Podcasts about Pelleas

The rugged, windswept beauty of Sibelius' Violin Concerto is a perfect showcase for Christian Tetzlaff, whose “fiery and compelling” 2022 CSO performance was named one of the year's 10 best by Chicago Classical Review. Schoenberg's Pelleas and Melisande is a lush, quintessentially romantic orchestral portrait of Maeterlinck's mysterious, symbolist play, while Wagner's prelude delivers a thrilling opener. Learn more: cso.org/performances/24-25/cso-classical/tetzlaff-plays-sibelius

For this week's Podcast, Gramophone Editor Martin Cullingford is joined by Rafael Payare, Music Director of the Orchestre symphonique de Montréal to talk about the music of Schoenberg in the year that marks the composer's 150th anniversary. The focus is his beautiful new recording of Pelleas und Melisande and Verklärte Nacht, which is available today on the Pentatone label.

Avui hem sentit: "Chansons de Bilitis"; "Pelleas et M

FAURÉ: Pelleas et Melisande (20.45). L. Hunt (sop.), Orq. Sinf. de Boston. Dir.: S. Ozawa. Suite Dolly (16.51). K. Labéque (p.), M. Labèque (p.). Prima verba (2.20). Roses ardentes (1.31). Comme Dieu rayonne (2.08) (La chanson d’eve, Op. 95). C. Dubois (ten.), T. Raes (p.).Escuchar audio

Gabriel Faure - Pelleas and Melisande: SiciliennePierre-Alain Volondat, pianoMore info about today's track: Naxos 8.553741Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

Täna esietendub Rahvusoperis Estonia Claude Debussy sümbolistlik ooper "Pelleas ja Melisande".

Pelleas liebt in Dur, Melisande stirbt in Moll - warum das keiner von Arnold Schönberg erwartet, erfahren Sie in der Kurzeinführung für unterwegs mit Julius Heile.

Synopsis In 1933, Aaron Copland introduced Roy Harris to Serge Koussevitzky, the famous conductor of the Boston Symphony in those days. Now, Koussevitzky was one of the great patrons of American music and was always looking for new American music and new American composers. Roy Harris had been described to him as an "American Mussorgsky," which probably intrigued the Russian-born conductor. When Koussevitzky learned that Harris had been born in a log cabin in Lincoln County, Oklahoma, on Abraham Lincoln's birthday, no less – well, perhaps he hoped the 41-year old Harris might produce music equally all-American in origin. "Write me a big symphony from the West," asked Koussevitzky, and Harris responded with a three-movement orchestral work titled: "Symphony, 1933," which had its premiere performance on today's date in 1934 with the Boston Symphony under Koussevitzky's direction. Koussevitzky loved it. "I think that nobody has captured in music the essence of American life -- its vitality, its greatness, its strength -- so well as Roy Harris," enthused the famous conductor, who recorded the piece at Carnegie Hall in New York just one week after its premiere. And it was Koussevitzky's Boston Symphony that would subsequently premiere Harris's Second, Third, Fifth and Sixth Symphonies as well. Music Played in Today's Program Roy Harris (1898 – 1979) Symphony 1933 (No. 1) Louisville Orchestra; Jorge Mester, conductor Albany 012 On This Day Births 1924 - American composer Warren Benson, in Detroit, Michigan; Deaths 1795 - German composer Johann Christioph Friedrich Bach, age 62, in Bückeburg 1993 - American composer and teacher Kenneth Gaburo, age 66, in Iowa City; Premieres 1732 - Handel: opera "Ezio" (Julian date: Jan.15); 1790 - Mozart: opera, "Così fan tutte," in Vienna at the Burgtheater; 1873 - Tchaikovsky: Symphony No. 2, in Moscow (Gregorian date: Feb. 7); 1882 - Borodin: String Quartet No. 2 in D, in St. Petersburg (Gregorian date: Feb. 7); 1905 - Schoenberg: symphonic poem "Pelleas und Melisande," in Vienna, with the composer conducting; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg (Gregorian date: Feb. 8); 1911 - Richard Strauss: opera, “Der Rosenkavalier,” in Dresden at the Hofoper, conducted by Ernst von Schuch, with vocal soloists Margarethe Siems (Marschallin), Eva von der Osten (Octavian), Minnie Nast (Sophie), Karl Perron (Baron Ochs), and Karl Scheidemantel (Faninal); 1920 - Prokofiev: "Overture on Hebrew Themes," in New York by the Zimro Ensemble, with the composer at the piano; 1922 - Vaughan Williams: Symphony No. 3 "Pastoral," by the Royal Philharmonic, London, Sir Adrian Boult conducting; 1934 - Roy Harris: Symphony No. 1, by the Boston Symphony, Serge Koussevitzky conducting; 1952 - Ernst von Dohnányi: Violin Concerto No. 2, in San Antonio, Texas; 1957 - Bernstein: "Candide" Overture (concert version), by New York Philharmonic conducted by the composer; The musical "Candide" had opened at the Martin Beck Theater in New York City on December 1, 1956; 1957 - Poulenc: opera, "Les dialogues des carmélites" (The Dialogues of the Carmelites) in Milan at the Teatro alla Scala, Nino Sanzogno conducting; 1962 - Diamond: Symphony No. 7, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1966 - Dominick Argento: Variations for Orchestra and Soprano (The Masque of Night"), at the St. Paul Campus Student Center of the University of Minnesota, by the Minneapolis Civic Orchestra, Thomas Nee conducting, with soprano Carolyn Bailey; A second performance took place on Jan. 27th at Coffmann Memorial Union on the Minneapolis campus of the University of Minnesota; 1967 - Frank Martin: Cello Concerto, in Basel, Switzerland; 1994 - Elisabetta Brusa: “La Triade” for large orchestra, by the Tirana (Albania) Radio and Television Orchestra, Gilberto Serembe conducting; 1994 - Christopher Rouse: Cello Concerto, by the Los Angeles Philharmonic conducted by David Zinman, with Yo-Yo Ma the soloist; 1995 - Joan Tower: "Duets for Orchestra," by the Los Angeles Chamber Orchestra, Christoph Perick conducting. Links and Resources On Roy Harris

