Podcast appearances and mentions of paris op

Învăţaţi franceza cu Iker şi Aida, un cuplu spaniol instalat la Paris de câteva luni. Iker şi Aida iubesc opera, teatrul şi concertele, iar Parisul este oraşul ideal pentru aceste spectacole. Ei ar vrea să afle cum poţi găsi bilete ieftine. Suntem la « Kiosque », în Madeleine, alături de Claire Hazan, jurnalistă specializată pe secţiunea spectacole.  Spectacole pentru cei cu bugete miciLes « Kiosques »Pour trouver des billets de théâtre pour le soir même sans réservation, 3 « Kiosques » offrent des places à moitié prix.Ils sont ouverts de 12h30 à 20h du mardi au samedi et de 12h30 à 16h, le dimanche.Pour obtenir un billet, il faut aller consulter l'offre pour le soir même sur place.Kiosque des Ternes - Terre-plein central de la place - Paris 17èmeKiosque Montparnasse - Parvis de la Gare Montparnasse - Paris 14èmeKiosque de la Madeleine - 15, place de la Madeleine - Paris 2èmeLa Comédie-Française A 19h30 ouvre le « Petit Bureau » sous les colonnes du théâtre, rue de Richelieu. C'est un guichet qui met en vente 95 places pour le spectacle de 20h30 pour seulement 5 € !Les théâtres privésL'opération « Les premiers aux premières » propose des places à 50 % les dix premiers jours d'une représentation (www.theatresprives.com ou www.astp.asso.fr, rubrique « A l'affiche »).L'OpéraPour les moins de 28 ans : les places de dernière minute encore disponibles sont proposées à un tarif réduit aux guichets de l'Opéra national de Paris (Opéra Garnier et Bastille), au plus tard 30 minutes avant le lever de rideau.Opéra Bastille : 32 places debout sont vendues au prix de 5€, environ 1h30 avant chaque représentation (bornes d'achat dans le hall de l'Opéra). Oferta culturala gratuităConcerts au Parc Floral – Bois de VincennesParis Jazz Festival : les samedis et dimanches, en juin et juilletClassique au vert : les samedis et dimanches, en août et septembreLes Pestacles : pour les enfants, tous les mercredis, de juin à septembreCinémaCinéma en plein air : en juillet et aoûtSur la  pelouse du parc de La Villette, sur un écran géant sont projetés des films internationaux, de grands succès… Les projections sont gratuites et on peut louer un transat.Cinéma au clair de lune : au mois d'aoûtL'événement "Cinéma au Clair de Lune" s'invite dans plusieurs lieux de la capitale pour projeter des films mythiques dans leur décor : Paris !MuséesLes musées nationaux sont gratuits pour les jeunes de moins de 26 ans ressortissants de l'un des 28 pays européens et les enseignants.Les musées nationaux sont en général gratuits pour tous chaque premier dimanche du mois.Quelques exceptions notamment : Musée de l'Opéra,  Muséum national d'Histoire naturelle de Paris, le Louvre (seulement d'avril à septembre).Les collections permanentes des Musées de la Ville de Paris sont  gratuites pour tous, tous les jours et les expositions temporaires sont gratuites pour les enfants jusqu'à l'âge de 13 ans inclus.Deux musées sont gratuits en nocturne :La Maison Européenne de la Photographie, le mercredi soirle Musée des Arts et Métiers, le jeudi soir Întrebarea formulată de IkerIker : Et Claire, pourquoi les sorties culturelles sont aussi importantes pour les Parisiens ?Claire Hazan, rédactrice spectacles pour le magazine Première : Oui, évidemment, c'est même, on pourrait dire, ce qui rythme leur semaine et leur journée, à la fois parce qu'il y a tellement, en effet, d'offre qu'on est sollicité tout le temps, à la télé, dans les magazines…On pourrait très bien entendre : « Ah, t'as pas vu le dernier machin », voilà !  Linkuri utile:Les Kiosques spectacle : http://www.kiosquetheatre.com/Les sorties gratuites à Paris : http://www.parisinfo.com/decouvrir-paris/guides-thematiques/paris-gratuit

Check out our Sponsor!https://www.manscaped.comUse code TheVerdict for 20% off and free shippingA young soprano becomes the obsession of a disfigured and murderous musical genius who lives beneath the Paris Opéra House.Alec may have been more afraid of this film then all of our month of horror films. JJ admits to his lack of interest in Opera style music. Mattson gushes, and gushes and admits that he had a crush.Support us:https://www.patreon.com/whatsourverdictEmail us: hosts@whatsourverdict.comFollow us:Facebook: https://www.facebook.com/whatsourverdictTwitter: @whatsourverdictInstagram: @whatsourverdictYouTube: https://youtube.com/channel/UC-K_E-ofs3b85BnoU4R6liAVisit us:www.whatsourverdict.com

fWotD Episode 2430: André Messager Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Saturday, 30 December 2023 is André Messager.André Charles Prosper Messager (French: [mɛsaʒe]; 30 December 1853 – 24 February 1929) was a French composer, organist, pianist and conductor. His compositions include eight ballets and thirty opéras comiques, opérettes and other stage works, among which his ballet Les Deux Pigeons (1886) and opéra comique Véronique (1898) have had lasting success; Les p'tites Michu (1897) and Monsieur Beaucaire (1919) were also popular internationally.Messager took up the piano as a small child and later studied composition with, among others, Camille Saint-Saëns and Gabriel Fauré. He became a major figure in the musical life of Paris and later London, both as a conductor and a composer. Many of his Parisian works were also produced in the West End and some on Broadway; the most successful had long runs and numerous international revivals. He wrote two operatic works in English, and his later output included musical comedies for Sacha Guitry and Yvonne Printemps.As a conductor, Messager held prominent positions in Paris and London, at the head of the Opéra-Comique, the Paris Opéra, the Orchestre de la Société des Concerts du Conservatoire, and the Royal Opera House, Covent Garden. Although as a composer he is known chiefly for his light works, as a conductor he presented a wide range of operas, from Mozart to Richard Strauss, and he acquired a reputation as a conductor of Wagner. In Paris he conducted the world premieres of Debussy's Pelléas et Mélisande, Massenet's Grisélidis and Charpentier's Louise. At Covent Garden, he gave the British premieres of operas by Saint-Saëns and Massenet.Messager's music became known for its melodic and orchestral invention, musical craftsmanship, and characteristically French elegance and grace. Although most of his works have been infrequently revived, historians of music consider him the last major figure in French opéra comique and opérette.This recording reflects the Wikipedia text as of 01:17 UTC on Saturday, 30 December 2023.For the full current version of the article, see André Messager 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 Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Justin Neural.

SynopsisOn today's date in 1738, a once-successful French composer died destitute in an asylum of Charenton. It was a lamentable end for the 56-year-old Jean-Joseph Mouret, who had once served the French king at the Palais Royal and whose operas had once graced the stage of the Paris Opéra.How ironic, then, that Mouret would achieve belated fame in 20th-century America when the “Rondeau” from his Symphonies and Fanfares for the King's Supper was chosen as the theme for the Masterpiece Theatre TV series on PBS. Christopher Sarson, the original executive producer of Masterpiece Theatre, recalls how this came about.“In 1962, my future wife and I went to one of the Club Med villages in Italy. We were in these little straw huts and every morning we were summoned to breakfast by that theme. It was just magic. ... I wanted to use it for Masterpiece Theatre but there was no way I could bear to put a French piece of music on something that was supposed to be English. I went through all kinds of English composers and nothing worked. So, Mouret became the theme.”Music Played in Today's ProgramJean-Joseph Mouret (1682-1738) Rondeau; Wynton Marsalis, trumpet; English Chamber Orchestra; Anthony Newman, cond. Sony 66244

DescriptionHave you heard of the Chevalier de Saint-Georges, one of the first classical composers of African heritage to attain widespread acclaim in European music? Take a minute to get the scoop!Fun FactIn early 1776, the financially troubled Paris Opéra considered Chevalier de Saint-Georges as its new director. Despite his merit as the creator of the first disciplined French orchestra, opposition led to Antoine Dauvergne being appointed instead. It is likely this was fuelled by racial bias.__________________________________________________________________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.__________________________________________________________________You can FOLLOW ME on Instagram.

This is an episode I have been planning for years now! This past August 15, the great French baritone Robert Massard turned 98 years old. As many of my listeners know, I have a thing for baritones in general, and I have devoted episodes to artists of the baritone persuasion from world-renowned to virtually unknown to somewhere in-between. Just think of it: Gérard Souzay, Jorma Hynninen, Eugene Holmes, Andrzej Hiolski, Gabriel Bacquier, Will Parker, Gilbert Price: these and many more have already been featured with more (Hugo Hasslo, Eric Sædén) on the horizon for next season. But I would be hard-pressed to think of a baritone who possessed a more beautiful natural voice, a more refined technique, or a more elegant artistry than did Robert Massard, who in his thirty-odd years of career chalked up approximately 2,500 performances, including 1,003 at the Paris Opéra alone (the same number, he himself points out, as Don Giovanni's conquests)! Massard also sang an incredibly varied (though primarily operatic) repertoire, and this episode presents highlights from both the standard to the more obscure repertoire, from Gluck, Gounod, Verdi, and Massenet; to Reyer, Milhaud, Lalo, and Diaz (who?). These recordings are supplemented by a number of excerpts from French operetta (Planquette, Varney, Messager, and Beydts) which provide unalloyed melodic delight, the Massard voice heard at its absolute peak. And the colleagues who appear opposite Massard are like a Who's Who of great opera singers (French and otherwise) of the era: Régine Crespin, Mady Mesplé, Denise Duval, Shirley Verrett (subject of next week's episode!), Andréa Guiot, Jean Giraudeau, André Turp, Marilyn Horne, Renée Doria, Jane Rhodes, Andrée Esposito, Rita Gorr, and the falcon Suzanne Sarroca, who died last month at the age of 96. And if you listen very closely, you will also catch fleeting glimpses of favorites Patricia Neway and George Shirley. I know I say this too often, but if you only listen to one episode of Countermelody, make it this one! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

DescriptionRavel had long toyed with the idea of building a composition from a single theme which would grow simply through harmonic and instrumental ingenuity. And thus was born, Boléro. Take a minute to get the scoop!Fun FactBoléro was given its first performance at the Paris Opéra on November 20, 1928. The premiere was acclaimed by a shouting, stamping, cheering audience in the midst of which a woman was heard screaming: “Au fou, au fou!” (“The madman! The madman!”). When Ravel was told of this, he reportedly replied: “That lady… she understood.” __________________________________________________________________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.__________________________________________________________________You can FOLLOW ME on Instagram.

Synopsis John Lennon was born on today's date in the year 1940, in Liverpool, England — during a German air raid on that city, as it happened. With three other young lads from Liverpool, Lennon would eventually become world-famous, courtesy of the band he helped formed in 1959 called the Beatles. The Beatles started out in a Liverpool nightclub called the Cavern, playing pop tunes of the day, but soon began performing original material of their own. Before disbanding in 1970, some recognizable elements of classical music were incorporated into some Beatles songs, including a string quartet, a Baroque trumpet, and even an orchestra. And it wasn't just a one-sided exchange: Leonard Bernstein played a Beatles song on one of his “Young People's Concerts” to demonstrate sonata form. Arthur Fiedler performed symphonic arrangements of Beatles tunes at his Boston Pops concerts. And decades after the Beatles disbanded, former member Paul McCartney began composing original chamber works and big concert hall pieces, including a semi-autobiographical “Liverpool Oratorio.” Not surprisingly, some young British and American composers coming of age in the 1960s and 70s credit the Beatles as an influence. One elegant set of solo guitar arrangements of Lennon-McCartney tunes even came from Japan, courtesy of the eminent Japanese composer (and Beatles fan) Toru Takemitsu. Music Played in Today's Program Lennon and McCartney (arr. Toru Takemitsu) Here, There and Everywhere John Williams, guitar Sony 66704 On This Day Births 1585 - Baptismal date of German composer Heinrich Schütz, in Bad Löstritz; 1835 - French composer, conductor and pianist Camille Saint-Saëns, in Paris; 1914 - American composer Roger Goeb, in Cherokee, Iowa; 1938 - Finnish composer Einojuhani Rautavaara, in Helsinki; 1940 - John Lennon (of the Beatles), in Liverpool, England; Deaths 1999 - Jazz vibraphone virtuoso, Milt Jackson, age 76, in New York City; He was a member of the famous Modern Jazz Quartet; Premieres 1826 - Rossini: opera, "The Siege of Corinth," at the Paris Opéra; 1891 - Dvorák: "Requiem," Op. 89, in Birmingham, England; 1896 - Dvorák: String Quartet No. 13 in G, Op. 106, in Prague, by the Bohemian Quartet; 1921 - Janácek: "Taras Bulba" (after Gogol), in Brno; 1955 - Shostakovich: Violin Concerto No. 1, by the Leningrad Philharmonic conducted by Yevgeny Mravinsky, with David Oistrakh the soloist; 1963 - Henze: Symphony No. 4 in Berlin, with the composer conducting; 1980 - Jon Deak: Concerto for Oboe d'amore and Orchestra, by the New York Philharmonic conducted by Zubin Mehta with Thomas Stacy as soloist; 1985 - Anthony Davis: opera "X: The Life and Times of Malcolm X," in Philadelphia; The opera's New York City Opera premiere occurred the following year on September 28, 1986; 1986 - Andrew Lloyd-Webber: musical "Phantom of the Opera," at Her Majesty's Theatre in London; The musical opened on Broadway at the Majestic Theater on January 26, 1988; 1987 - Corigliano: "Campane di Ravello" (Bells of Ravello) for orchestra (a birthday tribute to Sir Georg Solti), in Chicago, with Kenneth Jean conducting; 1992 - David Ott: Symphony No. 3, by the Grand Rapids (Michigan) Symphony, Catherine Comet conducting; 1997 - Robert X. Rodriguez: "Il Lamento di Tristano," by flutist Susan Morris De Jong and guitarist Jeffrey Van, at the University of Minnesota in Minneapolis; 1999 - Bolcom: opera "A View From the Bridge," by the Lyric Opera of Chicago, Dennis Russell Davies, cond. 1999 - Michael Torke: symphonic oratorio "Four Seasons," at Avery Fisher Hall in New York, by soloists, chorus, and the New York Philharmonic, Kurt Masur conducting; Others 1973 - Leonard Bernstein gives the first of six lectures entitled "The Unanswered Question," as the Charles Eliot Norton Professor of Poetry at Harvard University. Links and Resources On The Beatles

In this second episode of Wise Music, hosts Dave Holley and Gill Graham speak to Wise Music composer Nico Muhly, beaming in from Paris. Freshly cooked and piping hot gourmet dishes on the conversational menu today include a run-through Nico's "fantastic" studio in New York and his trusty mobile rig (includes globally-scattered MIDI keyboard collection!), diligent daily writing discipline ("I'm scared that if I didn't write every day I'd forget how to do it!"), the all-important routine at home in NYC, coping with lockdown and the works that it scuppered, composing for Pachinko, what it's like to live across the street from one of Central London's most notorious nightclubs, and an overview of the best things to eat in the French capital.Excerpts of Nico's work included in this podcast:10:20 - Seaside, from Howards End OST20:24 - Train, from Pachinko - Season 1 OST24:27 - Shrink II. Sixths 30:30 - The Wedding, from Pachinko - Season 1 OST35:34 - Hansu Sees Sunja, from Pachinko - Season 1 OST37:04 - In A Mist, from Howards End OSTNico Muhly, born in 1981, is an American composer who writes orchestral music, works for the stage, chamber music and sacred music. He's received commissions from The Metropolitan Opera: Two Boys (2011), and Marnie (2018); Carnegie Hall, the Los Angeles Philharmonic, The Australian Chamber Orchestra, the Tallis Scholars, and King's College, Cambridge, among others. He is a collaborative partner at the San Francisco Symphony and has been featured at the Barbican and the Philharmonie de Paris as composer, performer, and curator. An avid collaborator, he has worked with choreographers Benjamin Millepied at the Paris Opéra Ballet, Bobbi Jene Smith at the Juilliard School, Justin Peck and Kyle Abraham at New York City Ballet; artists Sufjan Stevens, The National, Teitur, Anohni, James Blake and Paul Simon. His work for film includes scores for for The Reader (2008) and Kill Your Darlings (2013), and the BBC adaptation of Howards End (2017). Recordings of his works have been released by Decca and Nonesuch, and he is part of the artist-run record label Bedroom Community, which released his first two albums, Speaks Volumes (2006) and Mothertongue (2008).https://nicomuhly.com/ Hosted on Acast. See acast.com/privacy for more information.

