Podcast appearances and mentions of Peter Grimes

Få svenska artister har varit lika mytomspunna och gjort lika stort avtryck med sin röst som Freddie Wadling. Nu kommer dokumentären Jag är monstret berättelsen om en särling som blev folkkär. Lyssna på alla avsnitt i Sveriges Radio Play. Filmens skapare Robert Lagerström och Lars Hogéus är gäster i P1 Kultur. ÄR SATIREN VERKLIGEN DÖD?”Satiren är död” hävdas ofta med hänvisning till att det inte går att skämta om en värld som själv är som ett skämt. Efter en turbulent vinter i geopolitiken har P1 Kultur Jenny Teleman dykt ner i den digitala satiren för att ta tempen på vår tids gycklare och smädare – var satiren bättre förr?OPERAN ”PETER GRIMES” – EN BERÄTTELSE OM MOBBEN MOT OUTSIDERN Platsen är ett slutet kustsamhälle, dramats kärna: misstro och skuld; kollektiv mot individ. I helgen var det premiär för operan Peter Grimes på Göteborgsoperan. Samtal med kritiker Britta Svanholm Maniette. KAMASI WASHINGTON INTRODUCERAR JAZZEN FÖR EN NY PUBLIKHan har blivit en väg in i jazzen för en helt ny, yngre publik. Den amerikanska tenorsaxofonisten Kamasi Washington ger i veckan två konserter i Sverige. Vem är han och hur fick hans musik ett så starkt inflytande över topplistorna? Samtal med P3:s Oscar Kangro. ESSÄ: PLASTTRÄD ÄR INTE SÄMRE ÄN RIKTIGA TRÄD Det står några plastträd i korridoren på Jonas Grens kontor. De väcker frågor. Men väldigt annorlunda frågor än riktiga träd.Programledare: Lisa WallProducent: Eskil Krogh Larsson

Embark on a seafaring journey as Tchaikovsky summons Shakespeare's magical island and storm-tossed seas in The Tempest. Korngold evokes the swashbuckling sailors of the 1940 Hollywood epic The Sea Hawk, and Britten portrays the coastal village of his opera Peter Grimes. The voyage concludes as Konstantin Krimmel presents Mahler's song cycle about a traveling journeyman. Learn more: cso.org/performances/24-25/cso-classical/the-tempest-and-the-sea-hawk

Welcome to another episode of Busy Kids Love Music, your go-to podcast for introducing young listeners to the world of classical music! In today's episode, we're kicking off a new three-part series about one of the most celebrated British composers of the 20th century—Benjamin Britten. What We'll Explore in this Episode: - Britten's Early Life & Musical Beginnings: Born on November 22, 1913, in Suffolk, England—St. Cecilia's Day, no less!—Britten was raised in a musically nurturing home. His mother, Edith, encouraged his early musical talents, and he took his first piano lessons as a child. - A Budding Prodigy: Britten's talent was evident from a young age, and his meeting with composer Frank Bridge at age 14 helped shape his approach to composition. He went on to study at the Royal College of Music, where he balanced formal training with his own creative instincts. - Unique Style & Influence: Known for blending traditional English folk tunes with modern sounds, Britten created music that resonated with listeners of all backgrounds. His ability to craft music that was both complex and accessible made him stand out in the classical world. - Commitment to Peace: Britten was a pacifist, a belief that profoundly influenced his life and compositions. Instead of fighting in World War II, he used his music to convey messages about the horrors of war and the need for peace. One of his most powerful pieces, War Requiem, is dedicated to honoring lives lost in conflict. - Famous Works: Britten's Peter Grimes, which premiered in 1945, became a cornerstone of modern opera. His repertoire also includes orchestral, choral, and chamber music that speaks to audiences around the world. In two weeks, we'll dive deeper into Britten's beloved works, continuing our three-part journey through his life and legacy. Be sure to subscribe, so you won't miss a thing! If you enjoyed this episode, please leave a review on your favorite podcast platform, and join us next time on Busy Kids Love Music! Musical Highlights Throughout the episode, you'll hear snippets of these selections: Hymn to St. Cecelia Night Piece for Piano Four Sea Interludes from Peter Grimes War Requiem The Young Person's Guide to the Orchestra Curated Playlist I've put together a special YouTube playlist featuring music from today's episode. Check it out here. Subscribe & Review  If you enjoy the podcast, please subscribe and leave a review on your favorite podcast platform. Your support helps us reach more music-loving families!