Beethoven, Symphony #2, 4th movt Brahms, Rhapsodie in B minor Strauss, Zueignung Debussy, Sonata for Flute, Viola and Harp, 2nd movt Machaut, La Messe de Nostre Dame: Gloria Faure, Pelleas et Melisande, Prelude Dvorak, Cello Concerto, Finale This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

The panel reads "Pelleas and Ettare" and questions whether Arthur overprotects Sir Pelleas, considering the implications for the court, whilst also examining Tennyson's psychologising of Ettare, and the potential dangers of a too-idealistic worldview.Continue reading

Super thrilled to announce new guest, Kendra Bigley, to The Story!Kendra Bigley earned the Bachelor of Music in piano performance from the Eastman School of Music, where she studied with Barry Snyder, Fernando Laires, and Jean Barr. Ms. Bigley has built a career as a chamber musician, teacher, music director, vocal coach, and accompanist at such institutions as the Trust Performing Arts Center, Fulton Theatre, Servant Stage Company, Opera Lancaster, Florida International University, Lancaster Bible College, and Temple University, where she is currently pursuing a Masters degree in Collaborative Piano/Opera Coaching, studying with Charles Abramovic and Lambert Orkis. With Temple Opera Theater, Ms. Bigley has performed in the recent productions of Debussy's "Pelleas et Melisande" and Mozart's "Le Nozze di Figaro". At the Trust Performing Arts Center, Ms. Bigley has collaborated with artists including Carla Leurs, Amy Owens, Doris Hall-Gulati, Thomas Meglioranza, Samantha Hankey, Timothy Long, and Christopher Shih. Her favorite shows as music-director/conductor include “Working”, “Little Shop of Horrors”, “Little Women”, “My Fair Lady”, “The Music Man”, and “Titanic” for which she won the Regional Broadway Music Award for Best Music Director. Ms. Bigley lives in Lancaster City with her husband, conductor/singer/actor, Robert Bigley.Support this podcast at — https://redcircle.com/the-story/donations

Tonight, we'll read another story from our King Arthur series. This one, “Pelleas and Ettarde” comes from a book written by Mary MacGregor. If you'd like to listen to this whole anthology easily in order, go to snoozecast.com/series.— read by 'V' — Listen Ad-Free on Patreon See acast.com/privacy for privacy and opt-out information.

Episode #39: Crisp Nordic Air Uploaded: November 20, 2021 Jean Sibelius: Symphony No. 1 in E Minor, Op. 39 I. Andante ma non troppo – Allegro energico [12:06] II. Andante (ma non troppo lento) [10:23] III. Scherzo: Allegro – Lento (ma non troppo) – Tempo I [5:40] IV. Finale (Quasi una Fantasia): Andante – Allegro molto [13:39] Pelleas and Melisande – Incidental Music (selections), Op. 46 No. 1. At the Castle Gate [4:25] No. 2. Melisande [4:00] No. 9. The Death of Melisande [5:49] The Hallé Orchestra Sir John Barbirolli, C.H., conductor EMI EMINENCE CD-EMX 2130 Vagn Holmboe: Solhymne, Op. 77 I. Tempo giusto [4:13] II. Parlando [3:09] III. Tempo giusto [5:20] Peter Bruun: Forårssang [4:38] Vandring I Skoven [3:27] Per Nørgård: Two Hans Christian Andersen Poems I. Lysets fædreland [2:53] II. Løft mig kun bort [2:06] Bo Holten: Ps. 23: Herren Er Min Hyrde [5:44] Herman D. Koppel: Three Pieces for Mixed Choir with Texts from the Psalms of David, Op. 74 I. Herre, din miskundhed rækker til Himlen [2:11] II. Herre, min Gud, jeg råber om dagen [2:15] III. Kom, lad os juble for Herren [1:44] Jørgen Jersild: Il Cantico Delle Creature [6:33] Poul Ruders: Three motets I. Preghiera semplice [5:11] II. Caritas nunquam excidit [3:38] III. Psalm 86 [6:25] DR Vokalensemblet Søren Kinch Hansen, conductor DACAPO 8.226051

durée : 00:05:22 - Classic & Co - par : Anna Sigalevitch - "Pelleas et Mélisande" de Debussy, mis en scène par Eric Ruf et dirigé par François-Xavier Roth, du 9 au 16 octobre au Théâtre des Champs Elysées.