Synopsis We tend to think of Paris as the most sophisticated and worldly of European capitals – a city whose residents are unlikely to be shocked by anything they see or hear. Ah, but that's not always the case, as poor Hector Berlioz discovered on today's date in 1838, when his new opera “Benvenuto Cellini” premiered at the Paris Opéra. One line in the libretto about the cocks crowing at dawn was considered, as Berlioz put it, “belonging to a vocabulary inconsistent with our present prudishness” and provoked shocked disapproval. And that was just the start of a controversy that raged over both the morality and the music of this new opera. Following the dismal opening night, Berlioz wrote to his father: “It's impossible to describe all the underhanded maneuvers, intrigues, conspiracies, disputes, battles, and insults my work has given rise to… The French have a positive mania for arguing about music without having the first idea – or even any feeling – about it!” From the fiasco of the opera's premiere, however, Berlioz did retrieve some measure of success. His famous contemporaries Paganini and Liszt both admired the work – and said so – and one flashy orchestral interlude from “Benvenuto Cellini” did prove a lasting success when Berlioz recast it as a concert work: his “Roman Carnival Overture.” Music Played in Today's Program Hector Berlioz (1803-1869) –Benvenuto Cellini and Roman Carnival Overtures (Staatskapelle Dresden; Sir Colin Davis, cond.) BMG/RCA 68790

Synopsis A fiery horse with the speed of light, a cloud of dust, and a hearty “Hi-yo, Silver!” Generations of American baby boomers first heard Rossini's “William Tell” Overture as the opening credits of the old Lone Ranger TV western, but we suspect only a few of them ever realized the overture by an Italian composer was written for a French opera about a Swiss archer, which was adapted from a German play by Friedrich Schiller. Like a Facebook relationship, “It's complicated.” Anyway, Rossini's “William Tell” was first heard in Paris on today's date in 1829. Rossini hoped “William Tell” would be considered his masterpiece. Ironically, the complete opera is only rarely staged these days, but the “William Tell” overture became a familiar concert hall showpiece – SO familiar, in fact, as to become something of a musical cliché. The Russian composer Dimitri Shostakovich gave a dark 20th-century spin to Rossini's overly familiar theme, when he quoted the “William Tell” overture in the opening movement of his Symphony No. 15. In the context of Shostakovich's enigmatic final symphony, Rossini's jaunty little theme comes off like a forced smile, and audiences are free to read whatever political subtext they wish into its rather sinister context. Music Played in Today's Program Gioacchino Rossini (1792-1868) –William Tell Overture (Philharmonia Orchestra; Carlo Maria Giulini, cond.) EMI 69042 Dimitri Shostakovich (1906-1975) –Symphony No. 15 in A, Op. 141 (London Philharmonic; Mariss Jansons, cond.) EMI 56591 On This Day Births 1884 - Russian-born American composer Louis Gruenberg, near Brest-Litovsk (Julian date: July 22); 1896 - Russian inventor Lev Sergeivitch Termen (anglicized to Leon Theremin) in St. Petersburg (Gregorian date: August 15) Deaths 1784 - Italian composer and teacher Giovanni Battista Martini, age 78, in Bologna; His students included Gluck, Mozart, Grétry, and Jommelli; Premieres 1829 - Rossini: opera, "Guillaume Tell" (William Tell), at the Paris Opéra; 1941 - Robert Russell Bennett: Symphony in D ("For the Dodgers"), in New York; 1961 - John Cage: "Atlas Eclipticalis," at the "International Week of Today's Music," in Montréal; 1967 - Lalo Schifrin: cantata, "The Rise and Fall of the Third Reich" (adapted from the composer's filmscore) by the Los Angeles Philharmonic at the Hollywood Bowl, with Lawrence Foster conducting; Others 1668 - German composer Dietrich Buxtehude marries the daughter of Franz Tunder, retiring organist at St. Mary's Church in Lübeck, as a condition to succeed Tunder in his position at St. Mary's; It is thought that both Handel and J.S. Bach were both interested in the position - but not in Tunder's daughter; 1778 - Milan's famous Teatro alla Scala (La Scala) opens with a performance of “L'Europa riconosciuta” by Italian opera composer Antonio Salieri, a work written specially for the occasion; The theater took its name from the site previously occupied by the church of Santa Maria della Scala (named after Bernabo Visconti's wife, Beatrice della Scala); This same opera, conducted by Riccardo Muti, was performed on Dec. 7, 2004 at the Gala reopening of La Scala after three years of major renovation; 1779 - Mozart finishes in Salzburg his "Posthorn" Serenade; 1795 - The Paris Conservatory of Music is founded by the National Revolutionary Convention. Links and Resources On Rossini On other famous radio themes

Iphigénie en Tauride was first performed on 18 May 1779 by the Paris Opéra at the second Salle du Palais-Royal and was a great success. Some think that the head of the Paris Opéra, Devismes, had attempted to stoke up the rivalry between Gluck and Niccolò Piccinni, an Italian composer also resident in the French capital, by asking them both to set an opera on the subject of Iphigenia in Tauris. In the event, Piccinni's Iphigénie en Tauride was not premiered until January 1781 and did not enjoy the popularity that Gluck's work did.Purchase the music (without talk) at:Gluck: Iphigénie en Tauride (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Synopsis While many great composers have also been great conductors, this can be the exception rather than the rule. On today's date in 1959, the American composer Ned Rorem tried his hand at conducting the premiere of one of his own compositions, a chamber suite entitled “Eleven Studies for Eleven Players.” Rorem recalled: “I learned that the first requisite to becoming a conductor is an inborn lust for absolute monarchy, and that I, alone among musicians, never got the bug. I was terrified. The first rehearsal was a model of how NOT to inspire confidence. I stood before the eleven players in all my virginal glory, and announced: ‘I've never conducted before, so if I give a wrong cue, do try to come in right anyway.'” Fortunately for Rorem, his eleven musicians were accomplished faculty at Buffalo University, and, despite his inexperience, Rorem certainly knew how his new piece should sound. Rorem's Suite incorporated a few bits recycled from music he had written for a successful Broadway hit—Tennessee Williams' “Suddenly Last Summer”—plus a bit from an unsuccessful play entitled “Motel” that never made it past a Boston tryout. Rorem's own tryout as a conductor convinced him to stick to composing, although he proved to be a fine piano accompanist for singers performing his own songs. As for “Eleven Studies for Eleven Players,” it's gone on to become one of Rorem's most-often performed chamber works. Music Played in Today's Program Ned Rorem (b. 1923) — Eleven Studies for Eleven Players (New York Chamber Ensemble; Stephen Rogers Radcliffe, cond.) Albany 175 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Rorem NY Times feature on Rorem at 95

Paris Opéra 2 July 2021 Broadcast Andreas Schager Chœur & Orchestre de l'Opéra national de Paris Conductor: Philippe Jordan

William Tell is a French-language opera in four acts by Italian composer Gioachino Rossini to a libretto by Victor-Joseph Étienne de Jouy and L. F. Bis, based on Friedrich Schiller's play Wilhelm Tell, which, in turn, drew on the William Tell legend. The opera was Rossini's last, although he lived for nearly 40 more years. Fabio Luisi said that Rossini planned for Guillaume Tell to be his last opera even as he composed it.  The often-performed overture in four sections features a depiction of a storm and a vivacious finale, the "March of the Swiss Soldiers".Paris Opéra archivist Charles Malherbe discovered the original orchestral score of the opera at a secondhand book seller's shop, resulting in its being acquired by the Paris Conservatoire.Conducted by Kathryn CavanaughCMD Grand Opera Company of VenicePurchase the music (without talk) at:Rossini: William Tell (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Twenty years ago, in the early hours of new year's day, a young artist tumbled off the Eurostar, ready to begin a new life in London. Hofesh Shechter grew up in Israel but had been living in Paris, and considered making dance as a showcase for his music. Instead, his unmistakable dance pieces – visceral and propulsive, witty and vulnerable – have made him one of the most distinctive modern choreographers, bringing the energy of a gig to often solemn contemporary dance. Political Mother, the title of perhaps his best-known piece, suggests how Hofesh's work can feel both public and private. But how does it feel to him? About Hofesh Shechter Hofesh Shechter, one of the most exciting contemporary choreographers, is renowned for composing atmospheric musical scores to compliment the unique physicality of his movement. Artistic Director of the Hofesh Shechter Company, formed in 2008, he is also an Associate Artist of Sadler's Wells. His repertoire for the company includes Uprising, In your rooms, Political Mother, Grand Finale (Olivier Award nomination) and most recently Double Murder. He works with leading international companies including Alvin Ailey, Batsheva, Candoco, Paris Opera Ballet and The Royal Ballet. He has choreographed for theatre, television and opera, including Fiddler on the Roof on Broadway (Tony Award nomination), and was awarded an OBE in 2018.Find out more about the work of the RAD: https://bit.ly/3KcB5UBFollow the RAD on social media, and join the conversation with host David JaysInstagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjaysSign up to our mailing list: https://bit.ly/3frWPh9RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign: https://bit.ly/3fnxEwm or make a donation: https://bit.ly/3bxA6z5 UK and international tour details for Hofesh Shechter Company and Shechter II UK are at https://bit.ly/3qpNehtHofesh Shechter double bill at Paris Opéra: https://bit.ly/3Iq9cH3 See acast.com/privacy for privacy and opt-out information.

Synopsis On today's date in 1968, a 72-year-old Italian-born American composer named Mario Castelnuovo-Tedesco died in Beverley Hills. As a young man, Castelnuovo-Tedesco was already known as a rising composer, concert pianist, music critic and essayist. In 1939 he left Mussolini's Italy and came to America, and like a lot of European musicians of the time, he found work writing film scores for major Hollywood studios. Castelnuovo-Tedesco became an American citizen, and eventually taught at the Los Angeles Conservatory, where his pupils included many famous names from the next generation of film composers, including Jerry Goldsmith, Henry Mancini, Andre Previn, Nelson Riddle and John Williams. In addition to film scores, Castelnuovo-Tedesco composed a signifigant body of concert music, including concertos for the likes of Heifetz and Segovia. A number of Castelnuovo-Tedesco's works are directly related to his Jewish faith, including a choral work from 1947, entitled “Naomi and Ruth.”  The composer's mother was named Naomi, and he claimed the faithful Ruth in the Biblical story reminded him of his own wife, Clara. “In a certain sense,” he wrote, “it was really my symbolic autobiography, existing before I decided to write – to open my heart – in these pages.” Music Played in Today's Program Mario Castelnuovo-Tedesco (1895 - 1968) — Naomi and Ruth (St.Martin's Academy and Chorus; Sir Neville Marriner, cond.) Naxos 8.559404 On This Day Births 1937 - American composer David Del Tredici, in Cloverdale, Calif.; Deaths 1736 - Italian composer Giovanni Battista Pergolesi, age 26 (of consumption), in Pozzuoli; 1881 - Russian composer Modest Mussorgsky (Gregorian date: Mar. 28) 1968 - Italian-born American composer Mario Castelnuovo-Tedesco, age 62, in Los Angeles; 1985 - American composer Roger Sessions, age 88, in Princeton, N.J.; Premieres 1735 - Handel: Organ Concertos Op. 4, nos. 2-3 (Julian date: March 5); 1750 - Handel: oratorio "Theodora," in London at the Covent Garden Theater; At the same event, the possible premiere of Handel's Organ Concerto Op. 7, no. 5, as well (Gregorian date: March 27); 1751 - Handel: oratorio "The Choice of Hercules" in London at the Covent Garden Theater; At the same event, Handel's Organ Concerto Op. 7, no. 3 premieres following Act II of a revival performance of Handel's cantata "Alexander's Feast" on the same program (Gregorian date: March 27); 1833 - Bellini: opera "Beatrice di Tenda" in Venice at the Teatro la Fenice; 1870 - Tchaikovsky: fantasy-overture "Romeo and Juliet," in Moscow, with Nicolas Rubinstien conducting (Julian date: Mar. 4); 1871 - Tchaikovsky: String Quartet in D, Op. 11, in Moscow, by members of the Russian Musical Society (Gregorian date: Mar. 28); 1879 - Dvorák: choral setting of Psalm No. 149, Op. 79, in Prague; 1888 - American premiere of the revised version of Bruckner: Symphony No. 4 ("Romantic"), with New York Philharmonic-Society conducted by Anton Seidl; In the preface to a book on Bruckner, the elderly conductor Walter Damrosch claimed he conducted the American premiere of this symphony (His memory played him false: Damrosch led the first American performance of Bruckner's THIRD Symphony; 1894 - Massenet: opera "Thaïs," at the Paris Opéra; 1938 - Martinu: opera "Julietta," in Prague at the National Theater; 1942 - Martinu: "Sinfonietta giocosa," for piano and chamber orchestra, in New York City; 2002 - Paul Schoenfield: "Nocturne" for solo cello, oboe and strings, by cellist Peter Howard, with oboist Kathryn Greenbank and the Saint Paul Chamber Orchestra, Gilbert Varga conducting. Links and Resources On Mario Castelnuovo-Tedesco