The guys chat with Tabita Berglund before her debut performance as the Detroit Symphony Orchestra's newly appointed Principal Guest Conductor. Catch Tabita conducting Sibelius' Lemminkäinen Suite, Britten's Four Sea Interludes from Peter Grimes, and the US Premiere of Anna Clyne's Time and Tides October 18-20, 2024. 

Saxophonist, composer and bandleader Emma Rawicz, and composer Gavin Higgins, join Anna Phoebe and Jeffrey Boakye as they add the next five tracks.From a Muddy Waters masterpiece, they take us to Aldeburgh for Benjamin Britten's tragic tale, before jumping on their bicycles and heading to Copenhagen for an audacious saxophone composition.The five tracks in this week's playlist:Mannish Boy by Muddy Waters The Passacaglia from Peter Grimes by Benjamin Britten Bicycle Town, Pt 1 by Marius Neset Egyptian Reggae by Jonathan Richman and The Modern Lovers Bad Reputation by Joan Jett and the BlackheartsOther music in this episode:Eejit by Blazin' Fiddles Concerto Grosso written by Gavin Higgins Tusk by Fleetwood Mac I'm a Man by Bo Diddley None Shall Escape the Judgement by Earl Zero I Love Rock 'n Roll by Joan Jett and the BlackheartsGavin's BBC Radio 3 Sunday Feature - Everything Stops:https://www.bbc.co.uk/sounds/play/m001zgft

Embark on an enlightening conversation with Heather Mckenzie Patterson and Katherine Sandoval Taylor, co-founders of On Stage Collective, as they recount their journey from college vocal performance majors to pioneers in the immersive performance program landscape. From adapting to major changes during their studies to overcoming setbacks caused by COVID-19, their unwavering dedication and problem-solving spirit shine through. Through auditions and immersive learning, they've empowered aspiring performers, shaping the future of arts education. Join their exciting journey as they gear up for their upcoming New York show, continuing to offer aspiring artists a chance to shine and fulfill their dreams within a supportive and transformative community at On Stage Collective. Guests: Heather McKenzie Patterson and Katherine Sandoval Taylor Host: Mary Sturgill Producer: Isabella Martinez TRANSCRIPT MARY: Hi everyone. Welcome to this episode of the Class E Podcast. I am your host Mary Sturgill. This podcast is brought to you through a partnership between the Hill Institute for Innovation and Entrepreneurship, and the Communication Studies Department here at Furman University. This is also the podcast where we talk to entrepreneurs and innovative thinkers about their endeavors, and we share their stories with you in hopes of inspiring you. And today we welcome guests Katherine Sandoval Taylor and Heather Mckenzie Patterson, who are both Furman alumni and founders of the immersive production company On Stage Collective. Katherine and Heather, welcome to the show.  Katherine: Thank you for having us. Heather: Thank you so much, Mary.  Mary: Yeah, absolutely. I wanted to start because I was of course looking at your all's career paths and your accolades and stuff and you have been… both of you have been in some of my favorite operas and performances. Can you talk and Katherine, we'll start with you. Can you talk about some of your favorite shows that you've been in? Katherine: Yeah. So um, gosh, I've been so fortunate to really be able to check off a lot of bucket list roles in my career. Some of my favorites, I guess, have been Maria in West Side Story. That was a role that I was looking forward to playing my entire life. And I have played that role twice. Love. One of those was actually in South Carolina, with an opera company in South Carolina, and we rehearsed at Furman. So that was really cool. Another one of my favorite roles was from Light in the Piazza. I played Clara and that was a really beautiful production. Another favorite stage memory of mine was when I did two national tours, two national jazz tours. And that was a really great experience, kind of like living the tour bus life for a while. That was fun, and I really got to kind of explore a different side of my voice that I didn't… I haven't had the opportunity to perform that much with, but it was really… it was a really cool experience doing that tour. And I worked with some incredible musicians and singers that I learned a lot from. So yeah, those are some of my favorites.  Mary: Yeah, I love that. Okay. Heather, what about you? Heather: Sure. Um, I would say that, gosh, it's been a minute since I've sung any opera, but I would say that…I did that with Arbor Opera Theater up in Michigan. After I finished my master's up there at Michigan State. And another role that was… I actually only completed scenes of this but it was Sophie from Deb Rosenkavalier..and that's one my favorite operas of all time. So that was really fun. Got to revisit that a couple of times. And I would say one of my most like meaningful memories was singing at Carnegie Hall, which I had done a few times versus a chorister in high school. That was of course like, oh my gosh, I can't believe we're here on the stage. You know, really exciting. And then I went back as a singer with the St. Louis Symphony Orchestra and chorus. We went there a couple of times and we sang Peter Grimes, the full opera concert version of the opera there. And while we were in rehearsal for that, I was singing in the chorus it was a big chorus for that and I, the soprano walked down to the front and I was like, next time I'm on this stage, I'm going to be out front in a big poofy gown as a soloist and I even said it to a friend of mine and of course next year like that's, that's where I'm going to be next time and it was one of those like manifest moments where that's what happened. So the next time I got to perform there was as a soprano soloist with a big choral orchestral work, we were singing a Schubert mass, and I bought the big pink gown and sang at the front of the stage with one of my favorite conductors. And it was a blast and probably the best part was just that I had a lot of friends and family come to the performance from all over the country. We had a big party afterwards and so that was just really special to celebrate. Like I saw my parents, you know, in the 12th row like oh my gosh, freaking out. It was really nice to have that memory with people that I love.  