Podcasts about orphee

Nous sommes à la fin du Ier siècle de notre ère, à Rome. Le poète Martial évoque les spectacles qui attirent les foules. Certains très cruels rejouent les mésaventures d'Orphée démembré, de Prométhée enchaîné ou du bandit Laureolus, crucifié et donné en pâture à un ours. Parmi ces spectacles quelques-uns sont consacrés à Mucius Scaevola, un jeune héros du début de la République, qui se signala par un exploit, au cours duquel il sacrifia sa main, lors de la guerre contre les Etrusques au début du VI siècle av. J.-C. Martial écrit : « Ce qui aujourd'hui est un divertissement offert par l'arène de César, au temps de Brutus fut le comble de la gloire. Vois-tu comme elle étreint la flamme, cette main, et se délecte avec l'héroïsme de son châtiment ? Comme elle impose sa domination au feu tout étonné ? L'homme est à lui-même son propre spectateur, et la noble mort de sa main droite fait sa joie. » La main de Mucius Scaevola, on le voit, joue donc un rôle primordial dans ce que nous rapporte le poète. Il en va ainsi chez les Anciens pour qui cet organe revêt un état de supériorité. La main participe de la conception du pouvoir et de l'organisation de la société, en matière de droit, de religion, de hiérarchie. Elle est placée sous le regard des dieux. Elle est la morale même. La manus est une véritable institution qui nous permet de raconter une autre histoire de Rome. Sujets traités : Main,Rome, manus, institution, Martial,poète, Orphée, Prométhée, Laureolus, Mucius Scaevola, Etrusques, César, châtiment, droit, religion, morale Avec nous : Sarah Rey, maître de conférences à l'Université de Valenciennes. « Manus – Une autre histoire de Rome » ; Albin Michel. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Muhammad Ali, Stevie Wonder, Shannon, The Crips, The Slickers, The Black Panthers, Bongani Mehlomakhulu, The Players Of The Testament D,Orphee, Eddy Grant, Terrance McKenna, Edwin Star, Morpheus, Neo & The Glimmer Twins & Commander Shore are just a few of the voices, beats provided by Dr Jeep, Strict Face, Phrophet K, Dj IC, Dj General Slam and a crew of equally gifted kindred spirits, all edits, new fusions, new directions and the seeds of tomorrows new grooves, This Is Dub Intervention. This show was first broadcast on the 27th of January, 2024For more info and tracklisting, visit: https://thefaceradio.com/dub-intervention/Tune into new broadcasts of Dub Intervention, Saturday from 8 - 10 PM EST / 1 - 3 AM GMT (Sunday).Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Donald Macleod explores the life and music of Jacques Offenbach Jacques Offenbach's life throws a light on the political turbulence and identity within 19th century Europe. He struggled to break into the musical establishment of Paris, but he didn't struggle with creating a dazzling array of work for the theatre. His 98 stage works established and defined what operetta was, paving the way for modern musical theatre.Music Featured: Les contes d'Hoffmann (The Tales of Hoffmann), Act III: Barcarolle (arr. A. Sedlar) Grand Concerto in G Major for cello and orchestra, Concerto Militaire (I. Allegro maestoso) Les fleurs d'hiver Musette, Op 24 Pepito (excerpt) Les bavards: Overture Decameron dramatique (excerpt) Le “66”(excerpt) 6 Fables de Lafontaine (orchestrated by J.-P. Haeck) (excerpt) Rends-moi mon âme L'etoile Les brigands: Overture Ba-ta-clan (excerpt) Orphee aux enfers (excerpt) Le Papillon (excerpt) Die Rheinnixen: Overture Abendblatter La Vie parisienne: Overture La belle Helene (excerpt) Barbe-bleue (except) La Grande-Duchesse de Gerolstein (excerpt) La Haine, Act IV: Marche religieuse Les contes d'Hoffmann (excerpt) American Eagle Waltz Le voyage dans la lune (except) Madame Favart: Overture Ouverture a grand orchestraPresented by Donald Macleod Produced by Iain Chamber for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Jacques Offenbach (1819-1880) https://www.bbc.co.uk/programmes/m001vcpjAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