Synopsis On today's date in 1706, the German composer and organist Johann Pachelbel was buried in Nuremberg, the town where he was born some 53 years earlier. In his day, Pachelbel was regarded as an innovative composer of Protestant church music and works for harpsichord and organ. Pachelbel was acquainted with the Bach family, and was, in fact, the teacher of the teacher of J.S. Bach, and served as godfather to one J.S. Bach's older relations. Johann Pachelbel would be pretty much forgotten by most music lovers until late in the 20th century, when an orchestral arrangement of a little Canon he had written would suddenly become one of the best-known classical themes of our time. In 1979, the American composer George Rochberg, even included variations on Pachelbel's famous Canon as the 3rd movement of his own String Quartet No. 6. Like Bach, some of Johann Pachelbel's children also became composers, and one of them, Karl Teodorus Pachelbel, emigrated from Germany to the British colonies of North America.  As “Charles Theodore Pachelbel,” he became an important figure in the musical life of early 18th century Boston and Charleston, and died there in 1750, the same year as J.S. Bach. Music Played in Today's Program George Rochberg (b. 1918) — Variations on the Pachelbel Canon (Concord String Quartet) RCA/BMG 60712 On This Day Births 1737 - Bohemian composer Josef Mysliveczek, in Ober-Sarka; He was a friend and colleague of Mozart; 1839 - Russian composer Modest Mussorgsky (Gregorian date: Mar. 21); 1910 - American composer Samuel Barber, in West Chester, Pa.; 1930 - American composer and jazz saxophonist Ornette Coleman, in Forth Worth, Texas; Deaths 1706 - Burial date of German composer Johann Pachelbel, age c. 52, in Nuremberg; Premieres 1740 - Handel: oratorio "L'Allegro, il Penseroso, ed il Moderato," and Organ Concerto in Bb, Op. 7, no. 1, in London (Julian date: Feb. 27); 1748 - Handel: oratorio "Joshua," in London at the Covent Garden Theater; The event possibly included the premiere of Handel's "Concerto a due cori" No. 1 as well (Gregorian date March 20); 1842 - Verdi: opera "Nabucco" (Nabucodonosor), in Milan at the Teatro alla Scala; 1844 - Verdi: opera "Ernani," in Venice at the Teatro La Fenice; 1849 - Nicolai: opera "Die lustigen Weiber von Windsor" (after Shakespeare's play "The Merry Wives of Windsor"), in Berlin at the Königliches Opernhaus; 1868 - Thomas: opera "Hamlet," (after Shakespeare's play "Hamlet") at the Paris Opéra; 1877 - Tchaikovsky: symphonic-fantasy "Fancesca da Rimini," in Moscow (Julian date: Feb. 25); 1924 - Prokofiev: Piano Sonata No. 5 (first version), in Paris, by the composer; A revised version of this sonata premiered in Alma-Ata (USSR) on February 5, 1954, by Anatoli Vedernikov; 1930 - Weill: opera "Die Aufsteig und Fall der Stadt Mahagonny" (The Rise and Fall of the City of Mahagonny), in Leipzig at the Neues Theater; 1941 - Cowell: Symphony No. 2 ("Antropos"), in Brooklyn; 1951 - Honegger: Symphony No. 5 ("Di tre re"), by the Boston Symphony, Charles Munch conducting; 1980 - Earle Brown: "Caldar Piece," for percussionists and mobile, in Valencia, Calif.; 1982 - Berio: opera "La vera storia" (The True Story), in Milan at the Teatro alla Scala; Others 1831 - Italian violin virtuoso Nicolo Paganini makes his Parisian debut a the Opéra; Composers in the audience include Meyerbeer, Cherubini, Halvéy; and Franz Liszt (who transcribes Pagnini's showpiece "La Campanella" for piano); Also in attendance are the many famous novelists and poets, including George Sand, Victor Hugo, Alfred de Mussset and Heinrich Heine. Links and Resources On Johann Pachelbel On George Rochberg

Voted on by our Patreon, we dive into the deadly side of sculpture, painting, ballet and more! 01:36 Blucifer 04:00 Get the lead out 10:00 Ballet blazes 20:45 Death by a thousand face 26:43 The Conqueror and the conquered Links to all the research resources are on the website. Hang out with your fellow Brainiacs.  Reach out and touch Moxie on Facebook, Twitter,  or Instagram.  Become a patron of the podcast arts! Patreon or Ko-Fi.  Or buy the book and a shirt. Music: Kevin MacLeod, David Fesilyan, Dan Henig. and/or Chris Haugen. Sponsors:  Dumb People with Terrible Ideas, History Obscura, Sambucol Want to start a podcast or need a better podcast host?  Get up to TWO months hosting for free from Libsyn with coupon code "moxie." In 2013, Canadian artist Gillian Genser started to feel sick and for two years, no doctor one could determine why.  Agitation, headaches, and vomiting gave way to hearing loss and memory problems.  Finally, Genser was diagnosed with heavy metal poisoning.  But she didn't sculpt or work with metal; she worked with seashells.  My name's… Art is beauty, art is life, art is what breathes magic into the mundane.  We've all seen the bumper sticker that say “without art, the Earth is eh.”  But what that pithy bit of sticky-backed vinyl doesn't tell you is that art is also absolutely fraught with danger and sometimes, art can be death, too.  topic voted on by Patreon   We opened with a sculptor, so let's start there.  It's also the most obvious one, to my mind, and I like to get obvious stuff out of the way so we can get to that sweet, sweet obscura.  If you've ever flown into Denver airport –perhaps to investigate for yourself the truly boggling number of conspiracy theories around it– you'd be hard-pressed to miss the 32 ft/9.7m tall blue fiberglass horse sculpture, complete with glowing red eyes.  Love it or hate it (and many people do), the statue officially called The Mustang but colloquially known as “Blucifer” is eye-catching.  And life-ending.   The man behind this now iconic piece was Luis Jiménez, who grew up working in his father's neon sign shop – Blucifer's glowing red eyes are actually a hat-tip to his father – wanted the piece to feel more blue-collar and less artsy.  The specific inspiration came from waking in the night to a noise in the living room, only to discover their blue Apolloosa horse had somehow gotten into the house.  An actually blue Apolloosa isn't as blue as Blucifer would be – that's a nod to the art of Jimenez's Latin-American forebears.    The enormous sculpture is made up of three pieces – the head, torso and hindquarter – in total weighing 4.5 tons.  The 65 year old Jimenez had just declared the head to be complete when a section being moved from his studio came loose and pinned him against a steel support, severing an artery in his leg, resulting in fatal exsanguination.  Blucifer had to be finished posthumously by his family, friends, and professional lowriders and racecar painters Richard LaVato and Camillo Nuñez.  I and we should really stop calling The Mustang “Blucifer,” btw the way.  Jimenez widow and executor of his estate Susan keeps an understandably close eye and firm hand on how The Mustang is used, refusing almost all requests to license the image.   Okay, sculpture is inherently dangerous.  Maybe we should stick to something safer, like painting.  C'mon, we're three minutes into the episode, you know that's a fake-out.  Ah, I could never put anything past you.  Paints have a long and storied history of being made out of things that are antithetical to good health and long life.  Ancient Romans and medieval monks alike used cinnabar for its rich red color, never knowing the dangers of preparing and working with what is actually mercury ore.  Similar problem with its replacement, vermillion, which can combine with elements in the air to form mercury chloride.  It's any wonder the moniker “mad monk” was still available when Rasputin came along.  Even the cadmium red that you can buy today is not without concern, as authorities in Sweden want to see it banned for contaminating the water supply from artists washing their brushes.  Fellow lovers of the macabre side of history will probably know about Scheele's Green, an extremely popular dye used in wallpaper, dress fabric, toys and even food.  Unfortunately for everyone caught up in this early 19th century fad, it got its vibrant color from an arsenic compound.  There are adherents to the theory that Scheele's Green wallpaper is what killed Napoleon Bonaparte in his exile-home on the island of Saint Helena.  As the wallpaper molded from humidity, it released arsenic into the air.  The more time Boney spent in bed, the sicker he got, and the more time he spent in bed.  Lather, rinse, repeat until you have a dead former emperor.   The grand-pappy of all paint problems is plumbum, aka lead.  If you've purchased a house, at least in the US, built before 1970-whatever, you got a written warning about the possibility of lead-based paint.  Lead in paint goes waaay back, like 4th century BCE way back, and the health risks to the artistic set have been known since the 1700s, though it would still take a century or two for people to connect the condition with the cause.  It's suspected that some of the great Western masters like Michelangelo, Caravaggio, and Goya suffered from some form of lead poisoning.  Lead poisoning was in a tie with syphillis for suspected causes of Caravaggio's death, until recent studies of his bones found he probably died of sepsis, having picked up staphylococcus from a sword wound, like you do.  Ah the good old days, when life was simple, everyone ate local, organic food, and you died at the ripe old age of minor injury.  At least, researchers are pretty sure the bones are his.  Sometimes science isn't an exact science.   The 1834 London Medical and Surgical Journal describes this “painter's colic” as sharp stomach pains occurring in patients with no other evidence of intestinal disease.  Learned types called it  saturnism, derives from the alchemic name for lead.  While typesetters, tinkers, and, as anyone who's learned five minutes of Roman history will attest, drinkers of leaded wine fell victim to saturnism, the disease was most widespread among those who worked with paint.  What do those long hours slaving away over a hot canvas get you?  Tell ‘em what they've won!  A “cadaverous-looking” pallor, tooth loss, fatigue, painful stomach aches, partial paralysis, and gout!   While you can't and shouldn't try to diagnose someone you've never examined(especially if you're, you know, not a doctor), there are those who firmly believe that the troubled Vincent van Gogh suffered as pitifully as he did in life because of lead poisoning.  He apparently had the habit of licking his paint brushes to get a fine tip, a technique that often carries a high cost.  It mightn't have been as unpleasant as it sounds to lick a brush that already has paint on it – lead has a sweet taste, hence its use in wine.  Others think Van Gogh might have suffered from epilepsy and bipolar disorder, but Julio Montes-Santiago, a Spanish internist who evaluated the existing evidence of lead poisoning among artists across five centuries for his paper in Progress in Brain Research, argues that lead poisoning likely contributed to his delusions and hallucinations.  Meanwhile, other scholars have disputed the lead poisoning hypothesis, arguing that the root of Van Gogh's distress was porphyria, malnutrition, absinthe abuse or some combination thereof.     The best evidence for lead poisoning among artists comes from the relatively recent case of, the 20th-century Brazilian painter Candido Portinari, creator of *massive murals.  Portinari used paints that were similar to those used by Van Gogh and was diagnosed with saturnism after bleeding in his stomach put him in the hospital in 1954.  His doctors strongly urged him to change to safer modern paints, but he dramatically complained, “They forbid me to live!”  He did try other media, but ultimately returned to his old paints, dying 8 years later.     You might think flat-out telling someone “that thing you make art with is literally killing you” would have some effect, but if you do, you don't know human beings very well.  We want what we want when we want it.  Combine that with how the slightest taste of success drives us headlong down our chosen path, and you have conditions ripe for disaster.  Don't think dangers are confined to visual arts, either.  Dance can be deadly too.   Problem one: the nature of dance costumes in general and ballet costumes specifically.  They're meant to be flowy and ephemeral, often meant to invoke a sense of otherworldliness, and therein lies the problem.  “If you imagine a sheet of newspaper and a hunk of wood, essentially, chemically, they are the same. But one will catch light way more quickly than the other,” says Martin Bide, a professor in the textiles, fashion merchandising, and design department at the University of Rhode Island.  “So if you have a very flimsy, flowing something that mixes well with air, it will burn quite readily.”    Problem two: the specific fabrics that were popular when spontaneous dancer combustion was an issue.  Bobbinet, cotton muslin, gauze, and tarlatan were all diaphanous materials that could be made more cheaply thanks to the machines of the industrial revolution, helping to make them more common on stage and off.  But their open weave also made them super flammable. They caught readily and burned *quickly.  So it was less like “Mais non, Lisette's tutu has caught fire.  Let us help her put it out.” and more like “Mon Dieu, Lisette– now I'm on fire too!”  In one instance in 1861, at least six ballet dancers died when they tried to help one dancer whose costume caught fire backstage. Sometimes entire theaters would burn down from a single piece of clothing catching.   Problem three: the lights.  We're talking about the era where candles were giving way to gas footlights, neither one of which is good to have sitting at the ankles of someone flitting about in a flowy dress.  Bonus fact: the term “to gaslight” may seem like it came out of nowhere five years ago, but it actually dates back to a play in 1938 called Gas Light, in which a husband messes with the lights in the house and tells his wife she's seeing things when she comments.   Perhaps the most famous case of this tragic accident was Emma Livry who made her Paris Opéra debut in 1858 at age 16.  She was a prodigy and immediately rose to great fame.  In 185*9, imperial decree demanded that all sets and costumes be flameproofed with the best method available at the time, carteronizing, treating the fabric with flame-retardant chemicals.  This would make them relatively safe.  But the ballerinas refused to use it.  Many refused to perform in costumes or tutus that had been treated, as the process left the fabric dingy-looking and stuffer.  “I insist, sir, on dancing at all first performances of the ballet in my ordinary ballet skirt,” Livry wrote to the Paris Opéra's director in 1860 in a formal declaration of independence.  This wasn't a point she'd be able to argue for too long.    On Nov. 15, 1862, Livry fluffed her skirts too close to a gas lamp and nearly instantly was engulfed in flames.  Another dancer and a fireman tried to save her as she ran frantically around, but by the time they smothered the flames with a blanket, she had suffered burns to 40% percent of her body.  The heat was so intense that her corset fused into her flesh.  She would die of sepsis while recovering.  Many dance scholars pinpoint Livry's demise as the end of France's dominant role in ballet, but it also inspired better safety measures: new designs for gas lamps, the invention of flame-retardant gauze and wet blankets hung in the wings just in case.    It wasn't only dancers whose lives were fraught with flames.  The fashions and materials of the time put all women of middling-and-higher socio-economic status in extraordinary danger.  In 1860, British medical journal the Lancet estimated that 3,000 women died by fire in a single year.  It wasn't just the fabric, but also the shape of the dresses that caused women's clothing to erupt in flames.  The popular silhouette in the 1850s was a giant bell shape, like Scarlett O'Hara in her curtain dress.  To get that voluminous shape, women used a cage crinoline, a contraption introduced in the 1850s generally made from hoops that were attached with tape and then fastened around the waist.  The crinoline allowed women to shed layers of petticoats they used to have to wear to get that shape, creating freedom of movement for their legs, as well as creating a boundary around them, letting them take up space in the world.  Unfortunately, this full skirt, and the air underneath it, created a funnel for fire, essentially a chimney, with you standing in the middle of it.   MIDROLL?   Lon Chaney, the first real horror movie star, was known as "The Man Of A Thousand Faces," and he earned it.  He was a pioneer in movie makeup, and in behind the scenes suffering.  For Chaney, the art of acting was the art of continual transformation, from pirate to Chinese shipwreck survivor, Russian revolution peasant to circus clown, to crusty railroad engineer to bell tower hunchback.  People used to joke, “Don't step on that spider! It might be Lon Chaney!”   In his efforts to bring his characters to screen with the greatest realism, Chaney employed painful techniques to distort and obscure his physical features, like a special harness to keep his legs bound tightly behind him to play a double amputation in The Penalty, which caused broken blood vessels.  His Quaisomodo costume didn't include the 70 or 90lb rubber hump of the urban legend, just a 20 pound hump made of plaster that he had to carry on one shoulder all day, but the role did cause permanent partial vision loss in one eye due to the putty and adhesive tape.   In a 1991 interview with Patsy Ruth Miller, The Hunchback of Notre Dame's Esmerelda, the actress conjectured that pain was part of Chaney's process. "I felt that he almost relished that pain," Miller said. "...It gave him that feeling he wanted to have of a tortured creature."  The Phantom of the Opera's wire-frame nasal appliance left him bleeding.  The primitive contact lenses he used to simulate blindness caused real damage to his eyes, necessitating glasses.   If I didn't list a role and its accompanying injury here specifically, it's safe to assume that it did some damage to his back or joints, either through weight, constriction or being twisted into an unnatural position for long periods of time.   In 1929, filming the movie Thunder, a piece of artificial snow lodged in his throat and worsened an already nasty infection.  Doctors took his tonsils out, but his throat continued to bother him.  Despite this, he filmed his first talkie, The Unholy Three, a film about three circus performers who decide to go into the crime business together, in 1930.  When filming was complete, he traveled to New York where it was discovered he had bronchial cancer, then came pneumonia and it was a sadly rapid deterioration until his death that August.   Now if I've told you once, I've told you a dozen times, correlation doesn't equal causation, so why do I mention a piece of fake snow in a way that clearly implies the snow is to blame for causing or at least hastening Chaney's death?  Because, while that fake snow *could have been  feathers, cotton, paper, gypsum or even instant potato flakes, right up until the end of the 1950's Hollywood's favorite fake snow… was asbestos.   Quick science lesson: Asbestos, once considered the “Magic Mineral” for its flexible fibers that are resistant to heat, electricity, and corrosion, was highly sought after in the early twentieth century. It made for the perfect fake snow on movie sets because it was water- and fireproof, lightweight, didn't melt, and was easy to handle.  But it was far from safe.  There is no safe level of exposure to asbestos, which causes deadly illnesses including mesothelioma and cancers of the lung, larynx, and ovaries.    In order to create winter scenes in many old Hollywood movies, film makers used pure white asbestos fibers to replicate the look of snow.  As the fake snow consisted of pure white asbestos fibers, it proved very dangerous when inhaled, which becomes extremely likely when you're dropping it from the rafters on people or blowing it around with industrial fans.  The use of asbestos was actually a suggestion from, I promise you you'll never guess, the LA fire department, as an alternative to the inherently flammable cotton being used at the time.  The asbestos snow had brand names like ‘White Magic', ‘Snow Drift' and ‘Pure White'.  And yes, it absolutely was used in The Wizard of Oz, though ironically it probably wouldn't make the top ten of awful things that happened to that cast, or even to Judy Garland alone.  Hearing about how the studio execs treated her would break your heart.   The biggest name you'd probably recognize who died from the asbestos related lung disease, mesothelioma was the king of cool, Steve McQueen.  He was diagnosed in 1979 and died in 1980, fully sure in his heart that stage insulation and stunt clothing he often wore, which were made of asbestos fibers, were responsible for his illness.  I could easily do a whole episode on accidentals on movie sets – I was a hormone-ravaged teenager when Brandon Lee died tragically on the set of The Crow (and I've wondered ever since if anyone would have seen or remembered the movie if it had gone off without a hitch).  And while sudden deaths fit the brief and you can read about several in the YBOF book chapter Lights, Curses, Action, I prefer the slow burn.   There are a lot of factors to consider when making a movie and choosing the right location to shoot a film is a pivotal decision.  You have to take into account things like lighting conditions, availability of utilities, and proximity to noisy things such as airports.  What you should not have to consider is the radiation level, but you should not ignore it either.  The producers of the film 1956 movie The Conqueror chose an area of Utah desert a hundred miles away from the Nevada Test Site.  (They also chose to cast John Wayne as Genghis Khan.)   Throughout the 1950's, approximately 100 nuclear bombs of varying intensities were detonated at the Nevada Test Site.  The mushroom clouds could reach tens of thousands of feet high; desert winds would carry radioactive particles all the way to Utah.  The area in which The Conqueror filmed was likely blanketed in this dust.   The Conqueror, co-starring Susan Hayward, Agnes Moorehead, and Pedro Armendáriz, was a moderate box office success, but a critical failure and soon found itself on ‘worst films of all time' lists.  The true legacy of the film had yet to be revealed.  Of the 220 people who worked on the production, 92 developed some form of cancer, with 46 dying of it, including Wayne, Hayward, Moorehead, and Armendáriz.  The director, Dick Powell, died of lymphoma in 1963.  Wayne developed lung cancer and then the stomach cancer that would ultimately kill him in 1979.  Wayne would remain convinced that his chain-smoking was to blame for the cancers, even as friends tried to convince him it was from exposure to radiation.  Wayne's sons, who visited the set during filming and actually played with Geiger counters among the contaminated rocks, both developed tumors.  Susan Hayward died from brain cancer in 1975 at 57.   The authorities in 1954 had declared the area to be safe from radioactive fallout, even though abnormal levels of radiation were detected.  However, modern research has shown that the soil in some areas near the filming site would have remained radioactive for sixty years.  Howard Hughes, producer of The Conqueror, came to realize in the early 1970's that people who have been involved with the production were dying.   As the person who approved the filming location, Hughes felt culpable and paid $12 million to buy all existing copies of the film.  Though the link between the location and the cancers that cannot be definitely proven, experts argue that the preponderance of cases goes beyond mere coincidence.   And that's… Sculptor Gillian Genser used mussel shells in her work, sanding and grinding them, and they likely came from water contaminated with industrial waste.  After 15 years, she had built up high levels of arsenic and lead in her blood.  She will "never fully recover," in her own words, but she did complete her mussel-sculpture, a depiction of the biblical Adam, link in the show notes. She calls him her "beautiful death." Sources: https://www.ozy.com/true-and-stories/the-ballet-girls-who-burned-to-death/71244/ https://www.racked.com/2017/12/19/16710276/burning-dresses-history https://www.oddee.com/item_99203.aspx https://bookshop.org/books/your-brain-on-facts-things-you-didn-t-know-things-you-thought-you-knew-and-things-you-never-knew-you-never-knew-trivia-quizzes-fun-fa/9781642502534 https://www.armco.org.uk/asbestos-survey-news/asbestos-was-used-as-fake-snow-in-many-old-hollywood-movies/ https://www.grunge.com/267772/the-amazing-life-and-tragic-death-of-lon-chaney/ https://www.dogfordstudios.com/killer-art-art-that-has-actually-killed-people/ https://news.artnet.com/art-world/7-deadly-art-materials-to-watch-out-for-1081526 https://www.theatlantic.com/health/archive/2013/11/how-important-is-lead-poisoning-to-becoming-a-legendary-artist/281734/ https://noahchemicals.com/blog/the-toxic-histories-of-five-famous-pigments/ https://www.dogfordstudios.com/killer-art-art-that-has-actually-killed-people/ https://owlcation.com/stem/Cinnabar-A-Beautiful-But-Toxic-Mineral-Ore-and-Pigment https://www.asbestosdiseaseawareness.org/newsroom/blogs/its-snowing-asbestos-the-haunting-truth-about-the-white-christmas-killer-set-and-continued-imports-and-use/ https://www.cpr.org/2019/11/04/everything-you-ever-wanted-to-know-about-blucifer-the-demon-horse-of-dia https://www.burlington-record.com/2021/06/11/blucifer-just-turned-13-but-the-family-of-the-artist-who-died-creating-it-would-prefer-you-dont-call-it-that/ https://www.livescience.com/64224-sculptor-unknowingly-poisons-herself-with-her-own-art.html