Mary: Yeah, I love that idea of manifesting that, you know, speaking that into existence right? I think that's what well, I think a ton of artists do that no matter what, you know, whether they're performing arts or the you know, different kind of art, but I think that that spirit that comes with just being an artistic person kind of drives that in you and you and you have to believe them, right?  Katherine: Yeah, definitely.  Heather: And it can be scary, I think even like I would call myself a recovering perfectionist. And so I would be like, if those perfectionists out there know you don't want to even do something unless you know you're going to be awesome at it like the best perfect at it, right?  Mary: Yeah.  Heather: And so manifesting something like that or saying something out loud that could easily never happen. Like that could easily never work out for you. I wouldn't, it's not in my nature to want to really, like put it out there unless I knew for sure I could just make it happen. Mary: Right. Right. I don't think you're alone in that.  Heather: It was a leap of faith, you know? Mary: Yeah, for sure. I don't think you're alone in that. I think all entrepreneurs and innovative thinkers have that. I mean, we talk to other entrepreneurs on this podcast and they want to get the best, most perfect product or iteration of whatever their venture is right out there. When in fact, we should just literally just do it, right?  Katherine: Yeah, sometimes Heather and I joke about the phrase that we need to implement in our lives a bit more, which is better done than perfect. Because sometimes, as Heather said, being a perfectionist, I would also lope myself into that category of recovering perfectionist. I feel like being a perfectionist can sometimes hold you back from opportunities and, and at least taking that first step to try and that's important to kind of acknowledge that sometimes you do have to take that leap of faith just to maximize your potential.  Mary: Yeah, absolutely. 100% I love that. Say that phrase again. I want to make sure our listeners get that.  Katherine: Better done than perfect.  Mary: Yeah, better done than perfect. That's my new motto. Heather: Always within reason. Mary: Of course. Yes. Absolutely. We always put our best foot forward anyway. So you guys have known each other for a long time. You were roommates here at Furman?  Heather: Yes, we were. Longer ago than I care to say.  Mary: So you're both vocal performance majors while you were here. And of course, you both went on to get higher degrees and stuff. But was there any competition between you for roles and stuff while you're here?  Heather: Oh, that's so funny. Well, I want to clarify that I started out as a vocal performance major, but I did change my major to a BA in voice. And that was because I wanted to double major with psychology. Mary: Oh, that's great.  Heather: At least at the time, you couldn't get like a Bachelor of Music in one thing and a Bachelor of Arts in something else. You had to get a Bachelor of Music in two things and a Bachelor of Arts in two things. And I remember the conversation sitting down with Dr. Thomas, the department chair at the time, to like deliver this news that I wanted to change my major and how was that going to affect my scholarships and was I going to be allowed to do it, you know? And so I…he said, yes, of course, Heather, we will support you doing that and so I was able to shift. And as much as I could, I tried to take like the classes that the performance majors were taking. And so it was just a matter of like, oh, I guess I'll just overload every semester that I'm here to get in all of the credits for both majors. But there were things that I didn't get to take because I wasn't a performance major, just specific classes. One of them I think, Kat you'll know the…Was it a counterpoint class that you had to take a class…that I didn't have to take and by then we were roommates and so she was just like, I hate this. Katherine: She could have helped me. Heather: But to answer your question about competition… I mean, I don't think so. I never would… I'm very competitive with myself. But with the people that I love, like my my ride or die BFFs I don't want to compete with them at all, you know, like I want to celebrate them and to be honest, if there was ever a time where that might happen like, I mean Kat, you can say if this is not true, but I would just not want to audition like I would just want…if I knew it was something that best friend like Kat really wanted, like, I just wouldn't want to audition for that. I would be like, you know her hype girl for that role rather than like, out of my way let me try, you know. I don't recall any competition. Katherine: No, I don't…Heather and I aren't competitive with each other. And I feel like it's just kind of like a personality trait that we both share. We weren't competitive then with each other and we're not competitive now. I feel like you know, I feel very strongly about surrounding myself with strong, talented, passionate women. And being surrounded by strong, talented, passionate women encourages you to be better at what you do. It's not about competition. It's about lifting each other up and empowering each other and learning from each other. And that's something that Heather and I… I've always really respected and looked up to Heather and learned a lot from her and I feel like that hasn't changed. We did that in college. I felt the same way then that I do now… that we empower each other and motivate each other. So, no, there was never any competition between us.  