In the final episode of the season, Keturah speaks with director, Crystal Manich, director and General Director of Opera Memphis, Ned Canty, and conductor, Joseph Mechavich, about three texts that move them in opera.  The conversation goes from the specific text to why sounds can be so moving, to how we approach text in our practice, and these three interviews sit beautifully as a trio in thought and structure.Texts discussed are Colautti’s Adriana LeCouvreur, Romani’s The Elixir of Love, and Maeterlinck’s Pelleas et Melisande.

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"

Uppläsning: Tomas Tranströmer (inspelning från SR:s arkiv ) Diktsamling: Östersjöar (Bonniers) MUSIK Gabriel Fauré: Fileuse ur Pelleas och Melisande EXEKUTÖR Gil Shaham, violin, Akira Eguchi, piano

En succé men en omdiskuterad sådan. Per Feltzin berättar om premiären 1935, om berättelsen och om debatterna efteråt. Vi hör bland annat Summertime, It ain't necessarily so och I got plenty o'nuttin. Broadwaypremiären var 10:e oktober 1935 och dit kom Hollywoodstjärnor som Kathrine Hepburn, Leslie Howard och Joan Crawford - och operastjärnor som Kirsten Flagstad. Drygt tio år tidigare hade Gershwin skapat sensation med orkesterstycket Rhapsody in Blue - också det en klassiker... Efter premiären var det galafest och Gershwin själv satt vid pianot och spelade den, redan då och där, mycket uppskattade musiken. Ändå - dagen efter började diskussionerna. Men mer om det senare. Gershwin skrev om sin samtid, 30-talets USA, och operan utspelar sig i Charleston, South Carolina. Slaveriet är i färskt minne, bomullsplantagerna drivs inåt landet och hamnen är full av fartyg. Det är långt söderut vid den amerikanska östkusten där fukt, stormar och högvatten ofta drabbar invånarna. På Catfish row finns Bess, den vackra Bess som har problem med både män och kokain. Här finns hennes fästman Crown, en hetlevrad spelare och fixare av det mesta. Här finns Sporting Life - han handlar med både smuggelsprit och kokain. Och - här finns den handikappade tiggaren Porgy. Han är lam i båda benen och tar sig runt med hjälp av en liten vagn... och sjunger. Operan tar sin början i trädgården på Catfish row. Bess pojkvän Crown spelar tärning med Robbins i kvarteret, men efter ett gräl mördar Crown sin motspelare och flyr. Kvar blir Bess, men ingen vill hjälpa henne. Ingen utom Porgy. De blir ett par och för ett ögonblick verkar det som att de två ska bli lyckliga. Men Crown kommer tillbaka - och Sporting Life lockar fortfarande med sitt kokain. Porgy gör allt för att hindra Crown från att förstöra Bess liv till sist tar han till kniven, Crown dör och Porgy grips av polisen. När han sedan släpps efter några dagar, vågar ingen först säga var Bess är. När Porgy till sist förstår att hon följt med kokainhandlaren Sporting Life till New York, 160 mil därifrån, släpper han allt och sätter sig i sin lilla vagn för att långsamt ta sig dit. Varför välja just den här inspelningen? Det finns snyggare, mera välsjungna och välspelade men den här har mycket mer dramatik. Det är en live-upptagning hämtad från en uppsättning som är en av de mest framgångsrika scenproduktioner någonsin. Mellan 1952 och 1956 var den på turné i USA, Europa, Sydamerika och Afrika. Dirigenten på det här livealbumet är Alexander Smallens som gjorde New Yorkpremiären 1935. På inspelningen finns bland andra operasångaren Leontyne Price som Bess och jazzsångaren Cab Calloway som Sporting Life. Porgy och Bess är en succé men en med komplikationer. På 30-talet diskuterade man om det verkligen var en opera - med så mycket jazz och en berättelse om de fattigaste människorna. De trasiga. I en opera? Gershwin själv menade att det inte fanns någon annan musik som var mer amerikansk än jazz. All annan musik härstammar från andra länder och kulturer men jazzen är amerikansk. Perfekt för att skildra just den här historien. Operan baseras på Dubose Haywards roman "Porgy" som kom 1925, men också på den mycket framgångsrika pjäs som hans hustru Dorothy Hayward skrev två år senare. Paret bodde i Charleston, så båda deras berättelser bygger delvis på egna iakttagelser. Porgy är till exempel inspirerad av den handikappade Samuel Smalls som också tog sig fram på en liten kärra. Redan på 20-talet fick George Gerswhin romanen Porgy i sin hand och slukade den - klockan fyra på morgonen var han klar och sa efteråt att han var tvärsäker på att det här var den berättelse han hade letat efter. Han ville sammanfoga det folkliga Amerika till något som var inte var teater, inte musikal - utan en genomkomponerad opera. En "folk opera" som han kallade den. Och Heyward själv föreslog - ska du inte kalla den för något mera än Porgy, något mer operaaktigt. Det finns ju operorna Pelleas och Melisande, Samson och Delilah och Tristan och Isolde - - därav Porgy och Bess. Men, det var inte bara jazzen i "Porgy och Bess" som fick kritik, utan det blev också en diskussion om vem som har rätten att beskriva ett visst samhälle, att skriva om en grupp människor som man inte själv tillhör. Kunde verkligen judiska immigranter som tonsättaren George Gershwin och den textförfattande brodern Ira och ett vitt par från Södern gestalta svarta fattiga fiskare? Då var det vanligt med blackface - svartmålade ansikten på vita skådespelare. För att undvika det skrev Gershwin in att endast svarta sångare fick spela. Men det har också tagits för ett utpekande av de svarta. Det underströk att berättelsen var ett öde enbart för afro-amerikaner. Som inte ens kunde tala ordentlig engelska. Porgy och Bess blev operan om svarta - i stället för bara en opera om svarta. Valet av jazz som musikalisk grund till operan, menade flera, pekade också ut de negativa sidorna av en svart identitet. Gav de svarta en lågstatusstämpel. Gershwin fick kritik för att han hade skrivit en massa sånger i en opera... Självklart, sa han. Den berättelse jag ville skriva, skulle ha allvar och humor i sig och vara underhållande. Precis som Verdis operor - och Carmen. Den diskussion som fördes då är i allra högsta grad aktuell på många sätt. Gershwin själv avled två år efter urpremiären när man opererade en hjärntumör han hade fått. Men musiken - den spelades, precis som den spelas än idag.