durée : 00:03:38 - Les Envies du week-end - par : Caroline Broué - Beaucoup de réjouissances festives pour se donner du baume au coeur en cette période de fin d'année alourdie par la crise sanitaire

durée : 00:03:38 - Les Envies du week-end - par : Caroline Broué - Beaucoup de réjouissances festives pour se donner du baume au coeur en cette période de fin d'année alourdie par la crise sanitaire

Synopsis On today's date in 1999, the Lyric Opera of Chicago premiered a new opera by the American composer William Bolcom, based on “A View from the Bridge,” a powerful play by Arthur Miller. Now, not all stage plays “translate” well into opera, as Bolcom was well aware: “In theater, you have the text and then below it you have the subtext,” said Bolcom. “In opera it is pretty much the opposite, the subtext is what you are really dealing with first and foremost: big, raw emotions, which are supported by the text. In fact, Miller's play, although set in Brooklyn in the 1950s, has often been likened to a Greek tragedy, a theatrical form in which the chorus plays an important role. Bolcom saw that as a real opportunity: "If you are going to do an opera from a play, it better have a dimension that the play doesn't. In a play, you can't have your chorus speak because it is financially prohibitive: as soon as the chorus opens up its mouth the price goes up because of actors' equity. So, naturally one of the great resources of opera houses is an opera chorus, a resource you CAN use much more easily." Music Played in Today's Program William Bolcom (b. 1938) — A View from the Bridge (Lyric Opera of Chicago; Dennis Russell Davies, cond.) New World 80558 On This Day Births 1585 - Baptismal date of German composer Heinrich Schütz, in Bad Löstritz; 1835 - French composer, conductor and pianist Camille Saint-Saëns, in Paris; 1914 - American composer Roger Goeb, in Cherokee, Iowa; 1938 - Finnish composer Einojuhani Rautavaara, in Helsinki; 1940 - John Lennon (of the Beatles), in Liverpool, England; Deaths 1999 - Jazz vibraphone virtuoso, Milt Jackson, age 76, in New York City; He was a member of the famous Modern Jazz Quartet; Premieres 1826 - Rossini: opera, "The Siege of Corinth," at the Paris Opéra; 1891 - Dvorák: "Requiem," Op. 89, in Birmingham, England; 1896 - Dvorák: String Quartet No. 13 in G, Op. 106, in Prague, by the Bohemian Quartet; 1921 - Janácek: "Taras Bulba" (after Gogol), in Brno; 1955 - Shostakovich: Violin Concerto No. 1, by the Leningrad Philharmonic conducted by Yevgeny Mravinsky, with David Oistrakh the soloist; 1963 - Henze: Symphony No. 4 in Berlin, with the composer conducting; 1980 - Jon Deak: Concerto for Oboe d'amore and Orchestra, by the New York Philharmonic conducted by Zubin Mehta with Thomas Stacy as soloist; 1985 - Anthony Davis: opera "X: The Life and Times of Malcolm X," in Philadelphia; The opera's New York City Opera premiere occurred the following year on September 28, 1986; 1986 - Andrew Lloyd-Webber: musical "Phantom of the Opera," at Her Majesty's Theatre in London; The musical opened on Broadway at the Majestic Theater on January 26, 1988; 1987 - Corigliano: "Campane di Ravello" (Bells of Ravello) for orchestra (a birthday tribute to Sir Georg Solti), in Chicago, with Kenneth Jean conducting; 1992 - David Ott: Symphony No. 3, by the Grand Rapids (Michigan) Symphony, Catherine Comet conducting; 1997 - Robert X. Rodriguez: "Il Lamento di Tristano," by flutist Susan Morris De Jong and guitarist Jeffrey Van, at the University of Minnesota in Minneapolis; 1999 - Bolcom: opera "A View From the Bridge," by the Lyric Opera of Chicago, Dennis Russell Davies, cond. 1999 - Michael Torke: symphonic oratorio "Four Seasons," at Avery Fisher Hall in New York, by soloists, chorus, and the New York Philharmonic, Kurt Masur conducting; Others 1973 - Leonard Bernstein gives the first of six lectures entitled "The Unanswered Question," as the Charles Eliot Norton Professor of Poetry at Harvard University. Links and Resources On William Bolcom

Synopsis On today's date in 1910, one week after his 28th birthday, the Russian composer Igor Stravinsky attended the premiere performance of his ballet, “The Firebird” at the Paris Opéra, staged by the famous Ballet Russe ensemble of Serge Diaghilev. Recalling the premiere, Stravinsky wrote: “The first-night audience glittered indeed, but the fact that it was heavily perfumed is more vivid in my memory . .  . I sat in Diaghilev's box, where, at intermission, a path of celebrities, artists, Dowagers, writers, and balletomanes appeared . . . I was called to the stage to bow at the conclusion … I was still on stage when the final curtain came down and saw coming toward me Diaghilev and a dark man with a double forehead whom he introduced as Claude Debussy.  The great composer spoke kindly about the music and invited me to dine with him. [Later,] I asked him what he had really thought of ‘The Firebird.”  He said: ‘Well, one has to start somewhere . . .'” Stravinsky himself had feared his ballet score would be thought a poor imitation of the music of Rimsky-Korsakov, his great teacher.  Nevertheless, “The Firebird” was Stravinsky's first big success, and remains one of his best-loved scores. Music Played in Today's Program Igor Stravinsky (1882-1971) — The Firebird Ballet (Russian National Orchestra; Mikhail Pletnev, cond.) DG 453 434

Synopsis On today's date in 1910, one week after his 28th birthday, the Russian composer Igor Stravinsky attended the premiere performance of his ballet, “The Firebird” at the Paris Opéra, staged by the famous Ballet Russe ensemble of Serge Diaghilev. Recalling the premiere, Stravinsky wrote: “The first-night audience glittered indeed, but the fact that it was heavily perfumed is more vivid in my memory . .  . I sat in Diaghilev's box, where, at intermission, a path of celebrities, artists, Dowagers, writers, and balletomanes appeared . . . I was called to the stage to bow at the conclusion … I was still on stage when the final curtain came down and saw coming toward me Diaghilev and a dark man with a double forehead whom he introduced as Claude Debussy.  The great composer spoke kindly about the music and invited me to dine with him. [Later,] I asked him what he had really thought of ‘The Firebird.”  He said: ‘Well, one has to start somewhere . . .'” Stravinsky himself had feared his ballet score would be thought a poor imitation of the music of Rimsky-Korsakov, his great teacher.  Nevertheless, “The Firebird” was Stravinsky's first big success, and remains one of his best-loved scores. Music Played in Today's Program Igor Stravinsky (1882-1971) — The Firebird Ballet (Russian National Orchestra; Mikhail Pletnev, cond.) DG 453 434

La fille du régiment (The Daughter of the Regiment) is an opéra comique in two acts by Gaetano Donizetti, set to a French libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard. It was first performed on 11 February 1840 by the Paris Opéra-Comique at the Salle de la Bourse. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1346/Donizetti%3A_La_Fille_du_R%C3%A9giment.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Synopsis In 1967, the Beatles released a song about “a girl with kaleidoscope eyes,” but on today’s date in 1870, it was “a girl with enamel eyes” that was the subject of a ballet that debuted on today’s date at the Paris Opéra. The ballet’s full title was “Coppelia, or the Girl with Enamel Eyes,” and its story-line was based on a fantastic tale by the German Romantic writer E.T.A. Hoffmann, dealing with the mad toymaker Dr. Coppelius, and his uncannily lifelike doll Coppélia, and the complications the beautiful doll causes in the love-life of a small Polish village. The music was provided by a 30-something French composer named Leo Delibes. “Coppelia” was a great success, much to Delibes’ relief. He had been juggling several jobs in Paris, but the new ballet’s financial success allowed him to concentrate on composing as his main career from then on. Delibes followed up on the success of “Coppelia” with another ballet, “Sylvia,” in 1876, and, in 1883, his opera “Lakmé” premiered at the Opéra-Comique. Along with the famous ballets of Tchaikovsky, Delibes’ “Coppelia” is now regarded as the culmination of the 19th century Romantic ballet. Music Played in Today's Program Leo Delibes (1836 –1891) Coppelia Lyons Opera Orchestra; Kent Nagano, cond. Erato 91730