Mary: Yeah, I love what you say about empowering each other and uplifting each other. And I think both of you have been teachers for close to 20 years now. What has informed… how is that experience and your performance experience informed On Stage Collective and what you're doing now? Katherine: Oh, 100% Yeah. Such a large can of worms.  Heather: Well, the reason that we began the company was out of our two studios. So just the background information is that yes, we both have been teaching in different iterations for years. Then we honed our own private studios. I taught at a few universities for over 10 years, 12,13 years, something like that, but we were both building our private studios of voice and piano. And we both think big and we want what we put out there to be excellent. And I think it's been important to both of us to provide great opportunities for our performers, our students to be able to do big things, big performances, big opportunities. And so before, before COVID, we were talking about like, where maybe if we partner up, we're in totally different cities, totally different states. But what if we brought our students together? And really this was… Kat brought this idea to me. What if we partnered together with the students in our studio? And could we do a performance somewhere excellent that they don't have access to and even we don't have access to on our own, but could we pool our resources, pool our students, our talent base, and make something really incredible? And that was like the first conversation. You know, how it started was just to do something with our own two studios that we couldn't do on our own. Kat,  would you agree with how that started? Katherine: Right. And it just kind of took off from there. So we were thinking big, and we took that leap of faith like we just talked about. It was a little bit scary. And I mean, honestly, it felt impossible to think about performing. I mean, fast forward to where we ultimately decided we wanted to try to perform which was 54 Below at Broadway's living room. I mean, every famous Broadway star you can think of has stood on that stage and has… and behind that microphone. And so that was a little bit intimidating and seemed out of reach. And we just put…we're such big thinkers…it was something we wanted to try for at least and then we surprised ourselves and then we had a full, all of a sudden, we had a full cast of people from all over the country ready to perform with us and make this big event happen. And it kind of just like snowballed from there.  Mary: So talk a little bit about that process. And how did you, you already had some of the students, but did all of your students participate in that and how did that kind of come to fruition?  Heather: Yeah, we auditioned them because, you know, I know what my students sound like, but not Kat's students and vice versa. So, we wanted to make it as fair as possible too, you know, and have an outside person judge and choose who would be performing. So we brought in a panel of people, not just the two of us, but other music directors to listen to all of the singers and they didn't know whose student was coming, you know which student was coming from which studio. And so the students submitted videos, I think two full songs, and we had the panel and ourselves rank the singers and came up with kind of like, okay, our max number of singers was such and such number. And so not everyone got to go from our studios and not everyone from our studios auditioned, but we selected people from that audition, and it was basically half and half. Half students from Kat's studio and half from mine. Now, this was pre COVID. And I did want to back up because when Kat mentioned the leap of faith…I feel like the first leap of faith was… I remember where I was standing. We were on a call and it was like should we just call 54 below like is that a thing? Can we just call them? Let's call them. So we did, you know, go to the website, call the number. This was a better done than perfect situation because we didn't we didn't have anything formulated yet or planned or when or who, what. We just called and that got the ball rolling and I think that built the confidence because it was just a normal person on the other side of the phone who just walked us through their requirements and what it would take to be selected, to be able to perform there. And then it's just steps, you know, one foot in front of the other, do this thing, and this thing, then this thing. And so that first cast, I think it was like 24,26, 28 singers, something in that number, and it's foggy because that group did not end up performing at 54 below. And that is because our first cast was set to perform July 2020. So we all know what that means. So we had planned and this was just the two of us putting on lots of different hats and utilizing every skill we'd ever learned or gained to auditioning singers to craft the show to pick the music to assign the songs to the singers to arrange songs like over the phone. How does this chord sound for this because that cannot be a trio… Mary: Wow. And you did that over the phone?  