POP ART SAYS HAPPY VALENTINE'S DAY--EP94 - VALENTINE'S DAY LOVE AND DEATH: Join podcast, movie lover, and critic Aaron Neuwirth and me as we discuss two love stories that take place, for the most part, in the afterlife, Defending Your Life/Orpheus. “Orphée. you can't spend your life in a talking car”. The singer Cher once asked “do you believe in life after love?” Perhaps the more important question is, do you believe in love after death?…Sounds like it's time for Episode 94 of Pop Art, where we find the pop culture in art and the art in pop culture. It's the podcast where my guest chooses a movie from popular culture, and I'll select a film from the more art/classic/indie side of cinema with a connection to it. For Pop Art's Valentine's Day episode, I am happy to welcome as my guest, podcaster, movie lover, and critic Aaron Neuwirth, who has chosen as his film the Albert Brooks love after death comedy, Defending Your Life, while I have chosen as my film Jean Cocteau's love after death drama, Orpheus, or Orphee, if you are French, but I'm not, so Orpheus it is, both films about dealing with love after death. And in this episode, we deal with such questions as: Why is the afterlife so often dramatized as a huge bureaucracy? What is it about love after death movies? Who is Shirley MacLaine and why is she in the movie? Who gives the better performance in Orpheus—Jean Marais or his hair? Why hasn't Albert Brooks made a movie lately? What are some problematical aspects of both films? How were the special effects done in Orpheus? What is the connection to Roger Corman's The Trip? Where does Jean-Pierre Melville appear? Check out Aaron's podcast Out Now with Aaron and Abe at https://podcasts.apple.com/us/podcast/out-now-with-aaron-and-abe/id646631453 And the blog We Live Entertainment at weliveentertainment.com Check out my blog at https://howardcasner.wordpress.com/ My books, More Rantings and Ravings of a Screenplay Reader, The Starving Artists and Other Stories and The Five Corporations and One True Religion can be found at https://www.amazon.com/s?k=howard+casner&ref=nb_sb_noss Meanwhile, like, follow or comment on my podcast. I'd love to know what you think. And check out the other episodes. --- Support this podcast: https://anchor.fm/howard-casner/support

Joined by Orphée Fouano, executive chef at the one and only, L'Experience Paris. With three locations across Mercer Island and the greater eastside, chef Orphee explains his journey through the culinary world, his favorite patisseries, and the business aspects of managing the bakeries. Tune in for an episode full of croissants, sponge cakes, and pain au chocolate!

Odcinek #82, w którym siedzimy w krakowskiej księgarni Lokator z Ahsanem Ridha Hassanem i zastanawiamy się nad interpretacjami powieści „Powrót Orfeja”. Krążymy wokół Emila, głównego bohatera książki, słuchamy jego głosu, rozmów jednostronnych. Jest S jak samotność i świat otulony w bandaże. Jest też D jak depresja, są stany lękowe. Jak pomóc Emilowi? Z zamknięcia głównego bohatera wyciągamy umarłą pralkę i pająka Horacego. Równolegle pojawia się wątek pracy pisarza, powieściowego minimalizmu. Kto kogo pilnuje i kogo prowadzi - autor bohatera, czy bohater autora? Kto próbuje wyjść na powierzchnię?

Free Speech Union spokesperson Dane Giraud sat with Palmerston North City Councilor Orphee Mikalad to discuss the importance of free speech and alternatives to hate speech. Orphee details his family's fleeing civil war in the Congo and what it was like to campaign for a seat on the council as an African refugee. Orphee discusses the racism he has encountered, why education and engagement are a far better solution than state censorship, the benefit of grassroots rather than top-down anti-racism campaigns, and Dane and Orphee discuss some of the unexpected reactions they have had to bigotry www.fsu.nz/join Support the show