Synopsis On today’s date in 1969, Leonard Bernstein conducted his last concert as the Music Director of the New York Philharmonic. Bernstein had assumed that post in November of 1957, becoming the first American-born and trained conductor to do so. For sports fans, these were Bernstein’s “stats” as of May 17, 1969: He had conducted 939 concerts, more than anyone else in Philharmonic history. He had given 36 world premieres, 14 U.S. premieres, 15 New York City premieres and led more than 40 works never before performed by the orchestra. At Philharmonic concerts Bernstein conducted Vivaldi, Bach, and Handel, but also Babbitt, Cage, and Ligeti. He led the world premiere performance of the Second Symphony of Charles Ives and included other elder American composers like Carl Ruggles and Wallingford Riegger on Philharmonic programs, as well as works by his contemporaries, Ned Rorem and Lukas Foss, and his own compositions as well. Bernstein would continue to appear with the New York Philharmonic as its Laureate Conductor, and as a popular guest conductor with major orchestras around the world. His final concerts were with the Boston Symphony at Tanglewood in the summer of 1990. He died in October of that year. Music Played in Today's Program Leonard Bernstein (1918 – 1990) Symphony No. 2 (The Age of Anxiety) Marc-Andre Hamelin, piano; Ulster Orchestra; Dmitry Sitkovetsky, cond. Hyperion 67170 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Bernstein

Synopsis On today’s date in 1969, Leonard Bernstein conducted his last concert as the Music Director of the New York Philharmonic. Bernstein had assumed that post in November of 1957, becoming the first American-born and trained conductor to do so. For sports fans, these were Bernstein’s “stats” as of May 17, 1969: He had conducted 939 concerts, more than anyone else in Philharmonic history. He had given 36 world premieres, 14 U.S. premieres, 15 New York City premieres and led more than 40 works never before performed by the orchestra. At Philharmonic concerts Bernstein conducted Vivaldi, Bach, and Handel, but also Babbitt, Cage, and Ligeti. He led the world premiere performance of the Second Symphony of Charles Ives and included other elder American composers like Carl Ruggles and Wallingford Riegger on Philharmonic programs, as well as works by his contemporaries, Ned Rorem and Lukas Foss, and his own compositions as well. Bernstein would continue to appear with the New York Philharmonic as its Laureate Conductor, and as a popular guest conductor with major orchestras around the world. His final concerts were with the Boston Symphony at Tanglewood in the summer of 1990. He died in October of that year. Music Played in Today's Program Leonard Bernstein (1918 – 1990) Symphony No. 2 (The Age of Anxiety) Marc-Andre Hamelin, piano; Ulster Orchestra; Dmitry Sitkovetsky, cond. Hyperion 67170 On This Day Births 1866 - French composer Erik Alfred-Leslie Satie, in Honfleur; 1901 - German composer Werner Egk, in Auchsesheim, near Donauswörth; His original last name was Mayer, and it is said (although denied by the composer) that the he chose the acronym E-G-K because it stood for "ein grosser Komponist" ("a great composer"); 1923 - American composer Peter Mennin, in Erie, Pa.; Deaths 1935 - French composer Paul Dukas, age 69, in Paris; Premieres 1779 - Gluck: opera "Iphigénie en Tauride" (Iphigenia in Taurus), at the Paris Opéra; 1890 - Mascagni: "Cavalleria Rusticana," in Rome at the Teatro Costanzi; 1904 - Ravel: "Schéhérazade," in Paris, with vocalist Jane Hatto and Alfred Cortot, conducting; 1919 - Ravel: "Alborado del gracioso" (orchestral version), in Paris at Pasdeloup Concert; 1929 - Prokofiev: Symphony No. 3, in Paris, by the Orchestre Symphonique de Paris, with Pierre Monteux conducting; 1933 - Cowell: "Reel," for small orchestra, in New York; 1939 - Prokofiev: cantata "Alexander Nevsky," in Moscow; 1946 - Martin: "Petite Symphonie Concertante," in Zurich, Paul Sacher conducting; 1960 - Ned Rorem: "11 Studies for 11 Players," for chamber ensemble, at the State University of Buffalo (N.Y.), conducted by the composers; 1990 - Rautavaara: "Vincent," in Helsinki at the Finnish National Opera; 2000 - Michael Torke: "Corner in Manhattan," by the Minnesota Orchestra, Eiji Oue conducting; 2001 - Christopher Rouse: Clarinet Concerto, by the Chicago Symphony Orchestra conducted by Christoph Eschenbach, with Larry Combs the soloist; Others 1922 - Music of "The President's Own" reached homes across the nation when the first Marine Band radio program was broadcast; 1969 - Leonard Bernstein's last concert as Music Director of the New York Philharmonic, having conducted 939 concerts with the orchestra (831 as its Music Director); Bernstein conducted 36 world premieres with the orchestra; He continued to appear with the Philharmonic as an occasional guest conductor until his death in 1990; 1978 - Philips Electronics of The Netherlands announces a new digital sound reproduction system from flat, silver "Compact Discs." Links and Resources On Bernstein

Synopsis Joan Tower is one of America’s most famous–and quotable–composers. She once asked audiences to imagine Beethoven as a composer-in-residence with a modern American orchestra: “If Beethoven walked in here right now,” said Tower, “I think we’d ALL be a bit shocked. He’d probably look very scruffy and be an obnoxious pain-in-the-butt. Orchestras would NEVER ask him back.” Tower can be equally blunt about her own music. Among her most frequently performed works is the series pieces entitled “Fanfares for the Uncommon Woman.” Of these, Tower remarked, perhaps with tongue firmly in cheek: “Maybe the title is better than the music.” On today’s date in 1991, Leonard Slatkin and the St. Louis Symphony gave the premiere performance of Joan Tower’s “Concerto for Orchestra.” “It’s my WORST title,” Tower declared. “I really didn’t want people to think of Bartok’s Concerto for Orchestra, but it IS a concerto in the sense that it features different parts of the orchestra.” This work was a joint commission from the St. Louis Symphony, the New York Philharmonic, and the Chicago Symphony. Reviewing the Chicago performance, music critic John von Rhein wrote: “Tower's talent for flinging bold, dramatic sounds over a large orchestral palette is much on display.” Music Played in Today's Program Joan Tower (b. 1938) Concerto for Orchestra Colorado Symphony; Marin Alsop, cond. Koch 7469 On This Day Births 1931 - American composer Donald James Martino, in Plainfield, N.J.; Deaths 1910 - Russian composer Mily Balakirev (Gregorian date: May 29); Premieres 1726 - Handel: opera "Alessandro" (Julian date: May 5); 1889 - Massenet: opera "Esclarmonde" at the Paris Opéra; 1948 - Quincy Porter: Viola Concerto, in New York City; 1948 - Wallingford Rieger: Symphony No. 3, in New York City; 1966 - Ralph Shapey: "Rituals," in Chicago; 1966 - Villa-Lobos: Sinfonia No. 9, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1969 - Cage: "HPSCHD," for amplified harpsichord and 51 tapes, in Urbana, Ill.; 1971 - Britten: opera "Owen Wingrave," as a telecast on BBC-TV in England and NET (National Educational Television) in the United States; 1972 - Jaocb Druckman: "Windows" for orchestra, by the Chicago Symphony; This work was awarded the Pulitzer Prize for Music in 1972; 1974 - Bernstein: ballet "Dybbuk," by the New York City Ballet at Lincoln Center, with choreography by Jerome Robbins and the composer conducting; 1991 - Joan Tower: "Concerto for Orchestra," by the St. Louis Symphony, Leonard Slatkin conducting; Others 1792 - The Teatro la Fenice ("The Phoenix") opens in Venice; 1888 - Emile Berliner gives the first public display of his invention, the flat gramophone disk, at the Franklin Institute in Philadelphia. Links and Resources On Joan Tower A 1987 interview with Tower

Synopsis Joan Tower is one of America’s most famous–and quotable–composers. She once asked audiences to imagine Beethoven as a composer-in-residence with a modern American orchestra: “If Beethoven walked in here right now,” said Tower, “I think we’d ALL be a bit shocked. He’d probably look very scruffy and be an obnoxious pain-in-the-butt. Orchestras would NEVER ask him back.” Tower can be equally blunt about her own music. Among her most frequently performed works is the series pieces entitled “Fanfares for the Uncommon Woman.” Of these, Tower remarked, perhaps with tongue firmly in cheek: “Maybe the title is better than the music.” On today’s date in 1991, Leonard Slatkin and the St. Louis Symphony gave the premiere performance of Joan Tower’s “Concerto for Orchestra.” “It’s my WORST title,” Tower declared. “I really didn’t want people to think of Bartok’s Concerto for Orchestra, but it IS a concerto in the sense that it features different parts of the orchestra.” This work was a joint commission from the St. Louis Symphony, the New York Philharmonic, and the Chicago Symphony. Reviewing the Chicago performance, music critic John von Rhein wrote: “Tower's talent for flinging bold, dramatic sounds over a large orchestral palette is much on display.” Music Played in Today's Program Joan Tower (b. 1938) Concerto for Orchestra Colorado Symphony; Marin Alsop, cond. Koch 7469 On This Day Births 1931 - American composer Donald James Martino, in Plainfield, N.J.; Deaths 1910 - Russian composer Mily Balakirev (Gregorian date: May 29); Premieres 1726 - Handel: opera "Alessandro" (Julian date: May 5); 1889 - Massenet: opera "Esclarmonde" at the Paris Opéra; 1948 - Quincy Porter: Viola Concerto, in New York City; 1948 - Wallingford Rieger: Symphony No. 3, in New York City; 1966 - Ralph Shapey: "Rituals," in Chicago; 1966 - Villa-Lobos: Sinfonia No. 9, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1969 - Cage: "HPSCHD," for amplified harpsichord and 51 tapes, in Urbana, Ill.; 1971 - Britten: opera "Owen Wingrave," as a telecast on BBC-TV in England and NET (National Educational Television) in the United States; 1972 - Jaocb Druckman: "Windows" for orchestra, by the Chicago Symphony; This work was awarded the Pulitzer Prize for Music in 1972; 1974 - Bernstein: ballet "Dybbuk," by the New York City Ballet at Lincoln Center, with choreography by Jerome Robbins and the composer conducting; 1991 - Joan Tower: "Concerto for Orchestra," by the St. Louis Symphony, Leonard Slatkin conducting; Others 1792 - The Teatro la Fenice ("The Phoenix") opens in Venice; 1888 - Emile Berliner gives the first public display of his invention, the flat gramophone disk, at the Franklin Institute in Philadelphia. Links and Resources On Joan Tower A 1987 interview with Tower

Synopsis Crossword puzzle solvers know the three-letter answer to the clue “Composer Brian” is: E-N-O. But even fans of this British composer, performer, and producer might not know his full name, which is Brian Peter George St John le Baptiste de la Salle Eno. Brian Eno was born in Suffolk, England, on today’s date in 1948. He studied painting and music, and in his early 20s played synthesizer with the glam rock band Roxy Music before embarking on a solo career. In 1978, he released an album entitled “Music for Airports,” which was, quite literally, meant as calming music that could be played in airports, since Eno was so annoyed by the inane, perky muzak he usually heard there. Eno coined the term “ambient music” to describe his album, whose release coincided with the early days of minimalist movement, itself a reaction to music deemed too complex and complicated. “I was quite sick of music that was overstuffed,” said Eno, commenting, “In the late ’60s and early ’70s, recording went from two track to four track to eight track to 16 track to 32 track, and music got more and more grandiose, sometimes with good effect, but quite often not.” Music Played in Today's Program Brian Eno (b. 1948) — Music for Airports (Brian Eno, synthesizers)Polydor 2310 647 On This Day Births 1567 - Baptismal date of Italian composer Claudio Monteverdi, in Cremona; 1808 - Irish composer Michael William Balfe, in Dublin; 1908 - Swedish composer Lars-Erik Larsson, in Akarp (near Lund); 1941 - American composer and pianist Richard Wilson, in Cleveland; Premieres 1913 - Debussy: ballet "Jeux" (Games), at the Théâtre des Champs-Elysées by the Ballet Russe, Pierre Monteux conducting; 1920 - Stravinsky: ballet "Pulcinella," by Ballet Russe; at the Paris Opéra, with Ernest Ansermet conducting; 1939 - Douglas Moore: opera "The Devil and Daniel Webster," in New York City; 1949 - Hindemith: Concerto for Winds, Harp and Orchestra, in New York; 1949 - Randall Thompson: Symphony No. 3, Columbia University, in New York, Thor Johnson conducting; 1958 - Cage: Piano Concerto, in New York City; 1960 - Shostakovich: String Quartet No. 7, in Leningrad, by the Beethoven Quartet; 1972 - Rochberg: String Quartet No. 3, at Tully Hall in New York City, by the Concord Quartet; 1992 - Stephen Paulus: "Air on Seurat (The Grand Canal)", for cello and piano, at the National Cello Competition at Arizona State University in Phoenix, Ariz.; 1993 - Steve Reich: opera "The Cave," in Vienna at the Wiener Festspielhaus; Others 1750 - First documented report of an audience standing during the "Hallelujah" chorus of Handel's "Messiah"; On May 1 and 15 in 1750, "Messiah" had been performed as a benefit for the Foundling Hospital charity (Gregorian dates: May 12 and 26, respectively).

Synopsis Crossword puzzle solvers know the three-letter answer to the clue “Composer Brian” is: E-N-O. But even fans of this British composer, performer, and producer might not know his full name, which is Brian Peter George St John le Baptiste de la Salle Eno. Brian Eno was born in Suffolk, England, on today’s date in 1948. He studied painting and music, and in his early 20s played synthesizer with the glam rock band Roxy Music before embarking on a solo career. In 1978, he released an album entitled “Music for Airports,” which was, quite literally, meant as calming music that could be played in airports, since Eno was so annoyed by the inane, perky muzak he usually heard there. Eno coined the term “ambient music” to describe his album, whose release coincided with the early days of minimalist movement, itself a reaction to music deemed too complex and complicated. “I was quite sick of music that was overstuffed,” said Eno, commenting, “In the late ’60s and early ’70s, recording went from two track to four track to eight track to 16 track to 32 track, and music got more and more grandiose, sometimes with good effect, but quite often not.” Music Played in Today's Program Brian Eno (b. 1948) — Music for Airports (Brian Eno, synthesizers)Polydor 2310 647 On This Day Births 1567 - Baptismal date of Italian composer Claudio Monteverdi, in Cremona; 1808 - Irish composer Michael William Balfe, in Dublin; 1908 - Swedish composer Lars-Erik Larsson, in Akarp (near Lund); 1941 - American composer and pianist Richard Wilson, in Cleveland; Premieres 1913 - Debussy: ballet "Jeux" (Games), at the Théâtre des Champs-Elysées by the Ballet Russe, Pierre Monteux conducting; 1920 - Stravinsky: ballet "Pulcinella," by Ballet Russe; at the Paris Opéra, with Ernest Ansermet conducting; 1939 - Douglas Moore: opera "The Devil and Daniel Webster," in New York City; 1949 - Hindemith: Concerto for Winds, Harp and Orchestra, in New York; 1949 - Randall Thompson: Symphony No. 3, Columbia University, in New York, Thor Johnson conducting; 1958 - Cage: Piano Concerto, in New York City; 1960 - Shostakovich: String Quartet No. 7, in Leningrad, by the Beethoven Quartet; 1972 - Rochberg: String Quartet No. 3, at Tully Hall in New York City, by the Concord Quartet; 1992 - Stephen Paulus: "Air on Seurat (The Grand Canal)", for cello and piano, at the National Cello Competition at Arizona State University in Phoenix, Ariz.; 1993 - Steve Reich: opera "The Cave," in Vienna at the Wiener Festspielhaus; Others 1750 - First documented report of an audience standing during the "Hallelujah" chorus of Handel's "Messiah"; On May 1 and 15 in 1750, "Messiah" had been performed as a benefit for the Foundling Hospital charity (Gregorian dates: May 12 and 26, respectively).