Heather: Yeah. Before zoom was a thing. We were just on the phone trying to arrange songs together. And we did and the singers learned the music. It was so exciting. And it was I think April 2020 that we had to go, all right, if we don't make a choice right now to postpone or cancel this production, like we'll be within the 90 days of owing all of the money that we owe to the hotel and all the things right so we have to call it at some point. And it's it felt still like oh so optimistic April 2020 us. You know, or maybe by July like this, this virus will just burn up in the summer heat and it'll go away. And that did not happen. And so we did. We postponed it at that point to say okay, cast, we're gonna we're gonna try to do this again, but we need to, you know, wait and we tried to do it the following summer, July 2021. But unfortunately, I think there was some kind of whatever strain had come out that previous winter by December 2020. It still wasn't looking good. Mary: Right.   Heather: And people were still worried about going. It was almost worse then. And so we decided to, at that point, sadly cancel. So we had to just say… just end it. And that was heartbreaking. Really difficult to deliver that news to the cast. And then that is when that was like a big shift for us, which was okay, we're not… that's over but we just can't give up on this dream. We've worked so hard. We've put all these pieces together. We know we can do it. But when and how? And we were watching our own students in our studios every performance that they were in that year got canceled. Every graduation, every prom, you know all of our events after the other. Yes, our college students, just devastating. And talking to our singer friends, our teacher friends, directors just, it's just obliterated and it was so so sad. And so then we were like, Gosh, why can't we just open this up to anyone? We don't have to limit this to our own students. Everybody is just dying for a chance to perform again. Why don't we contact everyone we know? All of the choir teachers, theater directors, singers, voice teachers across the country, this network of people that we now know from our performing and teaching and grad schools and stuff and ask them Hey, do you have students who would want to audition for this? We're going to do this. It's going to happen and now we're opening it up to anyone and everyone. And you know, the first iteration was video auditions. So we could still do that, you know, no problem, of course. And so we did, and we were able to build two casts of singers and perform two performances in 2022, which was so satisfying. Many of the singers were still coming from our own studios, so that was especially satisfying to see them performing after all this time. Even some of them who were in that first 2021 cast that was supposed to perform…sorry 2020. But now with singers who…Maine, California, Florida, Michigan, like all… Katherine: Washington State. Mary: All over the country.  Heather: Yeah. Singers from all over who were just craving performing again. And that was really, really nice to fulfill the dream that we had set out to accomplish and also be fulfilling the dreams of all of these young artists. That was just spectacular. Mary: You know, I think you know, 2020 threw a complete loop and especially for those of you who started companies quite right before and… but we do have a lot of entrepreneurs who really either started right before or during and it was a great time… I will say this, it was a great time for planning and for iterating right? Like figuring out okay, this didn't work because… obviously you guys ran into a brick wall, right? And, but so many people would stop at that point, right? That's.. We failed… you know, COVID took us out, you know, kind of thing. How did you and because I'm sure those thoughts entered your minds at some point. And Katherine, I'll start with you on this one. How did you kind of push those thoughts out and keep going? Katherine: Well, I mean, at the root of it, I feel like artists specifically, I can't speak to other entrepreneurs and different, on different platforms. But artists at the heart of everything are resilient. I mean, look at Broadway artists, Broadway was probably the last, the last group of people that went back to work. They were out the longest, and then… but resilience, you know, wins the race. So I feel like even in my own studio, we were.. I was creating opportunities for my students that were unique. And it pushed my thinking outside of the box in a really exceptional great way that I am grateful for, because it made me think about art, performance art, and singing and acting in a different way than I ever had to one thing that we… in my own studio we started doing during COVID, and we have maintained this project to date, was I produce professional music videos for my students, and I partner with a cinematographer. We started that because of COVID because all of our performances for the year shut down. I was on Zoom teaching all of my regular lessons. And so we decided to do these outdoor music video shoots with a cinematographer that I hired and I directed the shoots and every, every music video had a different theme and a different concept and a different aesthetic. And that was a product of COVID and that's the resilience in artists that you see. It doesn't surprise me that there are other entrepreneurs that kind of like… used the COVID time as a springboard to launch their dreams into reality to kind of regroup, put their nose down, and think about what they wanted to do and kind of get a plan and I feel like that's exactly what Heather and I did. We, you know, if we would have if COVID wouldn't have happened and we would have gone on to do the performance as we planned, it would have been about 25 of our singers from each of our studios and it would have been wonderful, and it would have been great. But what happened in 2022 was phenomenal. And we were so lucky to have so many of those same singers back with us and I was thrilled for them, but to also add other people into the mix, to give those people that we didn't know until now the same opportunity to fulfill those dreams was just… it's just so exciting and it's just it was an amazing experience for us to watch I think especially because Heather and I are both people who love being on the stage and we have had many, many opportunities to fulfill those dreams of our own being front and center performing on grand stages. But to give that back to not only our students, but to really any performing artist that is looking for that opportunity. That is just so fulfilling.  