Musica e Tradizione, Musica e Alchimia, Musica e società segrete… Ciò che pertiene il rapporto fra l'arte dei suoni e le differenti forme di Arte Reale è da sempre oggetto di particolare attenzioni, fin dai tempi in cui l'uomo intuì l'origine sonora del Cosmo. A che punto siamo con queste indagini? Nella bibliografia attualmente disponibile sull'argomento, oltre alle fondamenta profonde e solide già da tempo tracciate, è possibile cominciare a scorgere anche un punto d'arrivo? Ne parliamo giovedì 4 febbraio alle 14 in diretta Facebook con Alessandro Nardin, autore di "Debussy l'esoterista", "Giuseppe Sammartini e il concerto per organo nella Londra musicale e massonica" e "Pelleas et Mélisande tra Maeterlinck e Debussy. Il simbolo oltre il simbolismo". Ti invito ad iscriverti al canale Spotify per rimanere sempre aggiornato.

En esta biografía para niños, podrás conocer a Claude Debussy, su vida y algunas de sus obras más conocidas. Una biografía corta para toda la familia.  Escucharás sus principales obras: Nocturnes: II. Fetes Arabesques Preludes: Book 1: XII. Minstrels Le Roi Lear, Fanfarria Images: II. Iberia Estampes: I. Pagodes Children's Corner: Golliwog's Cake-walk Una pequeña parte de su ópera Pelleas et Melisande Suite Bergamasque: I. Prelude String Quartet: II. Scherzo Prelude a l'apres-midi d'un faune Images, Book 1: I. Reflets dans l'eau Preludes. Book 1: X. La Catedral Engloutie Preludes, Book 2: XII. Feux d'artifice Suite Bergamasque: Claire de Lune   Síguenos en: Facebook, Twitter, Instagram y Pinterest.    Si te gusta el episodio, califícalo en tu app favorita (Podcasts iTunes, iVoox, Spotify) o puedes dejar tu review. :)  No te pierdas ningún episodio. Súscríbete al newsletter en allegromagico.com/suscribirme.  Link Spotify para escuchar nuestras playlists: https://open.spotify.com/show/2EsqHmguWlkXvOydNMTG6H  

The party has split for some downtime, Taylor headed to the coast of Kraith, Fionnuala stayed in Ridgemount, and Marrion, Nortrude and Pelleas all headed to Revelhein. rollingonfate.com Giveaway (leave a reveiw) -> https://podcasts.apple.com/us/podcast/rolling-on-fate/id1455792199 Music -> Will Savino patreon.com/musicd20/ You can support us and access all of our bonus content at: patreon.com/RollingOnFate Discord-> https://discord.gg/bQYGGgG instagram.com/rollingonfate twitter.com/rollingonfate facebook.com/groups/RollingOnFate Cover art by Jennifer Hahn jenhahnart.com (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram)

The party has split for some downtime, Taylor headed to the coast of Kraith, Fionnuala stayed in Ridgemount, and Marrion, Nortrude and Pelleas all headed to Revelhein. rollingonfate.com Giveaway (leave a reveiw) -> https://podcasts.apple.com/us/podcast/rolling-on-fate/id1455792199 Music -> Will Savino patreon.com/musicd20/ You can support us and access all of our bonus content at: patreon.com/RollingOnFate Discord-> https://discord.gg/bQYGGgG instagram.com/rollingonfate twitter.com/rollingonfate facebook.com/groups/RollingOnFate Cover art by Jennifer Hahn jenhahnart.com (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram)

Tom Hanks talks about the beginning of Malory's Morte Darthur, the story of Uther & Igraine, and Pelleas & Ettarde. See acast.com/privacy for privacy and opt-out information.