Synopsis Today we have a tale of jealousy to tell — the tale of Claude and Mary and Maurice and Georgette—related to the premiere, on today’s date in 1902, of “Pelléas et Mélisande.” This new opera by Claude Debussy was based on a play about jealousy by the Belgian playwright Maurice Maeterlinck. Debussy had worked on his opera for years with no objection from Maeterlinck until late in 1901, when Debussy announced that the Scottish soprano Mary Garden would sing the role of Mélisande. Suddenly, two weeks before the premiere, Maeterlinck began saying the opera was “alien” to him, that he had lost artistic control over his own work, that he hoped the opera would flop. Well, that accounts for Claude and Mary and Maurice, but what about Georgette? Turns out SHE was the real reason behind Maeterlinck’s objections. Georgette was a soprano–and Maeterlinck’s mistress. When Debussy refused to even consider her for the lead role in his new opera, Maeterlinck’s smear campaign began. He was not alone—the eminent French composer Camille Saint-Saëns, jealous as any character in Debussy’s opera, delayed his customary vacation abroad to stay in Paris, and, as he put it, “To speak ill of Pelléas.” Music Played in Today's Program Claude Debussy (1862 - 1918) Pelléas et Mélisande Cleveland Orchestra; Erich Leinsdorf, cond. Cleveland 9375 On This Day Births 1870 - Hungarian-born Austrian composer Franz Léhar, in Komorn; 1939 - American composer Ellen Taaffe Zwilich, in Miami, Fla.; She was the first female composer to win the Pulitzer Prize for Music (in 1983 for her Symphony No. 1); Premieres 1728 - Handel: opera "Tolomeo, re d'Egitto" (Ptolomy, King of Egypt), in London at the King's Theater in the Haymarket (Gregorian date: May 11); 1855 - Berlioz: "Te Deum," at the church of St. Eustache in Paris; 1902 - Debussy: opera "Pelléas and Mélisande," in Paris at the Opéra-Comique; 1925 - Hindemith: "Kammermusik" No. 3, Op. 36, no. 2, in Bochum, Germany, conducted by the composer with Rudolf Hindemith the cello soloist; 1934 - Stravinsky: opera "Persephone," at the Paris Opéra, with Ida Rubinsetin in the principal role (spoken part) and the composer conducting; 1973 - Lou Harrison: Concerto for Organ, at San Jose State University, with organist Philip Simpson; 1991 - Ellen Taaffe Zwilich: Bass Trombone Concerto, by soloist Charles Vernon with the Chicago Symphony, Daniel Barenboim conducting; 1994 - John Harbison: String Quartet No. 3, at Brandeis University in Waltham, Mass., by the Lydian String Quartet; Others 1932 - Opening of the first "Yaddo" Festival of Contemporary Music at Saratoga Springs, N.Y. Links and Resources On Debussy On Debussy's "Pelléas et Mélisande"

Synopsis Today we have a tale of jealousy to tell — the tale of Claude and Mary and Maurice and Georgette—related to the premiere, on today’s date in 1902, of “Pelléas et Mélisande.” This new opera by Claude Debussy was based on a play about jealousy by the Belgian playwright Maurice Maeterlinck. Debussy had worked on his opera for years with no objection from Maeterlinck until late in 1901, when Debussy announced that the Scottish soprano Mary Garden would sing the role of Mélisande. Suddenly, two weeks before the premiere, Maeterlinck began saying the opera was “alien” to him, that he had lost artistic control over his own work, that he hoped the opera would flop. Well, that accounts for Claude and Mary and Maurice, but what about Georgette? Turns out SHE was the real reason behind Maeterlinck’s objections. Georgette was a soprano–and Maeterlinck’s mistress. When Debussy refused to even consider her for the lead role in his new opera, Maeterlinck’s smear campaign began. He was not alone—the eminent French composer Camille Saint-Saëns, jealous as any character in Debussy’s opera, delayed his customary vacation abroad to stay in Paris, and, as he put it, “To speak ill of Pelléas.” Music Played in Today's Program Claude Debussy (1862 - 1918) Pelléas et Mélisande Cleveland Orchestra; Erich Leinsdorf, cond. Cleveland 9375 On This Day Births 1870 - Hungarian-born Austrian composer Franz Léhar, in Komorn; 1939 - American composer Ellen Taaffe Zwilich, in Miami, Fla.; She was the first female composer to win the Pulitzer Prize for Music (in 1983 for her Symphony No. 1); Premieres 1728 - Handel: opera "Tolomeo, re d'Egitto" (Ptolomy, King of Egypt), in London at the King's Theater in the Haymarket (Gregorian date: May 11); 1855 - Berlioz: "Te Deum," at the church of St. Eustache in Paris; 1902 - Debussy: opera "Pelléas and Mélisande," in Paris at the Opéra-Comique; 1925 - Hindemith: "Kammermusik" No. 3, Op. 36, no. 2, in Bochum, Germany, conducted by the composer with Rudolf Hindemith the cello soloist; 1934 - Stravinsky: opera "Persephone," at the Paris Opéra, with Ida Rubinsetin in the principal role (spoken part) and the composer conducting; 1973 - Lou Harrison: Concerto for Organ, at San Jose State University, with organist Philip Simpson; 1991 - Ellen Taaffe Zwilich: Bass Trombone Concerto, by soloist Charles Vernon with the Chicago Symphony, Daniel Barenboim conducting; 1994 - John Harbison: String Quartet No. 3, at Brandeis University in Waltham, Mass., by the Lydian String Quartet; Others 1932 - Opening of the first "Yaddo" Festival of Contemporary Music at Saratoga Springs, N.Y. Links and Resources On Debussy On Debussy's "Pelléas et Mélisande"

Synopsis For the 1965-1966 season of the New York Philharmonic, Leonard Bernstein planned a series of concerts titled “Symphonic Forms in the 20th Century,” programming works by Mahler, Sibelius and other great European masters. Bernstein also included American symphonies, including, on today’s date in 1966, the belated premiere performance of David Diamond’s Symphony No. 5. Diamond began work on his Fifth Symphony in 1947, and its original inspiration was two-fold: Diamond wanted to compose a symphony for Bernstein to premiere and to translate into music the vivid emotions he experienced after attending a performance of Sophocles’ tragedy, Oedipus the King. But Diamond found recreating the Oedipus story harder than he thought. He ended up putting his Fifth aside, and finished and premiered his Sixth, Seventh, and Eight Symphonies before coming to the realization that, “Program symphonies were just not for me.” Years later, when Bernstein asked him “What ever happened to that symphony you were going to write for me,” Diamond explained all this to Bernstein, who replied, “Well, it’s about time you did something about it—it’s silly to have one symphony that just isn’t there!” And so, Diamond set to work completing a non-programmatic Fifth, dedicated to Leonard Bernstein. Music Played in Today's Program David Diamond (1915-2005 ) Symphony No. 5 Juilliard Orchestra; Christopher Keene, cond. New World 80396 On This Day Births 1892 - American folksinger and folksong collector John Jacob Niles, in Louisville, Ky.; Premieres 1865 - Meyerbeer: opera "L'Africaine" (The African Woman), at the Paris Opéra; 1892 - Dvorák: "In Nature's Realm" Overture, Op. 91, in Prague; 1892 - Sibelius: symphonic poem/oratorio "Kullervo" for vocal soloists, chorus and orchestra, in Helsinki, with the composer conducting; 1928 - Cowell: "Sinfonietta," in Boston, Nicholas Slonimsky conducting; 1938 - Diamond: "Elegy in Memory of Maurice Ravel," in Rochester, N.Y. 1948 - Stravinsky: ballet "Orpheus," by the American Society in New York City; 1966 - Douglas Moore: opera "Carrie Nation," in Lawrence, Kan.; 1981 - John Williams: "Pops on the March" by the Boston Pops with the composer conducting. 2005 - Arne Nordheim: “Fonos” for trombone and orchestra, in Bergen, Norway, by the Bergen Philharmonic. Links and Resources On Diamond

Synopsis For the 1965-1966 season of the New York Philharmonic, Leonard Bernstein planned a series of concerts titled “Symphonic Forms in the 20th Century,” programming works by Mahler, Sibelius and other great European masters. Bernstein also included American symphonies, including, on today’s date in 1966, the belated premiere performance of David Diamond’s Symphony No. 5. Diamond began work on his Fifth Symphony in 1947, and its original inspiration was two-fold: Diamond wanted to compose a symphony for Bernstein to premiere and to translate into music the vivid emotions he experienced after attending a performance of Sophocles’ tragedy, Oedipus the King. But Diamond found recreating the Oedipus story harder than he thought. He ended up putting his Fifth aside, and finished and premiered his Sixth, Seventh, and Eight Symphonies before coming to the realization that, “Program symphonies were just not for me.” Years later, when Bernstein asked him “What ever happened to that symphony you were going to write for me,” Diamond explained all this to Bernstein, who replied, “Well, it’s about time you did something about it—it’s silly to have one symphony that just isn’t there!” And so, Diamond set to work completing a non-programmatic Fifth, dedicated to Leonard Bernstein. Music Played in Today's Program David Diamond (1915-2005 ) Symphony No. 5 Juilliard Orchestra; Christopher Keene, cond. New World 80396 On This Day Births 1892 - American folksinger and folksong collector John Jacob Niles, in Louisville, Ky.; Premieres 1865 - Meyerbeer: opera "L'Africaine" (The African Woman), at the Paris Opéra; 1892 - Dvorák: "In Nature's Realm" Overture, Op. 91, in Prague; 1892 - Sibelius: symphonic poem/oratorio "Kullervo" for vocal soloists, chorus and orchestra, in Helsinki, with the composer conducting; 1928 - Cowell: "Sinfonietta," in Boston, Nicholas Slonimsky conducting; 1938 - Diamond: "Elegy in Memory of Maurice Ravel," in Rochester, N.Y. 1948 - Stravinsky: ballet "Orpheus," by the American Society in New York City; 1966 - Douglas Moore: opera "Carrie Nation," in Lawrence, Kan.; 1981 - John Williams: "Pops on the March" by the Boston Pops with the composer conducting. 2005 - Arne Nordheim: “Fonos” for trombone and orchestra, in Bergen, Norway, by the Bergen Philharmonic. Links and Resources On Diamond

Hey Everyone, Angela Bowen here, the host of Looking Back On My Wonder Years: A Wonder Years Podcast. Today, I covered The Phantom Of The Opera (2004) Movie for Podcast Listener Nicole's Birthday. Movie Synopsis: A young soprano becomes the obsession of a disfigured and murderous musical genius who lives beneath the Paris Opéra House. My Thoughts: I had never seen any other versions of this movie before this viewing, unless you count the PBS Show Wishbone covering the book in under 30 minutes. I thought the movie was entertaining and enjoyed the songs. I'm sure you'll find my guesses on what I think happens as the film goes on funny because some of them were down right wrong. Overall the actors and actresses performances were great as well as the singing was top notch and this is coming from someone who only saw the film versions of Les Miz, The Greatest Showman and Hairspray. I hope you all enjoy this review and, Nicole I hope you have a great birthday next month. Have a great week everyone! To EMAIL The Podcast Go To: lbomwonderyearspodcast@gmail.com

La nonne sanglante (The Bloody Nun), is a five-act Gothic Horror opera by Charles Gounod to a libretto by Eugène Scribe and Germain Delavigne. Written between 1852 and 1854, it was first produced on 18 October 1854 at the Salle Le Peletier by the Paris Opéra. It received 11 performances between October and November 1854. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1312/Gounod%3A_La_nonne_sanglante.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-50Links referenced in/relevant to episode 50:-Bria Bacon's letters to/statements about Dance Magazine:https://www.instagram.com/p/CK7Eep_rfg_/https://www.instagram.com/p/CLDEPairtr7/https://www.instagram.com/p/CLFbROsr4kC/-Details on the "World of Dance" studio-franchise controversy: https://www.dance-teacher.com/world-of-dance-franchise-controversy-2650414835.html-Emily Johnson's letter to the NEA: https://emily-72967.medium.com/a-letter-i-hope-in-the-future-doesnt-need-to-be-written-52e1d6fd5350-Politico's Emily Johnson/Montclair State University story: https://www.politico.com/states/new-jersey/story/2021/02/05/montclair-state-university-executive-accused-of-verbal-abusive-1362099-A breakdown of the Paris Opéra diversity report: https://www.pointemagazine.com/paris-opera-ballet-diversity-report-2650419730.html-New York Times piece on ballet TikTok: https://www.nytimes.com/2021/02/05/arts/dance/ballet-on-tiktok.html-The Weeknd's Super Bowl halftime show: https://www.youtube.com/watch?v=9rhadTURsrw-Tamisha Guy's website: https://www.tamishaguy.com/-Guy's Instagram account: https://www.instagram.com/tamishaguy/

Kaja Eidé Noréna (1884-1968, née Karoline Hansen), the Norwegian lyric-coloratura soprano, is one of the greatest singers of her generation, and nearly forgotten today. She made her concert debut at the age of 19 and in 1907 began her operatic career as Amor in Orfeo ed Euridice. In 1909 she married the actor Egil Eide, through whose coaching she became celebrated for her dramatic portrayals. Under her married name Kaja Eide she became one of the Norway’s most famous singers, though her career was essentially a provincial one until, mid-career, she restudied her technique and rebuilt her voice, which led to her La Scala debut as Gilda under the baton of Arturo Toscanini (and under her new professional name, Eide Norena). She went on to an international career, performing in the world’s most celebrated opera houses, including the Metropolitan Opera, Covent Garden, the Salzburg Festival, and, particularly, the Paris Opéra. Her repertoire was a wide one, ranging from Ophélie to Desdemona, and her vocal technique was solid to the point of near-perfection, her legato singing being particularly remarkable. What sets her apart, and what makes her one of my favorite singers, is her profoundly musical interpretations allied to her keen dramatic sense. The majority of the recordings featured on the episode are from the 1930s. Noréna retired in 1938 and spent the remainder of her life in Switzerland, where she died in 1968. Noréna is, for me, everything that a great singer should be, and it is a particular honor for me to feature her on the podcast. A bonus episode posted today on my Patreon page (www.patreon.com/countermelody) features Noréna in the role of Juliette in Gounod’s opera, including both live and studio recordings of duets with Charles Hackett and Gaston Micheletti. And a link to the article about Noréna that I wrote in 2007 for my long-defunct blog: www.counterleben.blogspot.com/2007/07/fairy-from-ice.html Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

On today’s date in 1738, a once-successful French composer died destitute in an asylum of Charenton. It was a lamentable end for the 56-year-old Jean-Joseph Mouret, who had once served the French King at the Palais Royal and whose operas had once graced the stage of the Paris Opéra. How ironic, then, that Mouret would achieve belated fame in 20th century America when the "Rondeau" from his “Symphonies and Fanfares for the King's Supper” was chosen as the theme for the “Masterpiece Theatre” TV series on PBS. Christopher Sarson, the original executive producer of “Masterpiece Theatre,” recalls how this came about. “In 1962 my future wife and I went to one of the Club Med villages in Italy. We were in these little straw huts and every morning we were summoned to breakfast by that theme. It was just magic... I wanted to use it for Masterpiece Theatre but there was no way I could bear to put a FRENCH piece of music on something that was supposed to be English. I went through all kinds of English composers and nothing worked. So, Mouret became the theme.”