Mary: Yeah. And I think COVID showed us there are different ways of doing things. We don't always have to do things the conventional ways… we can work remotely or do things remotely and I mean, you might not have had the people from St. Louis or from Washington state if you had not had that experience maybe.  Katherine: Exactly.  Mary: Yeah. Yeah. I love that. Heather:  You know what, Mary, I was trying to think back to how long Kat and I were deliberating, giving up, you know, we're just not doing it when COVID hit and I can't even remember a single conversation that we had about not moving forward. Mary: I love that.  Heather: And not trying again. And that's not to say that we're special. I think it's exactly what Kat was saying about artists being resilient. It's, you know, how many times have we auditioned for things and gotten a no? If you aren't already thick skinned from getting rejections as a performer, maybe it would be difficult to persevere. But that's the name of the game. That's what this is like, you know how… so many no's before you get a yes. This was just another no that we just had to move past and maybe maybe it's rose colored glasses looking backwards. I know it was really scary. And I know there was some floundering as to you know, what does this look like next, but I just don't think we were ever ready to throw in the towel. It was just, it was just a wait and plan and ideate and come up with something better. So I'm very grateful. So so grateful to have a partner and best friend forever ride or die. That was my partner that just doesn't give up. No one I know… And this is just me. I'm just gonna like wax poetic here about Kat, but I don't know anyone..anyone, any person in my life who has persevered more than she has both professionally and personally. So I look up to her. I admire her so much for that. And that encourages me to not give up and to persevere. And so it was, although so scary, I wouldn't have wanted to face it with anyone else because I knew that she wasn't going to give up, I wasn't gonna give up, we're just going to, you know, keep moving forward. And I know that not all partnerships are rosy, or perfect and anything like that. And certainly we've had our conflicts and our challenges, but I think our relationship was forged at Furman in those beginning stages of really crafting who we are as people and artists and that just builds a beautiful foundation for our professional partnership. So I'm grateful for that. Mary: We've talked a lot on this podcast about especially when you're starting out on ventures you have to be extremely selective about who you partner with, who you hire, who are your first hires, and those kinds of things. And I think this is a prime example of, you know, this was probably a natural partnership just because you guys have been friends for so long and you both have the same interest and the same talents and want to get to the same place and help people get there too, right? One of the things that I was thinking about is that my students sometimes when I give them a project or they pitch their projects to me, right? And then they pitch their idea and then they start throwing up roadblocks about why they might not be able to do this idea. And my comment to them is don't place roadblocks where there aren't any right? And so I think that's a good kind of philosophy that you guys, you know, kind of have too, is that even though you know the 2020 one got shut down, that's a temporary, you know, thing, right? And we can work around it. We can go around that road that roadblock right? We've talked a little bit about the audition process and that kind of thing. What's so… I guess impressive to you guys about the just that immersive learning that you guys promote and supply the space for for your folks? Heather: Kat, do you want to take that or do you want me to? Katherine: Why don't you start Heather, I'll jump in though. Heather: Sure. Yeah, so that's really important to us. I think. And that comes from the fact that we have been performers and teachers. So we know in our own experience as performers that you learn by doing and every performance you learn something every show that you're in, you take away things that you use in the next project, the next contract and same with teaching. We're always learning as teachers, right? So I think that although we know how important training is and education, and what we do for a living is teach singers how to sing. But then you really have to do the thing to gain the most from it. It's also like learning a foreign language. How do you really establish fluency in that language? By immersing yourself, by going to that country, and being around people speaking that language. So it's the same with what we do. And that's what we were initially looking for for our own students… was an immersive experience. These students who say I want to go sing on Broadway. Well, have you been to Broadway? Have you walked the streets of New York City? Have you been in a New York City rehearsal space? Let's go do that. Let me take you there and you can experience that life and you can work with Broadway stars, guest artists to impart wisdom to you and then you can perform on that stage at 54 below where these other famous people have performed and decide for yourself is this really is this…do I want this more than anything? Now that I've been here now I'm inspired to go after it and really do the work that it takes to get here for real for real. So that's what we continue to aim for. And that's, you know, the mission is to for it to be immersive and experiential and, and, you know, there are a lot of programs out there that provide classes and you can go to even New York and do other camps and those kinds of things. And a lot of times it's classes and they bring in maybe also Broadway stars to teach classes and to do q&a sessions. And maybe they perform a song with these folks at the end or you know, but are they the stars of the show? That's what we wanted to do. We really wanted to make our performances feature these young artists. The young artists aren't the backup singers. They're not in the background. They are on the stage. They are doing the performing.  