After finally locating the Spirit Rift, Pelleas, Marrion and Taylor venture inside to get information for The Mortimore. However, when they leave the rift they find their friends missing and a necrotic surprise waiting for them. rollingonfate.com Giveaway -> https://discord.gg/bQYGGgG http://taleofthemanticore.podbean.com/ https://linktr.ee/PracticalHeroesPodcast Music -> Will Savino patreon.com/musicd20/ You can support us and access all of our bonus content at: patreon.com/RollingOnFate instagram.com/rollingonfate twitter.com/rollingonfate rollingonfate.tumblr.com facebook.com/groups/RollingOnFate Cover art by Jennifer Hahn jenhahnart.com (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram)

After finally locating the Spirit Rift, Pelleas, Marrion and Taylor venture inside to get information for The Mortimore. However, when they leave the rift they find their friends missing and a necrotic surprise waiting for them. rollingonfate.com Giveaway -> https://discord.gg/bQYGGgG http://taleofthemanticore.podbean.com/ https://linktr.ee/PracticalHeroesPodcast Music -> Will Savino patreon.com/musicd20/ You can support us and access all of our bonus content at: patreon.com/RollingOnFate instagram.com/rollingonfate twitter.com/rollingonfate rollingonfate.tumblr.com facebook.com/groups/RollingOnFate Cover art by Jennifer Hahn jenhahnart.com (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram)

An introduction to opera! In which Hannah and guest expert Greg Freed discuss music as math homework, the excitement of "wrong" singing, Lawrence Tibbett's forehead, and the proper way to insult one's seatmates at the Met. See everyrecordeverrecorded.com for more opera notes! PLAYED ON THE SHOW: PLAYED ON THE SHOW: - Christine Goerke, "Allein, Weh, ganz allein" from Elektra, Dresden, 2014 (Richard Strauss) - The Consort of Musicke, "Fantasia a 6 (no. 2)" (William Byrd) - Ton Koopman, "Fuga in G (BWV 578)" (Johann Sebastian Bach) - The Academy of Ancient Music, Symphony no. 40 in G minor, first movement (Wolfgang Amadeus Mozart) - Boston Symphony Orchestra, Symphony no. 5 in C minor, first movement (Ludwig von Beethoven) - Chicago Symphony Orchestra, Symphony no. 9 in D minor, first movement (Ludwig von Beethoven) - BBC Symphony Orchestra, "IV. Peripetie, Sehr rasch" from Five Pieces for Orchestra (Arnold Schönberg) - London Philharmonic Orchestra, "Mortal cosa son io" from Il Ritorno di Ulisse in Patria (Claudio Monteverdi) - Concerto Vocale, "Mortal cosa son io" from Il Ritorno di Ulisse in Patria (Claudio Monteverdi) - Jessye Norman, "Mild und leise wie er lächelt" from Tristan und Isolde (Richard Wagner) - Franco Faggioli, "Vo solcando un mar crudele" from Artaserse (Leonardo Vinci) (nope, different guy) - Budapest Philharmonic, "Dance of the Blessed Spirits" from Orfeo ed Euridice (Christoph Willibald Gluck) - Lawrence Brownlee, "Un'aura amorosa" from Cosi Fan Tutte (Wolfgang Amadeus Mozart) - Lucia Popp, "Der Hölle Rache" from The Magic Flute (Wolfgang Amadeus Mozart) - Rockwell Blake, "D'ogni più sacro impegno" from L'Occasione Fa Il Ladro (Gioacchino Rossini) - Leyla Gencer and Shirley Verrett, "Figlia impura di Bolena" from Maria Stuarda (Gaetano Donizetti) - Franco Corelli from Poliuto (Gaetano Donizetti) - Kiri te Kanawa, "Aria from Salammbo" (Bernard Herrmann) - Elmer Fudd, "Kill the Wabbit" from What's Opera, Doc? (Chuck Jones, Michael Maltese and Richard Wagner) - Lawrence Tibbett, "Leb wohl, du kühnes herrliches Kind" from Die Walküre (Richard Wagner) - Leonie Rysanek, "Entweihte Götter!" from Lohengrin (Richard Wagner) - Lilli Lehmann, "Non mi dir" from Don Giovanni (Wolfgang Amadeus Mozart) - Slovak Philharmonic Orchestra, "Humming Chorus" from Madama Butterfly (Giacomo Puccini) - Sorasit D Guzheng, "Mo Li Hua" - Celine Dion and Song Zuying, "Mo Li Hua," live in China, 2013 - Choeurs, "Là, Sui Monte Dell' Est" from Turandot, Avignon, France, 2012 (Giacomo Puccini) - Maria Callas, first entrance in "Tosca," Metropolitan Opera House, New York, 1965 (Giacomo Puccini) - Maria Callas, finale of Act 2 of "Aida," Mexico, 1950 (Giuseppe Verdi) - Ghena Dimitrova, "Gloria, gloria, o vincitore!" from Turandot, (Giacomo Puccini) - Inge Borkh, "Barak, ich hab' es nicht getan!," from Die Frau Ohne Schatten (Richard Strauss) - Wiener Philharmoniker, "Mondscheinmusik" from Capriccio (Richard Strauss) - Edo de Waart and the Orchestra of St Luke, "It Seems So Strange" from Nixon in China (John Adams) - Trudy Ellen Craney, "I Am the Wife of Mao Tse-Tung" - Wiener Philharmoniker, "Act 2 Interlude" from Pelleas et Melisande (Claude Debussy) - Lorraine Hunt Lieberson, "As with rosy steps the morn" from Theodora (George Frideric Handel)