Bonjour à toutes et à tous ! Bienvenue dans ce sixième épisode des Voleurs de Feu. Aujourd'hui, je vais vous parler du mythe d'Orphée. On reviendra sur le mythe en lui-même, son histoire pour ensuite voir en quoi il s'agit d'un mythe fondateur de la poésie lyrique. Il s'agit d'un mythe de l'Antiquité grecque mais qui a su inspirer bien des poètes, de Victor Hugo à Apollinaire en passant par Rilke. Orphée était un aède (poète grec qui déclamait ses poèmes souvent en chantant) et joueur de lyre hors pair. A l'époque, la poésie était chantée et donc intrinsèquement liée à la musique. Orphée est le symbole de l'envoutement poétique, du pouvoir du chant et de la poésie. N'hésitez pas à me dire ce que vous avez pensé de cet épisode sur Instagram, sur mon compte perso @poesia_lyly ou sur le compte @lesvoleursdefeu ! Je vous souhaite une très bonne écoute ! Hôte du podcast: Lyna Instagram : @poesia_lyly & @lesvoleursdefeu Sources : https://www.larousse.fr/encyclopedie/divers/Orph%C3%A9e/136380#:~:text=Po%C3%A8te%20musicien%20des%20l%C3%A9gendes%20de,et%20Had%C3%A8s%20se%20laissa%20fl%C3%A9chir. https://mythologica.fr/grec/orphee.htm https://eduscol.education.fr/odysseum/orphee-poete-des-origines-et-fondateur-de-lorphisme https://modernisationmytheorphee.wordpress.com/un-mythe-fondateur/ https://fr.wikipedia.org/wiki/Orph%C3%A9e https://pad.philharmoniedeparis.fr/contexte-le-mythe-d-orphee-dans-les-arts-et-en-musique.aspx http://www.alex-bernardini.fr/mythologie/Orphee.php Lecture : Orphée, in Album de vers anciens, de Paul Valéry. Crédit musique : Light de TrackTribe To Loom is to Love de Mini Vandals

On today's episode, we talk with Orphee, an up-and-coming cheesemaker who has been studying cheesemaking for the last few years and wants to make a true French Raclette in Wisconsin. We review the challenges behind this process and the drive it takes to make it happen. Heritage Radio Network is a listener supported nonprofit podcast network. Support Cutting the Curd by becoming a member!Cutting the Curd is Powered by Simplecast.

Notre invité d'une générosité incroyable et avec un sourire très communicatif nous a édifié avec son parcours très atypique de sa conversion à l'islam, son voyage à la Mecque et aussi sont choix d'utiliser l'humour pour faire le rappel un episode haut en couleur et bonne humeur.

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

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

Today's List■ ビゼー:「アルルの女」第2組曲より メヌエット/ グルック:「オルフェオとエウリディーチェ」より 精霊の踊り-- Bizet: Menuet（L'Arlesienne Suite No.2）/ Gluck: Ballet des champs-elysees (Orphee et Eurydice) クラシック音楽の時代は概ねまだ写真がない頃なので、絵画は楽曲の理解の大いなるヒントとして機能します。 南仏アルルに移住したゴッホの代表作の中に、「夜のカフェテラス」と「アルルの跳ね橋」があります。どちらもアルルを描いたものだと言われています。これらを見るとアルルとはどんな町だったのか、手にとるように、ぬるく乾いた風の匂いまで嗅ぎ取れてしまいそうなほどに、わかってしまいます。「夜のカフェテラス」は当然夜の、しかも町の一角をそっと映し取っただけの風景ですが、そこから昼間の様子を想像するのも容易く、ああ、こんなところでロマンスが生まれたらそりゃあふわふわするなあ、一方で「アルルの跳ね橋」はなんとも長閑で100年前も100年後も今と同じ風景が存在すると信じてしまうような場所で、ああ、こんなところに居たら一目惚れした女と一生一緒にいられるような気がしてしまうんだろうなあ、なんて憧憬したりします。 さて、生きても死んでもロマンス。オペラ「オルフェオとエウリディーチェ」の中で、「精霊の踊り」はオーケストラをバックに従えて、フルートソロの一曲です。そんなわけで、この曲のみがフルートで演奏される機会が多く、有名度が高いということになったのでしょう。涼んでいるうちに胸が張り裂けそうなメロディーに引き込まれていく構成は、この世からあの世へのワープ感と繋がっているような気がしなくもありません。 しかし神話ってやつぁ、どれもこれもしょーもな…ごにょごにょ。結局、素晴らしい芸術の源になっているわけだから、敬っていきましょう。

Playlist: Concentus Musicus Wien - Monteverdi: L'Orfeo : Act 5 Sinfonia and "Perche a lo sdegno"Leipzig Gewandhaus Orchestra - Gluck Orfeo ed Euridice, Wp. 30, Act 2 Scene 2 Dance No. 4 and "Che puro ciel"June Bronhill, Kevin miller, Eric Shilling, Margaret NIsbett, Deidree Thurlow, Alexander Faris Orchestra - Offenbach Minuet and GalopLondon Symphony Orchestra - Stravinsky Orpheus, Scene II: Pas d'action and Pas de deuxPaul Barnes, Philip Glass - Philip Glass Orphee Suite - 4. Orphee and the PrincessOriginal Broadway Cast of Hadestown , Anais Mitchell - Hadestown Excerpts