Katherine: They are the show. They're the show. Mary: Yeah, like that. Yeah.  Heather: And that's how they learn best and grow and are challenged and we've had singers come back and do the next year's show too, because they know that they will continue to gain experience and the education of a lifetime from doing the thing. And so that's been really encouraging to see as well. Mary: Yeah. Katherine, do you want to add anything to that? Or that was actually a pretty good answer.  Katherine: Heather was talking a bit about how giving them this real life New York experience. I feel like in a way not to say what we're what we do the week that we're in New York is perfect and glossy and there are no blood, sweat and tears put in. But I will say it's kind of giving these artists a taste of the New York experience the New York performing experience in New York rehearsal experience, the New York Broadway experience, the tourist experience, all of those things without moving to New York to have to, you know, pound the pavement and go to all the auditions and get a million nose in New York City. I will tell you getting a million no's is always difficult. But getting a million no's in New York City when you've moved there for you know, to pursue your dream is really difficult. So we're not saying that we're, we're, you know, pushing all of those things aside and giving them this path to Broadway. But what we are giving them is an opportunity to experience all of those things for a week without having to move to New York City to try to go to a million auditions to do one performance at 54 below. We're giving that to them kind of in a really neat little fun, awesome package with a bow on top. Mary: I always tell my students how do you know you want to do something until you actually do it? Right? You might think you want this this life, right? But you don't know until you actually do it and you're either gonna fall in love with it or decide that's not for me. Right? And this is a great way for your students to do that without the expense of living in New York. And like you say pounding the pavement working three or four jobs and going through auditions and classes and things like that. Heather: And I feel like you know, there we've had several, there are two people that are coming to mind, that have made life shifts, career shifts, school shifts based on our program, and that is incredible to see. I know. I know one person specifically I'm thinking of, she attended… She was one of our original cast members. Then she came back for our first actual performance in 2022. She performed again in 2023 and after the 2022 performance, she texted me and said, I've changed, I'm changing my major. I'm going to be a music major and I've decided I have to live in this city. I have to perform here and that is what I'm destined to do. And that was amazing. I've also seen people come, you know that said, you know, I'm not I'm specifically not pursuing a professional career and performing but I will be back to perform with you every year because this is the best of both worlds. I get to live my life as an accountant. And I get to come and perform in New York City, not just like in a church basement, but like on the stage of 54 Below. I mean, you're getting the best of both worlds. And so I love to hear stories like that, from either sides of that. People who are making a life shift and saying I have to do this for the rest of my life. Or people who are going to say, you know, I'm not going to do only this for the rest of my life. But this gives me that opportunity that I would never have if I didn't do your program.  Mary: And that's important too, right? Because it creates a life balance. It gives people that creative outlet, they get to hang out with people who have the same interest and work on their personal craft. I love that. So what's next for On Stage Collective? Heather:  We are excited to be opening auditions for our next New York cabaret, which is going to be next June. So the date of that performance will be June 15. So the week leading up to that will be our immersive week in New York City. And auditions are officially open already. So in the audition is filling out an application, attaching a photo of yourself, headshot type photo and uploading too, one minute video cuts and that's it. So we're excited about that. Mary: And they can do that at onstagecollective.com? Heather: They can. Yeah, they head to our website. Our social media handle is onstage collective official. And so we always post information there as well about what's upcoming. But really excited to go back. I think one thing that really solidified this past performance this past June in New York was our team. So that first go around, it was just Kat and me doing all the things and that was a fun time but what was really special is honing our full staff. So we have an incredible music director and an incredible production assistant stage manager. We have found great band members to join On Stage. We have an incredible photographer and videographer. And now we've got this beautiful