and Christian Gerhaher (baritone). This album comes from these inaugural concerts.  

Cosa Pública 2.0 - Vi. 07 Feb 2025 1. Trump 2. Trump 3. Andrés Aguilar, Oratorio. 4. Desaparecidos Iniciamos en @CosaPublica2, con @rmartinmar y @jestradax. Escúchanos en el 104.3 FM y https://t.co/hvSFWSLuuu https://t.co/nAQ4wLRAFU— Radio Universidad de Guadalajara (@RadioUdeG) February 7, 2025

durée : 00:27:48 - Cantate : 248/6 « Herr, wenn die stolzen Feinde schnauben » (Oratorio de Noël) - La Cantate BWV 248/6 « Herr, wenn die stolzen Feinde schnauben » / « Seigneur, lorsque enragent nos arrogants ennemis » est la 6e partie de l'Oratorio de Noël ; elle correspond à l'Epiphanie. Bach l'a composée à partir de musiques préexistantes sur un texte de Picander pour le 6 janvier 1735.

Andrés Amorós nos deleita esta Nochebuena con piezas de Bach y Haendel como el Oratorio de Navidad: Jauchzet o El Mesías.

Las autoridades guatemaltecas recuperaron a casi 160 niños, a los que miembros de la secta judía ultraortodoxa Lev Tahor sustrajeron de un albergue donde se encontraban en custodia. Este grupo está siendo investigado por diferentes denuncias de violación de derechos humanos.  La policía de Guatemala recuperó el lunes a casi 160 niños, a los que miembros de una secta judía ultraortodoxa, Lev Tahor, sustrajeron de un albergue donde se encontraban en custodia. Tras un allanamiento de la propiedad, este grupo está siendo investigado por diferentes denuncias presentadas en los últimos meses y algunas otras que datan de varios años.  La finca se encuentra a 60 kilómetros de la ciudad de Guatemala. Entre los casos más graves, se investigan posibles embarazos forzados, casos de violación y de maltrato. Julio Saavedra, Procurador General de la Nación de Guatemala dio más detalles a los micrófonos de RFI.  “No se cuenta con antecedentes del estado en el que se encuentra la población que reside en la comunidad derivado que no se le permite el ingreso a ningún tipo de institucionalidad. Se tiene conocimiento que los niños niñas y adolescentes no reciben una educación integral e igualitaria, al no permitir que las niñas y adolescentes mujeres tengan acceso a la misma. No se cuenta con registro de los niños, niñas, y adolescentes que residen dentro de la comunidad. El cuarto derecho es uno de los más graves y se relaciona con embarazos en niñas y adolescentes; se tiene conocimiento que las mismas son obligadas a casarse a temprana edad y obligadas a concebir. Dentro de la información obtenida de las distintas denuncias recibidas se cuentan con antecedentes de abuso sexual físico y psicológico, así como falta de alimentación”. Lev Tahor funciona desde la década del 80 y se establecieron en Guatemala en 2013.  “Los antecedentes se remontan a por lo menos el año 2014, cuando esta comunidad judía ultraortodoxa toma la decisión de asentarse en el territorio guatemalteco. Por último, se asentaron en el municipio de Oratorio, departamento de Santa Rosa; esto es en el al sur del territorio guatemalteco en el kilómetro 94 desde la ciudad de Guatemala. Ese asiento lo hicieron en una finca que adquirieron y allí se desarrollaron todas sus actividades”, agregó. Desde la secta calificaron las investigaciones como persecución religiosa y denuncias falsas. Las autoridades estiman que este grupo estaría conformado por 50 familias principalmente de Guatemala, Estados Unidos, y Canadá.   

durée : 00:25:18 - Cantate BWV 248/3 : " Herrscher des Himmels, erhöre das Lallen " (Oratorio de Noël) - La Cantate BWV 248/3 « Herrscher des Himmels, erhöre das Lallen » / « Souverain des cieux, écoute mes murmures » est la 3e partie de l'Oratorio de Noël ; elle correspond au 3e jour de Noël. Bach l'a composée à partir de musiques préexistantes sur un texte de Picander pour le 27 décembre 1734.

George Frideric Handel (1685-1759) was a German-British Baroque composer. His most famous work, the 1742 oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music. The text from Messiah was compiled from the King James Bible and the Book of Common Prayer. Handel was born, raised, and trained in German Prussia but settled in England where he spent the bulk of his career and was buried in London’s Westminster Abbey. American Conservative University podcast at https://amzn.to/3ZMEq7g George Frideric Handel books at https://amzn.to/49zkBDW NYC Metropolitan Opera books at https://amzn.to/41nHkAE Mormon Tabernacle Choir books at https://amzn.to/4gbiMzw ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORY OF NORTH AMERICA podcast: www.parthenonpodcast.com/history-of-north-america Video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Books: https://amzn.to/3k8qrGM Audio Credit: American Conservative University podcast, The Story of the Writing of “The Messiah” by George Frideric Handel with the Metropolitan Opera Soloists and The Tabernacle Choir, narrated by Martin Jarvis. Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

George Frideric Handel (1685-1759) was a German-British Baroque composer. His most famous work, the 1742 oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music. The text from Messiah was compiled from the King James Bible and the Book of Common Prayer. Handel was born, raised, and trained in German Prussia but settled in England where he spent the bulk of his career and was buried in London’s Westminster Abbey. American Conservative University podcast at https://amzn.to/3ZMEq7g George Frideric Handel books at https://amzn.to/49zkBDW NYC Metropolitan Opera books at https://amzn.to/41nHkAE Mormon Tabernacle Choir books at https://amzn.to/4gbiMzw ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORY OF NORTH AMERICA podcast: www.parthenonpodcast.com/history-of-north-america Video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/HistoricalJesu Instagram: https://www.instagram.com/denarynovels Books: https://amzn.to/3k8qrGM Audio Credit: American Conservative University podcast, The Story of the Writing of “The Messiah” by George Frideric Handel with the Metropolitan Opera Soloists and The Tabernacle Choir, narrated by Martin Jarvis. Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