Eine CD von Sara Jakubiak - vorgestellt auf NDR Kultur.

Göran Greider blir frälst av Schubert i denna säsongsavslutning, tilllika Johan Korssells sista program som programledare. Och vilken favoritkavalkad vi avslutar med då! Beethovens femma, Tavlor på en utställning, Schuberts andra pianotrio och Schönberg. Dessutom åker vår reporter Johan Tollgerdt till Paris och hälsar på hos en av våra mindre kända världstjärnor inom den klassiska musiken, organisten Hampus Lindwall. I panelen: Eric Schüldt, kulturjournalist och programledare på P2, Hanna Höglund, musikkritiker och Göran Greider, ledarskribent och författare. Programledare är Johan Korssell. Veckans skivor: Modest Musorgskij Tavlor på en utställning Maurice Ravel La Valse Les Siecles Francois-Xavier Roth, dirigent Betyg: 5 Franz Schubert Schuberts pianotrio nr 2 Ess-dur Sonat för arpeggione och piano A-moll Marie-Elisabeth Hecker Antje Weithaas Martin Helmchen Betyg: 4 Beethoven Symfoni nr 5 Musicaeterna Teodor Currentzis, dirigent Betyg: 4 Schönberg Erwartung och Pelleas et Melisande Sara Jakubiak, sopran Bergens filharmoniska orkester Edward Gardner, dirigent Betyg: 5

Il 30 aprile 1902 viene rappresentata per la prima volta l'opera Pelleas et Melisande di Claude Debussy. Anna Rastelli lo racconta a WikiMusic

Fionnuala, Amsily, and Marion have started a fire in the Lord's Manor, incensing a mysterious elven wizard. Meanwhile, Taylor, Nortrude, and Pelleas have made it out of the Two Suns Rift with Zethie, successfully starting a riot in the rift. Will the adventurers be able to escape the prison, and the city itself, without being caught? instagram.com/rollingonfate twitter.com/rollingonfate rollingonfate.tumblr.com facebook.com/groups/RollingOnFate You can support us and access all of our bonus content at: patreon.com/RollingOnFate Cover art by Jennifer Hahn jenhahnart.com (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram)

Fionnuala, Amsily, and Marion have started a fire in the Lord's Manor, incensing a mysterious elven wizard. Meanwhile, Taylor, Nortrude, and Pelleas have made it out of the Two Suns Rift with Zethie, successfully starting a riot in the rift. Will the adventurers be able to escape the prison, and the city itself, without being caught? instagram.com/rollingonfate twitter.com/rollingonfate rollingonfate.tumblr.com facebook.com/groups/RollingOnFate You can support us and access all of our bonus content at: patreon.com/RollingOnFate Cover art by Jennifer Hahn jenhahnart.com (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram)

durée : 00:26:56 - La Grande table culture - par : Olivia Gesbert - À l’occasion de sa mise en scène de "Pelleas et Mélisande" de Maurice Maeterlinck aux Ateliers Berthier/Théâtre de l’Odéon du 25 février au 21 mars, Julie Duclos est notre invitée. L'occasion de revenir sur cette adaptation, l'écriture de Maeterlinck et le travail de mise en scène. - réalisation : Eric Lancien, Gilles Blanchard - invités : Julie Duclos Metteuse en scène

durée : 00:26:56 - La Grande table culture - par : Olivia Gesbert - À l’occasion de sa mise en scène de "Pelleas et Mélisande" de Maurice Maeterlinck aux Ateliers Berthier/Théâtre de l’Odéon du 25 février au 21 mars, Julie Duclos est notre invitée. L'occasion de revenir sur cette adaptation, l'écriture de Maeterlinck et le travail de mise en scène. - réalisation : Eric Lancien, Gilles Blanchard - invités : Julie Duclos Metteuse en scène

« Pelleas et Mélisande », qui sera jouée à l’Odéon-Théâtre de l’Europe du 22 février au 21 mars 2020, est sa première création présentée au Festival d’Avignon 2019. Julie Duclos, metteuse en scène et comédienne formée au Conservatoire national supérieur d'art dramatique, est aussi passionnée de cinéma. Dans sa pratique très cinématographique du théâtre, elle explore l’intime, la part d’inconnu de l’être humain, ses ambiguïtés sentimentales et existentielles, comme ici en revisitant le texte du poète belge Maurice Maeterlinck. Rencontre avec une nouvelle figure phare du théâtre français.