On today’s date in 1738, a once-successful French composer died destitute in an asylum of Charenton. It was a lamentable end for the 56-year-old Jean-Joseph Mouret, who had once served the French King at the Palais Royal and whose operas had once graced the stage of the Paris Opéra. How ironic, then, that Mouret would achieve belated fame in 20th century America when the "Rondeau" from his “Symphonies and Fanfares for the King's Supper” was chosen as the theme for the “Masterpiece Theatre” TV series on PBS. Christopher Sarson, the original executive producer of “Masterpiece Theatre,” recalls how this came about. “In 1962 my future wife and I went to one of the Club Med villages in Italy. We were in these little straw huts and every morning we were summoned to breakfast by that theme. It was just magic... I wanted to use it for Masterpiece Theatre but there was no way I could bear to put a FRENCH piece of music on something that was supposed to be English. I went through all kinds of English composers and nothing worked. So, Mouret became the theme.”

durée : 01:30:11 - Christophe Mirambeau, musicologue, conseiller artistique - par : Benoît Duteurtre - D’un Pays Basque de carte postale aux frasques de la vie parisienne, cet opéra-comique de 1927, porté par la manière élégante du compositeur Marcel Lattès et les lyrics malicieux d’Albert Willemetz, retrouve la scène grâce l’orchestre des Frivolités parisiennes. Mis en scène par Édouard Signolet. - réalisé par : Christine Amado

Estelle is chief cutter in the ladies' making department at Angels. Born and educated in France, she commenced her costume training at the Paris Opéra. Upon arrival in the UK, she continued honing her skills within the British costume industry. At Angels, she and her team of makers have developed an essential and growing aspect of the company - creating costumes for the most successful designers working in the industry today.

Links referenced in/relevant to this episode:-Dance/USA's #Dance2Vote toolkit: https://www.danceusa.org/election-2020-toolkit-dance2vote-The basics of the Paris Opéra investigation (the most comprehensive story in English, but note that its language is problematically euphemistic): https://www.france24.com/en/20201005-paris-opera-ponders-blackface-as-it-tackles-ballet-s-race-problem-Ballet West's inclusive policy changes: https://balletwest.org/news/ballet-west-announces-substantive-policy-changes-to-allow-for-greater-equity-for-dancers-of-color-Abi Stafford's Dance Magazine essay about mental health: https://www.dancemagazine.com/abi-stafford-anxiety-2647826840.html-Some good context on the Savage X Fenty hadith controversy: https://time.com/5896500/rihanna-islamic-hadith-fenty-show/-EmpowHer New York website: https://www.empowherny.org/-Petition for mandatory unconscious bias training in hospitals: https://www.change.org/p/united-states-department-of-health-and-human-services-mandatory-unconscious-bias-trainings-for-hospitals-Ingrid Silva's Instagram account: https://www.instagram.com/ingridsilva/

Đoàn ca vũ kịch quốc gia Paris (Opéra national de Paris), sau 350 năm thành lập, với dàn nhạc giao hưởng nằm trong tốp đầu thế giới, với 1.800 nhân viên cùng hai nhà hát Bastille và Garnier, đang trải qua một “tấn bi kịch” chưa từng có. Sau 4 tháng « cửa đóng then cài » vì lệnh phong tỏa toàn quốc do dịch Covid-19, Opéra de Paris chính thức được mở cửa trở lại từ ngày 15/07. Thế nhưng, vì nhiều lý do, hai nhà hát opéra Bastille và Garnier vẫn đóng cửa lần lượt đến cuối tháng 11/2020 và đến tháng 01/2021. Trong chương trình Kinh Tế Văn Hóa phát trên đài France 24 ngày 25/07/2020, nhà báo Aude Kersulec, giải thích : « Đó là một tấn bi kịch của năm nay. Đoàn ca vũ kịch Paris sẽ trải qua một mùa diễn thê thảm, mất tới 45 triệu euro. Điều này chưa từng xảy ra. Trong 7 tháng qua, bắt đầu từ tháng 12 năm 2019, Đoàn ca vũ kịch Paris đã phải hủy nhiều buổi công diễn do phong trào đình công của nhân viên trong đoàn. Họ đình công nhằm bảo vệ chế độ hưu bổng đặc biệt mà họ đang được hưởng. Rồi dịch bệnh bùng lên vào tháng 03, biện pháp phong tỏa đất nước đã đặt dấu chấm hết cho mùa diễn năm nay. »  Kéo dài từ ngày 05/12/2019 đến tận ngày 03/03, hai tuần trước khi cả nước Pháp bị phong tỏa vì dịch bệnh, đây là đợt đình công dài ngày nhất trong lịch sử Đoàn ca vũ kịch Paris kể từ khi được thành lập cách nay 350 năm. Tổng cộng trong 3 tháng đình công, 83 buổi diễn ballet và nhạc kịch, (61 buổi diễn của năm 2019 và 22 buổi diễn của năm 2020) đã bị hủy, thiệt hại lên đến 14,5 triệu euro (11 triệu eurro năm 2019 và 3,7 triệu euro năm 2020). Thế nhưng, những mất mát nói trên vẫn chưa là gì so với những thiệt hại mà loại virus mắt thường không nhìn thấy được đã gây ra. Trong hơn 3 tháng đóng cửa vì dịch bệnh, Opéra de Paris phải hủy 156 buổi diễn và thất thu tới 31 triệu euro. Số khán giả bị ảnh hưởng do lịch diễn bị hủy lên tới 83.000 người. « Tức giận », « buồn bã », « thất vọng » …, chừng đó vẫn chưa đủ để diễn tả hết những cảm xúc của ông Philippe Jordan, giám đốc âm nhạc của đoàn Opéra de Paris. Ông Jordan khẳng định: « Một dàn nhạc có thể vẫn trụ được nếu không chơi nhạc trong 3 tháng, nhưng 9 tháng thì quá dài và gây tác hại về mặt nghệ thuật. Một dàn nhạc không phải như một cái máy mà sau khi tắt, người ta chỉ cần bấm nút một cái mà khởi động lại được”. Còn một nhạc công chia sẻ trên Le Figaro : “Chúng tôi đang chết đói. Chúng tôi muốn và cần được chơi nhạc. » Về tài chính, ngoài 45 triệu euro thất thu từ tiền vé, còn nhiều lý do khác khiến Đoàn ca vũ kịch Paris lâm cảnh khó khăn. Nhà báo Aude Kersulec, giải thích cụ thể :  « Đoàn ca vũ kịch Paris là một đơn vị công, không được hưởng các chế độ hỗ trợ của Nhà nước như đối với các các doanh nghiệp, không được hưởng các khoản vay được Nhà nước bảo lãnh và cũng không được hưởng chế độ trợ cấp thất nghiệp bán phần. Nhưng đoàn vẫn phải trả lương cho 1.800 người làm công ăn lương. Các khoản chi cố định thì đoàn vẫn phải bảo đảm, cho dù các nhà hát phải đóng cửa. Còn về các nguồn thu thì do không còn được biểu diễn nên Opéra de Paris đương nhiên là không còn khoản thu từ việc bán vé. Không những thế, họ còn phải hoàn trả tiền cho những người đã mua vé. Trong khi đó, khoản thu từ hình thức thuê bao, đặt vé theo mùa, theo năm, không chỉ cho năm nay mà cho cả năm 2021, cũng sụt giảm. Bình thường thì đoàn Opéra de Paris có các nhà bảo trợ. Nhưng trong thời buổi khủng hoảng này, các doanh nghiệp cũng không thể hào phóng như trước đây, khoản tiền giới doanh nghiệp bảo trợ cho đoàn opera có lẽ giảm tới 30%. Tóm lại, thật là khó để chúng ta có thể hình dung Đoàn ca vũ kịch Paris, cơ sở văn hóa được tài trợ nhiều nhất ở Pháp, làm thế nào để có thể trụ được nếu không được hưởng khoản tiền trợ cấp rất lớn của Nhà nước, thường chiếm tới 45% ngân sách hoạt động của đoàn ». Tiền bảo trợ và nguồn thu từ thuê bao đều đang trên đà « rơi tự do » Trong phiên điều trần trước Ủy ban văn hóa của Thượng Viện về những khó khăn của Đoàn ca vũ kịch quốc gia Paris, tổng giám đốc Stéphane Lissner và phó tổng giám đốc Martin Ajdari đã nói đến « đà rơi tự do » của khoản tiền bảo trợ từ các doanh nghiệp, cũng như thu nhập từ tiền thuê bao hàng năm. Trong nhiệm kỳ lãnh đạo của tổng giám đốc Lissner, trong vòng 5 năm, số tiền bảo trợ Opéra de Paris có được đã tăng hơn 100%, từ 9 triệu eurro trong năm 2015 lên thành 19 triệu euro trong năm 2020. Đây là con số không hề nhỏ nếu so với khoản tiền tài trợ 95 triệu euro của Nhà nước. Thế nhưng, cú sốc Covid-19 đã khiến khoản tiền bảo trợ ước tính giảm 1/3 trong năm 2020, còn khoản thu từ thuê bao cho mùa diễn 2020-2021 sẽ giảm 35-45%. Đài France Musique ngày 16/07 trích dẫn phó giám đốc Ajdari : « Chúng tôi có những đối tác lớn gắn bó, trung thành từ rất lâu nay, nhưng cũng có nhiều nhà hảo tâm, các nhà bảo trợ bậc trung có xu hướng rút lui, vì thế chúng tôi sẽ không thể dựa vào nguồn thu này ». Phó giám đốc Opéra de Paris, Martin Ajdari, giải thích là các doanh nghiệp, nhất là các danh nghiệp bậc trung còn « chần chừ, do dự trong việc đài thọ bởi vì chính họ cũng đang phải yêu cầu sự nỗ lực và hy sinh của người làm công ăn lương » do tác động khủng khiếp của đại dịch. Không những vậy, theo tổng giám đốc Lissner, các cuộc đình công kéo dài kỷ lục của nhân viên Đoàn ca vũ kịch Paris đã khiến hàng trăm buổi diễn bị hủy, điều này khiến một phần công chúng và những người thuê bao vé xem biểu diễn cả năm sửng sốt. Nhiều nhà bảo trợ và công chúng đã rất giận dữ về những chuyện đó. Nhiều người không muốn đến các nhà hát opéra nữa, bởi nhiều khi họ phải đợi tới trước giờ diễn dự kiến ban đầu 30 phút mới biết hôm đó các nghệ sĩ có lên sân khấu hay không. Điều này đã gây ảnh hưởng đến nguồn thu của đoàn. Hàng năm, khoản thu từ vé xem biểu diễn lên tới 75 triệu euro (1/3 tổng ngân sách của Opéra de Paris). Ngoài ra, còn phải kể tới khoản thất thu từ du khách tham quan hai nhà hát, đặc biệt là nhà hát Opéra Garnier, một trong những kiệt tác kiến trúc và lịch sử của Paris. Từ khi dịch bệnh bùng phát ở Trung Quốc và các nước châu Á khác, Paris hầu như không còn bóng du khách châu Á, nhất là khách Trung Quốc, Nhật Bản và Hàn Quốc, nhà hát opéra Garnier đẹp lung linh, tráng lệ, vốn thường ngày là một trong những điểm tham quan thu hút đông khách du lịch nhất Paris, cũng trở nên vắng vẻ khác thường, thậm chí còn bị ví mới một « lâu đài ma ». Vậy tương lai của Opéra de Paris, một trong những « tượng đài văn hóa nghệ thuật » của Pháp, sẽ ra sao ? Nhà báo Aude Kersulec nhấn mạnh : « Quả thực là rất khó để chúng ta có thể hình dung được về các điều kiện để Đoàn ca vũ kịch Paris có thể hoạt động trở lại, công chúng khi đến nhà hát xem biểu diễn phải giãn cách thế nào, các nghệ sĩ trên sân khấu phải giữ khoảng cách thế nào … Nhà hát ca vũ kịch không giống như rạp phim. Để một buổi biểu diễn mang lại lợi nhuận, lượng khán giả đến xem phải đạt mức ngồi kín 80% khán phòng. Tạm thời, các nhà hát opéra dự kiến phải đóng cửa đến tháng 11, nhưng có những việc sửa chữa trùng tu ban đầu dự kiến vào hè năm sau thì lại được đẩy sớm lên vào năm nay. Đoàn opéra sẽ khởi động trở lại với những buổi hòa nhạc quy mô nhỏ, trong khi các buổi biểu diễn vẫn được tải lên trang mạng của Opéra Paris. Các chương trình biểu diễn được trình chiếu miễn phí trên mạng, cư dân mạng thì vui sướng đón xem nhưng về vấn đề tài chính, thì Đoàn ca vũ kịch Paris sẽ không cảm thấy thoải mái lắm. » Về công tác phòng chống dịch bệnh, giám đốc Stéphane Lissner cho rằng những yêu cầu giãn cách xã hội là rất khó thực hiện triệt để, nếu không muốn nói là không thể. Chẳng hạn, trong nhà hát Opéra Bastille với sức chứa 2.700 khán giả, việc theo dõi, đảm bảo khán giả giữ khoảng cách an toàn theo quy định quả thực không dễ chút nào. Đó là chưa kể đến việc giữ khoảng cách giữa các nhạc công, nghệ sĩ biểu diễn trên sân khấu cũng là điều không thể, không phù hợp với các yêu cầu về nghệ thuật. Nói cách khác, Opéra de Paris không thể « hạ giá nghệ thuật » để đảm bảo các yêu cầu giãn cách xã hội. Ngoài ra, 80% nghệ sĩ của đoàn là người nước ngoài, trong đó 55% sống ngoài khối Schengen, mà hiện giờ thì với sự hoành hành của virus corona, chưa ai dám chắc điều gì sẽ còn chờ đón thế giới, biên giới ngoại khối liệu sẽ được mở ở mức độ nào, các nghệ sĩ có được phép nhập cảnh để biểu diễn theo đúng lịch hay không … Tương lai của Opéra de Paris vẫn như bị một làn sương mờ che phủ, chưa có gì được soi tỏ …