Catriona Seth, Marshal Foch Professor of French Literature at the University of Oxford, visits the Wallace Collection in London on the trail of objects that once belonged to Marie-Antoinette. With Dr Helen Jacobsen, Senior Curator and Curator of French 18th-century Decorative Arts, the Wallace Collection, London. Music | Excerpts from Orphee et Euridice (Paris Version) by Gluck, licensed courtesy of Naxos Music UK Ltd. Production ChromeRadio for TORCH / Faculty of Medieval and Modern Languages, University of Oxford, Producer - Catriona Oliphant.

Catriona Seth, Marshal Foch Professor of French Literature at the University of Oxford, visits the Wallace Collection in London on the trail of objects that once belonged to Marie-Antoinette. With Dr Helen Jacobsen, Senior Curator and Curator of French 18th-century Decorative Arts, the Wallace Collection, London. Music | Excerpts from Orphee et Euridice (Paris Version) by Gluck, licensed courtesy of Naxos Music UK Ltd. Production ChromeRadio for TORCH / Faculty of Medieval and Modern Languages, University of Oxford, Producer - Catriona Oliphant.

The 65th Episode of the Tome to the Weather Machine Podcast features new work from: 0:15 - French Kettle Station - "Air" Spirit Mode (Slagwerk) 4:06 - NGMY - "com" 7:04 - HHY & The Kampala Unit - "Curse Go Back" (Nyege Nyege) 10:59 - Laura Luna Castillo - "Expression Distillation" (Whited Sepulchre Records) 15:10 - Nils Quak - "Mode von der Strange" - Nils Quak / Flamingo Creatures (Crash Symbols) 20:11 - Noumenah - "Organum I" - Organum 25:30 - Eugenius - "Nothing feat Evolved prod by ggrxrgg & Eugenius" - Midlife 29:33 - Andrew Oda - "Sotto / Spirit (excerpt)" - SOTTO 31:44 - Phaeton - "Silverback" - Biome (Oxtail Recordings) 36:34 - Kagami SMILE. - "Clarity of Sky" - Transitory Heart (Cellar) 43:17 - Fritz Pape - "PBRE" - OUROBOROS PATCHING (Whited Sepulchre) 49:21 - Gunter Schlienz - "Reve Dorphee" - Orphee aux Enfers (Moon Glyph) 54:36 - Mercury Tracer - "I" - Mercury Tracer (A Red Thread) 56:32 - P H H M - "Orange Light" 1:00:29 - Jaap Mol - "Drifting" 1:03:39 - Jordan Reyes - "Rebirth at Dawn" Sand Like Stardust (American Dreams) 1:09:25 - Stephen Molyneux - "Green Grass Eats the Buffalo" - Green Grass Eats the Buffalo (Whited Sepulchre) 1:12:12 - Nevada Greene - "Strangers in Love" - Whoever You Are, No Matter How Lonely" (Already Dead) 1:17:42 -Sky Furrows - "36 Ways of Looking at a Memory" - Sky Furrows 1:22:08 - Peter Kris - "The Dual Nature of Complaint" - No Language for the Feeling (Garden Portal) 1:25:07 - FiRES WERE SHOT - "DIRTDOBBER" 1:28:45 - STORYINSOIL - "Drown" 1:32:04 - Lucrecia Dalta - "Espesa" - No Era Solida (RVNG. INTL)

Bonus Info: JJ chats with Peter Bell about the films Orphee and Black Orpheus. LISTEN TO S2E2Pt2: Undercover in the Underworld first.  In this SOTSOG Snack. JJ chats with film expert Peter Bell about the 1950 film Orphee and the 1957 film Black Orpheus. They discuss similarities and differences. between the films as well as their connection to the overall story of Orpheus. 

Theme - Adaptation

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Roma, RAI 12 April 1975

Eine "tolldreiste Mythentravestie" habe Jacques Offenbach mit seiner Oper "Orpheus in der Unterwelt", "Orphée aux enfers" geschaffen - meint der Literaturwissenschaftler und Theaterkritiker Volker Klotz. Das sahen bei der Uraufführung 1858 nicht alle so. Mit Spannung wird die Inszenierung von Barrie Kosky bei den Salzburger Festpsielen erwartet. Peter Arp war für uns bei der Generalprobe dabei.