Fionnuala, Amsily, Pelleas, and Taylor all go shopping in the two lower districts of Revelhein and find a few interesting artifacts. [Twitter](http://twitter.com/rollingonfate) [Tumblr](http://rollingonfate.tumblr.com/) [Facebook](http://www.facebook.com/groups/RollingOnFate) You can support us and access all of our bonus content at: [Patreon](http://www.patreon.com/RollingOnFate). Cover art by Jennifer Hahn (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram) Episode music by Andrew Hahn AndrewHahnPiano@gmail.com

Fionnuala, Amsily, Pelleas, and Taylor all go shopping in the two lower districts of Revelhein and find a few interesting artifacts. Twitter Tumblr Facebook You can support us and access all of our bonus content at: Patreon. Cover art by Jennifer Hahn (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram) Episode music by Andrew Hahn AndrewHahnPiano@gmail.com

Fionnuala, Marion, and John gather at the Church of the Rift in the upper district to hear the Arbiter speak. Pelleas and Aims tag along with Taylor as he meets up with an old acquaintance and receives word of a potential mission. [Twitter](http://twitter.com/rollingonfate) [Tumblr](http://rollingonfate.tumblr.com/) [Facebook](http://www.facebook.com/groups/RollingOnFate) You can support us and access all of our bonus content at: [Patreon](http://www.patreon.com/RollingOnFate). Cover art by Jennifer Hahn (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram) Episode music by Andrew Hahn AndrewHahnPiano@gmail.com

Fionnuala, Marion, and John gather at the Church of the Rift in the upper district to hear the Arbiter speak. Pelleas and Aims tag along with Taylor as he meets up with an old acquaintance and receives word of a potential mission. Twitter Tumblr Facebook You can support us and access all of our bonus content at: Patreon. Cover art by Jennifer Hahn (@earthlyimaginings on Tumblr and Instagram) Theme music by Kyle Krawford (@billytidrow on Twitter and Instagram) Episode music by Andrew Hahn AndrewHahnPiano@gmail.com

MÚSICA Sicilienne Op.78 - From "Pelleas et Melisande" by Gabriel Fauré - Emmanuel Pahud & Mariko AnrakuFestivola (CD) The Most Relaxing Flute Album In The World... Ever! © Apple ID (itunes) – www.itunes.apple.com -- AUTOR DOS TEXTOS P. Gonçalo Miller Guerra, sj -- LEITORES Afonso Soares dos Santos (pontos) Maria Helena Falé (textos bíblicos)

Nel Centenario di Debussy, Pelleas et Melisande secondo il maestro Daniele Gatti

In occasione del Centenario di Claude Debussy, intervista al direttore d'orchestra Daniele Gatti che sta preparando una nuova edizione di Pelleas et Mélisande

Neeme Järvi: „Album Sibeliuse Kuuenda sümfoonia ja süidiga "Pelleas ja Melisande" on nii ilus, et sellesse võib armuda.“Järvi on salvestanud Rootsi firmale BIS koos Göteborgi Sümfooniaorkestriga kogu Jean Sibeliuse orkestriloomingu.

Neeme Järvi: „Album Sibeliuse Kuuenda sümfoonia ja süidiga "Pelleas ja Melisande" on nii ilus, et sellesse võib armuda.“Järvi on salvestanud Rootsi firmale BIS koos Göteborgi Sümfooniaorkestriga kogu Jean Sibeliuse orkestriloomingu.

Katie Mitchell talks about her time directing Opera. Katie Mitchell is one of the few senior women working in opera in Britain and mainland Europe today. She has worked here at English National Opera, The Royal Opera House, Glyndebourne Festival and Welsh National Opera. She is currently opening the revival of George Benjamin’s Written on Skin at the Royal Opera House whilst preparing for George Benjamin’s second commission scheduled for 2018. She has also worked extensively in Germany, France, Austria and Scandinavia at houses like The Staatsoper, Berlin, The Salzburg Festival and Royal Danish Opera. She is currently a resident artist at The Aix en Provence Festival where she has directed five operas including Pelleas and Melisande and Handel’s Alcina. IN her first ‘Conversation’, she will describe her background in theatre and how she fell into opera to become one of its leading international lights.