A new U.S. administration leads to shifting priorities in Israel, the story of an Israeli grandmother held hostage by Hamas, and a musical tribute to Creation. Plus, Steve Watters on a meaningful Christmas tradition and the Tuesday morning newsSupport The World and Everything in It today at wng.org/donate.Additional support comes from Knox Theological Seminary. Reformed, flexible, integrated certificate and post-graduate degree programs designed for you and your calling in ministry. Request more information about our fully online, accredited programs at Knoxseminary.edu/world.And from Dordt University, where students strive to become all that God created them to be and thrive intellectually, socially, and spiritually – until all is made new.Advent reading resources:Jotham's Journey by Arnold YtreeideThe Mystery Hidden for Ages by Sally MichaelGood News of Great Joy by John PiperCome, Let Us Adore Him by Paul TrippLove Came Down at Christmas by Sinclair FergusonRepeat the Sounding Joy by Christopher AshRecapturing the Glory of Christmas by Albert Mohler, Jr.

LATE SUMMER AND EARLY AUTUMN OF ARCADE CANNOT BE STOPPED! Join the HG101 gang as they discuss and rank Sega's 1998 arcade mech battler. Then stick around for Ben Esposito's 2018 indie hit!  This weekend's Patreon Bonus Get episode will be WACKY RACES — one of those licensed NES cash-grabs that licensed the wrong license, perhaps! Donate at Patreon to get this bonus content and much, much more! Follow the show on Bluesky to get the latest and straightest dope. Check out what games we've already ranked on the Big Damn List, then nominate a game of your own via five-star review on Apple Podcasts! Take a screenshot and show it to us on our Discord server! Intro music by NORM. 2024 © Hardcore Gaming 101, all rights reserved. No portion of this or any other Hardcore Gaming 101 ("HG101") content/data shall be included, referenced, or otherwise used in any model, resource, or collection of data.

In Episode 415 of Things We Said Today, Ken Michaels, Allan Kozinn and Darren Devivo speak with Evans Mirageas, the artistic director of the Cincinnati Opera, about the company's decision to present “Paul McCartney's Liverpool Oratorio” as a fully-staged opera during its 2024 Summer Festival. [The news segment runs from 2'12” to 9'30.” The interview with Evans follows.] The performances are July 18, 20, 21, 25 and 27, and the cast includes Andrew Owens as Shanty; Jacqueline Echols McCarley as Mary Dee; Kayleigh Decker as Miss Inkley, Chief Mourner and Nurse, and Kevin Short as Headmaster, Preacher and Mr. Dingle. The production is directed by Caroline Clegg, with sets and costumes by Leslie Travers. For more information: https://www.cincinnatiopera.org/liverpool-oratorio             As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!             Be sure to check out the video version of Things We Said Today on our YouTube channel, https://www.youtube.com/channel/UC-zgHaPfL6BGmOX5NoyFE-A. The audio version can be found at Podbean: https://beatlesexaminer.podbean.com/ as well as at iHeart Radio, Apple podcasts and other distributors of fine podcasts.             MANY MANY WAYS TO CONTACT US:             Our email address: thingswesaidtodayradioshow@gmail.com             Twitter @thingswesaidfab             Facebook:  Things We Said Today video podcast      ALLAN on Facebook: Allan Kozinn or Allan Kozinn Remixed.             Allan's Twitter feed: @kozinn             The McCartney Legacy's website: https://www.mccartneylegacy.com/             The McCartney Legacy on Facebook: McCartney Legacy, and on Twitter: @McCARTNEYLEGACY             The McCartney Legacy YouTube channel: https://www.youtube.com/channel/UC8zaPoY45IxDZKRMf2Z6VyA             KEN's YouTube Channel, Ken Michaels Radio: https://www.youtube.com/channel/UCq_Dkp6fkIsYwGq_vCwltyg             Ken's Website Beatles Trivia Page: https://www.kenmichaelsradio.com/beatles-trivia--games.html Ken's other podcast, Talk  More Talk: A Solo-Beatles Videocast You Tube channel:  https://www.youtube.com/@talkmoretalksolobeatles             Ken's Weekly Beatles radio show "Every Little Thing" On Demand:  http://wfdu.fm/Listen/hd1%20recent%20archives/             Ken's e-mail:  everylittlething@att.net Ken's Facebook Page: https://www.facebook.com/ken.michaels.31/ DARREN's radio show can be heard 10pm to 2am Monday through Thursday and 1pm to 4pm Saturday on WFUV 90.7 FM (or 90.7 FM HD2), or at wfuv.org, or on the WFUV app.             Darren on Facebook: Darren DeVivo, and Darren DeVivo: WFUV DJ and Beatles Podcaster Darren's email: darrendevivo@wfmu.org

Send us a Text Message.Today's crossword had eight, count'em, eight debut answers, including every computer programmer's favorite, DEBUGGER, the unsung hero of software development. A number of other clues  didn't make it into the grid but deserve a shoutout, including 61A, Currently happening, AFOOT (and we can hear the British accent in our heads when we say it

This weekend, PAC NYC presents “Number Our Days: A Photographic Oratorio.” With music by Luna Pearl Woolf, a Concept and Libretto by David Van Taylor, “Number Our Days” is based on Jamie Livingston's 18 year long “Photo Of the Day” project.