Opera was born during the Renaissance as an attempt to recreate the experience of an ancient Greek play as it would have been performed in the Theater of Dionysus in Athens. In this episode, Marc Eliot Stein and Lisa Geraghty talk about the greatest of several operas about one particular Greek myth: "Orfeo ed Euridice" by Christoph Willibald Gluck, which tells the story of the musician Orpheus's descent into the Underworld to retrieve his beloved wife Eurydice back from the dead. We also talk about Charlie Daniels Band, Arcade Fire, "Black Orpheus", Rainer Maria Rilke and Jacques Offenbach's wild satire "Orphee aux Enfers", a French comic opera that twisted Gluck's masterpiece into something entirely different. A refreshing descent into the joys of early classical opera!

With Antonia Quirke. Halloween comes early as composer Neil Brand reveals how John Carpenter's score for his 1978 horror classic changed the sound of horror in the movies. Poet Don Paterson waxes lyrical about Jean Cocteau's Orphee and reveals why poets rarely make good film-makers. Gomorrah director Matteo Garrone discusses his latest drama set in the Italian underworld, Dogman, which won the award for best actor at this year's Cannes Film Festival and best dog at the Palme Dog awards, which is also held annually in the French resort.

In this special episode, Creamy looks back at the work of Johann Johannsson who sadly passed away in February. Whilst he mostly focuses on his soundtrack work (Varmints, Arrival, Copenhagen Dreams, Dis, Free The Mind, The Mercy, The Miners Hymns, Sicario & The Theory Of Everything), there are a couple of tracks from his last solo album (Orphee) as well as a version he did of a Philip Glass piece. There is even a reworking of one of his pieces from Ryuichi Sakamoto.    The book Creamy was referring to but couldn't remember the name was Lost Connections by Johann Hari and the link he was encouraging you to read before listening to this episode was https://www.xlr8r.com/features/2018/02/johann-johannsson%E2%80%A8-the-endless-pause/.   I hope this episode leads you to exploring in more detail a truly amazing composer.    Love Creamy xx

On Friday, February 9, 2018, composer Jóhann Jóhannsson was found dead in his Berlin apartment. Kristen Romanelli and Christopher Coleman take a few moment to reflect on Jóhannsson's career and share some of their favorite pieces from the composer's ouevre. Lastly, we share some of the tweets from his composer colleagues that were posted on Saturday, February 10, 2018 - the day the tragic news broke.Episode Highlights01:05 - Rolling Stone article04:07 - Reacting to the tragic news.10:54 - First contact with Jóhannsson's music16:23 - Favorite Pieces - "Heptapod B" (Arrival)19:15 - Favorite Pieces - "Flight from the City (Orphée)22:46 - Favorite Pieces - "Virðulegu forsetar"25:57 - "Domestic Pressures" (The Theory of Everything)Music Selections00:00 - "The Theory of Everything" (The Theory of Everything) by Jóhann Jóhannsson11:03 - "Prisoners" (Prisoners) by Jóhann Jóhannsson13:34 - "The Sun's Gone Dim and the Sky's Turned Black" (IBM 1401) by Jóhann Jóhannsson18:03 - "Heptapod B" (Arrival) by Jóhann Jóhannsson21:06 - "Flight from the City" (Orphée) by Jóhann Jóhannsson25:05 - "Virðulegu forsetar" (Virðulegu forsetar) by Jóhann Jóhannsson28:51 - "Domestic Pressures" (The Theory of Everything) by Jóhann Jóhannsson35:53 - "The Theory of Everything" (The Theory of Everything) by Jóhann JóhannssonNotes:"Johann Johannsson, Oscar-Nominated 'Sicario' Composer, Dead at 48" - Rolling Stone MagazineFind and Follow:Follow Kristen Romanelli on Twitter - @kbfornowFollow The Soundcast on Twitter - @audiosoundcastFollow Tracksounds on Twitter - @tracksounds Follow Christopher Coleman on Twitter - @ccolemanSpotify: Find our Spotify Companion Playlist here! https://open.spotify.com/user/tracksounds/playlist/4y7SSy7HVfkj5DXKkPhNvMSupport Tracksounds:Most of the soundtracks mentioned in this episode can be found at Amazon. Your purchases through these links help us to keep on keepin' on! Thank You!Buy Soundtracks at Amazon.com http://bit.ly/amazonsoundtracksSubscribe and More InfoaCAST GOOGLE PLAY iTUNES RSS FEED STITCHER RADIO TUNEIN RADIOThe official podcast of Tracksounds.com, The SoundCast is hosted by Christopher Coleman and features reviews and discussions centered around film, TV, and video game soundtracks. Special edition episodes include interviews with composers and other industry professionals.The Soundcast Stereo is co-hosted by Christopher Coleman and Erik Woods (Cinematic Sound Radio). Each episode is a 30 minute (ish), two channel conversation about the world of film, television, and video game music.Type