Poliuto is a three-act tragedia lirica (or tragic opera) by Gaetano Donizetti from the Italian libretto by Salvadore Cammarano, which was based on Pierre Corneille's play Polyeucte written in 1641–42. It reflected the life of the early Christian martyr Saint Polyeuctus. Regarded by one author as Donizetti's "most personal opera" with the music being "some of the finest Donizetti was to compose", Poliuto was written in 1838 for performances planned at the Teatro San Carlo in Naples later that year. However, close to the time for rehearsals to begin, King Ferdinand II refused to allow the martyrdom of a Christian saint to be seen on stage and forbade the production. Angry at the decision and with a commission for the Paris Opéra due from the composer, Donizetti paid the penalty to the San Carlo for not producing an original work as a substitute, and left Naples for Paris arriving on 21 October. As his first commission for Paris, he decided to revise Poliuto and between 1839-40 a French text, with the title Les martyrs, was prepared by Eugene Scribe which conformed to the conventions of a French four-act grand opera, but which incorporated 80% of the music from Poliuto. It was presented in Paris on 10 April 1840. When eventually given in Italy, it was initially presented in a translation from the French version under the title of I martiri. It took until 30 November 1848, months after the composer's death, in order for Poliuto to finally appear for six performances at the San Carlo in its original Italian three-act version. Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

La fille du régiment (The Daughter of the Regiment) is an opéra comique in two acts by Gaetano Donizetti, set to a French libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard. It was first performed on 11 February 1840 by the Paris Opéra-Comique at the Salle de la Bourse. The opera was written by Donizetti while he was living in Paris between 1838 and 1840 preparing a revised version of his then-unperformed Italian opera, Poliuto, as Les martyrs for the Paris Opéra. Since Martyrs was delayed, the composer had time to write the music for La fille du régiment, his first opera set to a French text, as well as to stage the French version of Lucia di Lammermoor as Lucie de Lammermoor. La fille du régiment quickly became a popular success partly because of the famous aria "Ah! mes amis, quel jour de fête!", which requires the tenor to sing no fewer than eight high Cs – a frequently sung ninth is not written. La figlia del reggimento, a slightly different Italian-language version (in translation by Calisto Bassi), was adapted to the tastes of the Italian public. Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #LaMusicaFestival #CMDGrandOperaCompanyofVenice #ClassicalMusicLivesOn #Uber

Bienvenue sur Aventure Humaine ! Cette semaine je suis émue. Emue, d'une part, de partager avec vous ma première interview sur le nouveau podcast d'Aventure Humaine et d'autre part de vous présenter une femme qui a beaucoup compté dans ma (jeune) vie. A mon retour de cet incroyable tour du monde, j'ai eu envie de donner la parole à l'une des femmes qui m'a inspirée pendant des années. Béatrice Flahault-Milza a été l'une de mes professeures de danse pendant plus de 10 ans. Ancienne élève de la prestigieuse Ecole de danse de l'Opéra de Paris, Béatrice a ensuite fondé en 1981 son ecole de danse à Maisons-Laffitte (78). En plus du rôle de professeure, Béatrice a développé plusieurs casquettes dont j'ai pu être témoin : metteur en scène, entrepreneure, chorégraphe, et bien entendu, une figure maternelle pour chacune d'entre nous. La danse n'était pas qu'une activité de loisirs. Même si nous étions amateurs pour la plupart, les cours de danse s'imposaient comme un moment incontournable plusieurs fois par semaine. C'est dans cette école que nous aimions nous retrouver, échanger sur notre quotidien, nos histoires de coeur.  Je me souviens de cette école, de Béatrice, et de mon groupe de danseuses, comme une famille. Nous étions une grande famille de passionnées. Aujourd'hui, je lui donne la parole, avec émotions et fierté.  Je dédie cet interview à vous, les filles, qui m'avez accompagnée pendant toutes ces années, à tous les passionnés de danse mais aussi à  tous ceux qui ont une passion dans la vie. La passion est un merveilleux compagnon de vie.  Nous parlons de : Passion Transmission Création d'une Ecole de danse Petit rat Opéra de Paris - Opéra Garnier   Synchronicités Persévérance Posture du corps Margot Fonteyn - Rudolf Nu Evolution du mouvement - de la souplesse Performance Ecouter son corps Notion de plaisir Concentration - attention Musique Boléro de Ravel Réaliser ses rêves Rêver Sentiment d'avoir suivie la bonne voie Rayonner et faire rayonner Importance du bouche à oreilles Inspiration Toucher (tissu) Les chiffres : Bientôt 40 ans de l'Ecole 150 élèves / an  +/- 4000 costumes pour les ballets 150 thèmes et tableaux + 200 accessoires 3 fois La Belle au bois Dormant 2 fois Casse-Noisette 2 fois Don Quichotte Références :Bolero de Ravel Béjart Giselle (danse des Willis) avec l'étoile Marie-Agnes Gillot Son école de danse 1001 Mercis d’avoir écouté cet épisode ! Nous espérons qu’il t’a apporté de la valeur autant que nous avons pris de plaisir à l’enregistrer. Si tu veux nous soutenir, nous t’invitons : – à noter ce podcast 5 * sur Apple Podcast, ça te prend 2 minutes et 22 secondes, si si je me suis chronométré – à partager cet épisode avec un ou une ami(e), prospect, client ou partenaire qui aurait besoin de cette conversation pour aller plus loin dans ces projets ! – à nous contacter sur : hello@aventurehumaine.fr  Nous vous souhaitons une excellente semaine remplie d’actions et de nouvelles rencontres !

Ma ballade jubilatoire dans Paris Opéra Grands Boulevards Les Halles le Marais

Léon Escalaïs (August 8, 1859, Cuxac-d'Aude – November 8, 1940, Cuxac-d'Aude) was a prominent Gallic tenor, particularly associated with French and Italian heroic roles. His lean, nimble and powerful voice was noted for the ease and brilliance of its upper register. Life and career Born Léonce-Antoine Escalaïs, he commenced his vocal studies as a young man at the Music Conservatory of Toulouse, where he won prizes for singing and opera performance. He continued his studies at the Paris Conservatory with two well-known teachers of the day, Crosti and Obin, prior to making his professional debut at the Théâtre du Château (Paris) in 1882, in Sardanapale by Jean-Baptiste Duvernoy. Escalaïs was offered a contract by the Paris Opéra. His first appearance with the Paris Opéra at the Palais Garnier occurred in 1883, as Arnold in Guillaume Tell. (Arnold would become one of his signature roles.) Two years later, he sang for the first time at the Théâtre de la Monnaie in Brussels, and he made his debut at La Scala, Milan, in 1888. He left the Paris Opéra in 1892 after a dispute with management and accepted engagements in Dijon, Lyon, Marseille and Italy. Among the taxing roles which he undertook were Eléazar in La Juive, Robert in Robert le diable, Raoul in Les Huguenots, Vasco in L'Africaine and the title parts in Le Cid and Sigurd. Between 1892 and 1908, Escalaïs sang more often in Italy (this is wrong, he sang once in Milan and it was a fiasco) than he did in his native land. He added to his repertoire such Verdi roles as Manrico in Il trovatore, Radamès in Aida and the title part in Otello' (Escalais never sang Otello)'. Consequently, he was sometimes described as "the French Tamagno" (after Francesco Tamagno, the Italian heroic tenor). Escalaïs rejoined the Paris Opéra in 1908. The following year, he sang as a guest artist at the New Orleans Opera House. These would be his only performances in the United States. He retired from the stage in 1912 while still in good voice and was appointed to the Legion of Honour by the French Government in 1927. In retirement, he gave private singing lessons. One of his students was José Luccioni, an outstanding dramatic tenor of the 1930s and '40s. Escalaïs died in Cuxac-d'Aude during the Second World War, aged 82. What a VOICE!!!!!!   Wm.Tell, Robert le Diable, Huguenots,Prophete,Africaine,Juive,Jerusalem,Trovatore,Aida, Otello

Georg Hann (January 30, 1897 - December 9, 1950) was an Austrian operatic bass-baritone, particularly associated with the comic (singspiel) German repertory. Born in Vienna, he studied at the Music Academy there with Theodor Lierhammer. He joined the Munich State Opera in 1927, and remained with this theatre until his death. He also appeared regularly at the Vienna State Opera and the Salzburg Festival, quickly establishing himself as a leading buffo interpreter, notably in roles such as Leporello, Falstaff, Kecal, Ochs, La Roche (role he created in 1942), etc. He made guest appearances at the Berlin State Opera, La Monnaie in Brussels, the Paris Opéra, the Royal Opera House in London, La Scala in Milan. He did not limit himself to comic roles but also sang Sarastro, Pizzaro, Gunther, Amfortas, Daland and tackled a few Italian roles as well notably Wurm, Alfio, Tonio, as well as Mefistophele in Gounod's Faust. Hann died in Munich aged only 53.    Hann sings arias and scenes from: Zar und Zimmermann (Lortzing), Der Wildschutz (Lortzing) w. With Wolfgang Windgassen and Res Fischer, Barber of Bagdad (Cornelius), w.Lorenz Fehenberger, Nabucco, Falstaff, Gypsy Baron, Die Bettelstudent(Millocker).

Gaston Leroux always contested the Phantom of the Paris Opera House was no mere work of fiction. Perhaps he was right? Somebody's been terrorizing the cast and crew of Faust in 1890. And unless Jacob and Rory can stop it, a futuristic bomb will drop the curtains on the famous landmark for good - and prematurely end the life of a well-known opera performer. Not to mention the famous book will never be written. But this job takes a malevolent turn when Jake becomes the target of the "phantom's" antics. Old wounds are reopened in a confontation that ultimately leaves the younger of the time hoppers reeling. [[Inspired by The Voyage of the Paris Opéra, a Voyagers! fanfiction written by Mrs. Phineas Bogg of FanFiction.net. Used with permission.]] "Faust and the Phantom" Cast:    Jacob Shattuck ............. Caitlin Shaw   Rory Lenhardt ............... Taylor Carlson   "Hatchett" ...................... Jim Brannen   Gaston Leroux .............. Thomas Ferguson   Albert Vaguet ................ Iggy Kidd*   Claude-Paul Taffanel .... Jonathan Dolnier   Marcel ........................... Berkley Pickell   Ms Bourett .................... LunarArtemis*   Odette ........................... Emily Eldridge Other voice talents include:     Ninjaboy337*    Amanda Gilbertson * = Forum username/Pseudonym

An interesting  1934 recording of Cavalleria Rusticana in French,under Gustave Cloez. In the cast are Germaine Cernay, Gaston Micheletti, and Arthur Endreze, with Cernay singing also arias from Le Cid and Samson et Delilah.  (52 min.) Born: April 28, 1900 - Le Havre, France Died: 1943 - Paris, France The French mezzo-soprano, Germaine Cernay (born: Pointu), studied piano and solfeggio when still a child. She joined the Conservatoire of Paris taking singing lessons with Albers and Engel. Germaine Cernay she made her debut in 1925 at the Paris Opéra as Euryclée in Fauré's Pénélope but she eventually appeared most of her career at the Opéra-Comique (Salle Favart), where she made her debut in 1927 in Alfano's Risurrezione opposite Mary Garden. After a number of small parts she sang roles such as Mallika (Lakmé), Suzuki, Mignon, Geneviève, Carmen and Charlotte, among many others. She was also a star at the La Monnaie of Brussels and at a number of provincial French opera houses. She toured North Africa, England, Ireland, Italy and Switzerland. In a broadcast she tried to sing Mélisande (a soprano role). Without neglecting the stage, her mind continuosly changed to sing melodies and oratorios. She was a famous interpreter of Bach. Germaine believed deeply in God and intended to spend her life in a cloister, but she died before having fulfilled her wish.

have always loved the immense streets of Paris, shimmering in the sun, the crowds of all colours, those beautiful linear and aerial perspectives, those eccentric fashions, etc. But how to do it? To install oneself in the middle of the street is impossible in Paris. Ludovic Piette, letter to Pissarro 18721 Early in 1897 Pissarro began a series of paintings of the intersection of the boulevards Montmartre, Haussmann and des Italiens with the rues de Richelieu and Drouot. Between 10 February and 17 April he painted fourteen views looking east along the Boulevard Montmartre, and a further two towards the Boulevard des Italiens. From the 1860s Baron Haussmann’s interventions transformed Paris. The narrow, winding streets of the medieval city – easily barricaded in the 1848 revolution – were destroyed. Approximately 150 kilometres of road were constructed, with long avenues, apartments of a standard height, public gardens, the Paris Opéra and other public buildings, new bridges, gas lamps, a new water supply and sewers, reinvented the city. By the late 1880s Pissarro solved the conundrum suggested by his friend Piette: elevation. From a room in the Hôtel de Russie, on the corner of the Boulevard des Italiens and Rue Drouot, Pissarro looked down onto the new spaces of Paris. Although the artist and subsequent commentators are very particular about the locations of the Boulevard Montmartre series, the city’s topography is not his subject. Rather it is the changing conditions of the streets themselves. Pissaro took several cues from Monet; the high viewpoint and bustling street recall his friend’s painting Boulevard des Capucines 1873.2Both artists show the city’s hustle and bustle – a scatter of people à la japonaise, the melange of dress and hats, pillar boxes and carriage wheels – channelled down the grand boulevard. Boulevard Montmartre, morning, cloudy weather is an extraordinarily energetic painting. Pissarro’s ink and wash drawing of 1897 shows the basic components of the fourteen canvasses, but in the paintings the vanishing point is higher.3This gives the scene greater vibrancy, and makes us feel as if we are leaning out into the street. The merging of the boulevards in the distance, fringed on either side by footpaths, street-level shops and regulation-height apartments, all serve to emphasise the high perspective. A forest of chimneys is echoed by spindly trees, which line the boulevard. The patchwork of shop windows at right seems to take on elements of the crowds. An ‘imperial coach’, the heads of passengers visible through the open roof, ferries people down the boulevard. The scene is rendered with a palette of great subtlety: greys, browns and whites accented with red and tiny amounts of green. Pissarro’s fixed viewpoint meant that he recorded the ever-shifting configurations of crowds and traffic. At times the differences between the position of people in the street from one Boulevard painting to another is so slight that we could be looking at photographs of the same scene, taken only moments apart. Lucina Ward 1 In Janine Bailly-Herzberg (ed.), Mon cher Pissarro – Lettres de Ludovic Piette à Camille Pissarro, Paris: Editions du Valhermeil, 1985, p. 73. 2 Monet, either the version in Nelson-Atkins Museum of Art, Kansas City, or the painting in the Pushkin Museum of Fine Arts, Moscow. 3 Carriages on the Boulevard Montmartre 1897, private collection; see Karen Levitov and Richard Shiff, Camille Pissarro: impressions of city and country, New York: Jewish Museum, 2007, p. 70.