Pavane op. 50; Barcarolles Nr. 4, 5, 6 und 7; Nocturnes Nr. 4 und 6; Après un rêve op. 7 Nr. 1; Suite aus "Pelleas et Melisande" op. 80; 9 Préludes op. 103 | Louis Lortie (Klavier)

Émission consacré aux compositeurs classique marquants de la fin du 19e siècle et du début du 20e. On passe en revue la 2e école de Vienne et on parle un peu de ses influences sur la France avec Debussy, nottament.Morceaux en formes de poire : Manière de commencement / Erik Satie Sechs Stücke für Orchester / Anton Webern Sieben frühe Lieder / Alban Berg Pelleas und Melisandre / Arnold Schönberg La mer / Claude Debussy The Isle of the Dead / Sergueï Rachmaninov

Två bröder och en mystisk kvinna utan historia - Claude Debussys klassiska triangeldrama Pelléas och Mélisande slutar i ond, bråd död. Men vad berättar Debussy egentligen i den symbolfyllda operan? Programledaren och producenten Britta Svanholm Maniette har bjudit in Johan Korssell, programledare för CD-revyn på SR P2, för att prata om operadroger, symbolik och hår! Och vilka var egentligen de så kallade pelléastrarna? Pelleas och Melisandes Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan. Operaguiden operaguiden@sverigesradio.se

Två bröder och en mystisk kvinna utan historia - Claude Debussys klassiska triangeldrama Pelléas och Mélisande slutar i ond, bråd död. Men vad berättar Debussy egentligen i den symbolfyllda operan? Lyssna på alla avsnitt i Sveriges Radio Play. Programledaren och producenten Britta Svanholm Maniette har bjudit in Johan Korssell, programledare för CD-revyn på SR P2, för att prata om operadroger, symbolik och hår! Och vilka var egentligen de så kallade pelléastrarna? Pelleas och Melisandes Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan. Operaguidenoperaguiden@sverigesradio.se

Två bröder och en mystisk kvinna utan historia - Claude Debussys klassiska triangeldrama Pelléas och Mélisande slutar i ond, bråd död. Men vad berättar Debussy egentligen i den symbolfyllda operan? Programledaren och producenten Britta Svanholm Maniette har bjudit in Johan Korssell, programledare för CD-revyn på SR P2, för att prata om operadroger, symbolik och hår! Och vilka var egentligen de så kallade pelléastrarna? Pelleas och Melisandes Spotifylista Låtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan. Operaguiden operaguiden@sverigesradio.se

He's written scores for some of Hollywood's biggest blockbusters, but Patrick Doyle initially struggled with calling himself a “composer”.

He’s written scores for some of Hollywood’s biggest blockbusters, but Patrick Doyle initially struggled with calling himself a “composer”.

Here is one of many compilations of great artists at Covent Garden in the period 1904-1910.     They're all good!!!!!!!!!!!!!!!!!!!!!!  Was I born too late? 1.Emmy Destinn    Lohengrin:            Elsa's Traum 2. Melba/Caruso   O soave fanciulla (her high C is to DIE FOR!) 3. Charles Dalmores  Carmen             Flower Song 4. Emma Calve            Herodiade        Il est doux. 5. Giuseppe Anselmi   Tosca   Recondita Armonia  (note slight change in ending) 6.Celestina Boninsegna     Ballo           Ma dall'arrido 7. Selma Kurz    Les Huguenots            O Beau pays  (famous for her trill) 8. Giovanni Zenatello      Andrea Chenier     Si, fui soldato 9. Riccardo Stracciari       Trovatore        Il Balen 10.Mattia Battistini           Faust                Valentin's aria 11. Clarence Whitehill      Meistersinger   Wahn! Wahn! 12. Maria Gay (Mrs.Zenatello)   Carmen    Card aria  (slight chest voice.) 13. John McCormack          Don Giovanni     Il mio tesoro  (considered the STANDARD!) 14. Alessandro Bonci          Pearl Fishers     Je crois entendre 15. Edoardo Garbin              Fedora                Vedi,io piango (w.Giannina Russ.) 16. Louise Kirkby-Lunn       Samson et Delilah     Printemps qui commence 17. Emile Vanni-Marcoux   Pelleas et Melisande   Una grande innocence 18. Mario Sammarco            Otello                   Era la notte 19. Peter Cornelius                Walkure              Wintursturme   (in Danish)                                         (71 min.)

Christopher Cook with a personal recommendation from the recordings of Debussy's opera, Pelleas et Melisande.

   A rather "unsubtle" La Boheme under Franco Mannino from Macerata, 1971. Franco Corelli,Luisa Maragliano, and Giangiacomo Guelfi must have "escaped' from Il Trovatore for this show. Completing the cast are Elvidia Ferracuti and Nicola Zaccaria.  If you favorite opera is Pelleas et Melisande, do not listen to this one.  (67 min.)

On the Guest List this week Anne-Marie talks to one of the UK’s most successful composers Karl Jenkins who has just completed the score for the movie ‘River Queen’....Also on the show is actor Anthony Andrews who tells the Guest List why the work of Somerset Maugham is such a joy to perform. Annie also chats to Austrian mezzo soprano Angelika Kirchschlager who is currently appearing at the Royal Opera House in Debussy’s ‘Pelleas and Melisande’

Still more insane happenings on opera stages and in thestudio. Perfect for opera parties or if you feel like takingtime off from Pelleas et Melisande.                                    ENJOY!!!!!!!!!!!!!!!!!!!!