Orphée is an aspiring french producer&DJ based in Montreal that focuses on the darker corners of techno. To me electronic music sonically mirrors the society we live in: more urban, more digital, more painted by concrete, metallic sounds. Sometimes aggressive, sometimes softer. My take on this music is exactly that, pleasing the ear by putting together the sounds that we hear everyday in a creative and yet coherent way...' - Orphee Support and follow artist @lehak

    I've been on a big Johann Johnnsson kick lately.  He released one of my favorite albums of the year "Orphee" a few months ago and now he has scored the excellent film "Arrival."  It is a wonderful soundtrack that really adds to an already fantastic film.   Johannsson tells the story of how he made the first track in this mix, "Heptpod B," at Song Exploder here...   https://soundcloud.com/hrishihirway/song-exploder-johann-johannsson-arrival-score   That new soundtrack is the jumping off point for this cinematic mix.  All the music used was released this year with the exception of tracks from "The Martian" & "The Revenant" which are 2015 recordings.  All these soundtracks are superb and I hope you will seek out the full albums.  I've included the name of the film in the tracklist.   Cheers!     T R A C K L I S T :   ⦁ 00:00    Johann Johannsson - Heptapod B(Arrival) ⦁ 03:25    Nick Cave & Warren Ellis - Daedalus(Mars) ⦁ 06:15    Harry Gregson-Williams - Message from Hermes(The Martian) ⦁ 08:50    Adam Bryanbaum Wiltzie - Bring This Place to Life(Salero) ⦁ 11:30    A Winged Victory for the Sullen - Metro, pt.3(Iris) ⦁ 15:05    Mac Quayle - leavem3here.flac(Mr. Robot) ⦁ 20:10    Starkey - Ticks(Charting Stardust) ⦁ 24:15    Paul Haslinger - Security is a Myth(Halt & Catch Fire) ⦁ 26:45    Ramin Djawadi - Something I Can Never Have(Westworld) ⦁ 32:10    Adam Bryanbaum Wiltzie - Lithium, the new era(Salero) ⦁ 35:20    A Winged Victory for the Sullen - Flashback Antoine(Iris) ⦁ 37:15    Dustin O'Halloran & Hauschka - Memories(Lion) ⦁ 38:40    Adam Bryanbaum Wiltzie - end credits(Salero) ⦁ 41:25    Johann Johannsson - One of Twelve(Arrival) ⦁ 44:05    Riuichi Sakamoto - Glass & Buffalo(The Revenant) ⦁ 45:40    Nick Cave & Warren Ellis - Mama's Room(Hell or High Water) ⦁ 47:55    A Winged Victory for the Sullen - endless battle of the maudlin ballade, pt. 3(Iris) ⦁ 50:25    Ramin Djawadi - Exit Music(Westworld) ⦁ 54:47    end        

Scoring the new Bladerunner with a master of dramatic tension.

Scoring the new Bladerunner with a master of dramatic tension.

C'est la semaine de Walter, c'est la saison 3, et c'est l'épisode 92 !et ouah !

Virginia opera moved boldly into contemporary opera with its production of “Orphee” by Philip Glass. The imaginative staging and fine singing told the ancient story using a 20th century libretto set to appropriately dramatic and passionate music by one of this country’s most important composers.

Virginia Opera’s third offering of the season is a fascinating re-telling of the legend of Orpheus, with the libretto from the screenplay of Jean Cocteau’s film and music by contemporary composer Philip Glass. Dr. Glenn Winters, Virginia Opera’s Community Outreach Musical Director, previews Glass’s opera “Orphee,” deMon,strating how the music is perfectly matched to the story.

Many selections sung by Clara Butt, a very great artist: 1.Softly and gently  (Elgar:The Dream of Gerontius)2. Where corals lie   (Elgar:Sea Pictures)3.The Enchantress (Hatton)4.The Leaves and the Wind (Cooper)5.The Sweetest flower that blows (Hawley)6. Barbara Allen (Traditional)7. Kathleen Mavourneen (Crouch)8. Ye Banks and braes (Scottish air)9.The Promise of life (Cowen)10.En priere (Faure)11.The Birth of the flowers(Lehmann)12. Lusinghe piu care (Handel:Alessandro)13. Rend'il sereno (Handel:Sosarme)14. Ombra mai fu (Handel:Serse)15, In questa tomba oscura (Bethoven)16.Mon coeur s'ouvre a ta voix (Samson et Delilah)17. Che faro senza Euridice (Orfeo)18.  Brindisi from Lucrezia Borgia (Donizetti)                       ( 66 min.)   Clara Butt was born in Southwick, Sussex. Her father was Henry Albert Butt who was a sea captain and who was born in 1848 in Saint Martin, Jersey, Channel Islands. He married Clara Hook in 1869, who was born in Shoreham, the daughter of Joseph Hook, mariner (1861 and 1871 census, in 1881 in New Shoreham workhouse). In 1880 the family moved to Bristol and Clara was educated at South Bristol High School, where her singing talent was recognised and encouraged. At the request of her headmistress, she was trained by the bass Daniel Rootham and joined the Bristol Festival Chorus, of which he was musical director. In January 1890 she won a scholarship to the Royal College of Music. In her fourth year she spent three months studying in Paris at the expense of Queen Victoria. She also studied in Berlin and Italy. She made her professional début at the Royal Albert Hall in London in Sir Arthur Sullivan's The Golden Legend on 7 December 1892. Three days later she appeared as Orfeo in Gluck's Orfeo ed Euridice at the Lyceum Theatre. Bernard Shaw wrote in The World that she ‘far surpassed the utmost expectations that could reasonably be entertained' (14 December 1892). She returned to Paris and made further studies with Jacques Bouhy (the teacher of Louise Homer and Louise Kirkby Lunn) and later with the soprano Etelka Gerster in Berlin. Camille Saint-Saëns wanted her to study Dalila, but due to laws then extant forbidding the representation of biblical subjects on the British stage, nothing came of it. Soon she had acquired an excellent reputation, aided by her physical presence - she was 6 feet 2 inches tall. She made many gramophone recordings, often accompanied by the (uncredited) pianist Miss Lillian Bryant. She was primarily a concert singer and only ever appeared in two opera productions, both of Gluck's Orfeo ed Euridice, in 1892 and 1920. Edward Elgar composed his Sea Pictures for contralto and orchestra with Clara Butt in mind as the soloist, and she sang at the first performance at the Norwich Festival on 5 October 1899, with the composer conducting. In 1900 she married the baritone Kennerly Rumford, and thenceforth often appeared with him in concerts. The couple eventually had three children two sons and a daughter. Besides singing in many important festivals and concerts, she was honoured with royal commands from Queen Victoria, King Edward VII, and King George V. She made tours to Australia, Japan, Canada, the United States and to many European cities. During the First World War she organised and sang in many concerts for service charities, and for this she was appointed Dame Commander of the Order of the British Empire (DBE) in the 1920 civilian war honours. That year she sang four performances of Gluck's Orphee at Covent Garden under the baton of Sir Thomas Beecham. According to The Times she 'played fast and loose with the time and spoilt the phrasing' and it appears not to have been a success. Butt's three sisters were also singers. One of them, Ethel Hook, became a famous artist in her own right and made some superb solo recordings. In later life Clara Butt was dogged by tragedies. Her elder son died of meningitis while still at school, and the younger committed suicide. During the 1920s she became seriously ill of cancer of the spine, but her faith gave her the strength to continue working. She made many of her later records seated in a wheelchair. She died in 1936 at the age of 63 at her home in North Stoke, Oxfordshire, as a result of an accident she suffered in 1931. Sir Thomas Beecham once said, jokingly, that "on a clear day, you could have heard her across the English Channel". Not all serious musicians admired her booming contralto, which can be mistaken for a man's voice on some recordings, or her rather 'populist' approach to her art.