group who work really well together. All creative, artistic, passionate, hard workers. And, and that's been really fun. So we're able to now continue with that same group rather than reinvent the wheel every time, which is exhausting like any listener knows. So this feels really good to settle into our group, our staff, and it feels like you know, a family of sorts. And so now we know I mean our music director Jeremy Jacobs is like Johnny on the spot. He's so creative, can do anything. Kat always jokes that whenever we ask him hey Jeremy, what do you think of this or can you do this? His answer is always absolutely. Like who doesn't love hearing that? You know? Right, he's ready for anything. He's so excellent with our  cast members, both our youngest members who are the youngest, 13 years old all the way through our adult members, you know, the accountants who are coming to live out their dreams in these performances. So that's been really fun. We had a great group for this past year and hoping to continue those collaborations with those artists. Mary: Yeah, those kind of yes-men are great.  Heather: Yes-men and women are wonderful to have around.  Katherine: I would like to add, you know, the auditions are open and sometimes a misconception that is out there. I'm not sure how it's out there but people kind of like select themselves out of these auditions by saying like, Oh my god, well, I'm too old. I can't do that. Like I mean that's I'm that's not for me. Or my daughter is too young. She's only 13. She can't perform in New York City. We this past cast I don't know if our youngest,  our youngest was 14. I mean, yeah. So we accept cast members for this same show from ages 13 through adults. And that's something that makes a show really exciting and interesting. These… it's a variety of people not only from different walks of life and different career paths in different parts of the country, but different ages in different places in their lives. And that's really cool.  Mary: Yeah, that is really cool. What, how many folks can you take at one time?  Heather: It's about 25 in a cast. It's all online. If you go to our website on stage collective.com, there's an auditions page that will show you what we are currently casting for… what opportunities are open. And you can click on the application there. Pretty short application. You upload a headshot, two videos, one minute cuts of two songs, and we accept singers on a rolling basis. So as we receive them, our panel will listen to the auditions and make casting decisions. And we'll cast them in specific types of roles whether it's a lead role or a supporting role, that kind of thing. And once our cast is full, it's full. Mary: All right, so before I let you guys go this afternoon, I want to have each of you give a piece of advice to a young entrepreneur in the arts. And when I… when I use the term entrepreneur, I'm talking about not just people who have created their own businesses, right, because I think that artists by nature are entrepreneurial in spirit because they have to go out and sell themselves you know, to the directors and the producers and the people who are making the decisions about roles and whatnot. So Kat, I'll start with you. Can you talk a little bit about some advice that you would give young artists and entrepreneurs? Katherine: Yeah, so I was thinking about this question earlier. And the fact is, so I have two pieces of advice. But the fact is, when I was thinking about it, I wanted… I was like, how can this advice not sound intimidating? Because the fact is, being an entrepreneur, being an artist, being a human nowadays, it's just hard. It's just really difficult. So there are challenges and they're low moments. But the two pieces of advice that I would say are really important, and I think about this all the time, like probably every single day. The first thing is, you've got to have hard work, dedication and commitment and those things pave your path to success. There are very few exceptions and very few shortcuts to a path to success. It really comes down to hard work, dedication, and commitment. If you want anything bad enough, you have to be ready to put the work in. There is no… there just not a lot of shortcuts. The second piece of advice that I would say… this applies to artists. When I first heard about this concept, it was about being an artist, being a singer, but I feel like it really applies to anyone either an entrepreneur or just a person living their life. I feel like it's really important… I tell my students this all the time, it's really important to establish a small inner circle of trusted people, colleagues, artists, coaches, therapists, friends that are there for you and help you in whatever you're doing, whether it's business, whether it's artistry, whether it's just your friends, but because the fact is, everyone has an opinion. And sometimes there are just too many cooks in the kitchen. And everyone's opinion is not always helpful to you on your journey. So it's important to have those trusted inner circle of people that you can go to and say, hey, like for instance, I have a business coach. I don't get business advice from just every person on the street, but I guarantee you every person on the street has an opinion on how I should run my business. That is not…that is not useful for me on my journey and, and in the worst case scenario, it's actually traumatizing to hear everyone's opinion about you at all times as an artist specifically, everyone has a thought on the way your voice sounds. Everyone has a thought on your performance. And if you listen to every single person who had an opinion about your voice, or your business or the way you're living your life, it would be traumatizing. So it's very useful for me as an artist and an entrepreneur and as a person in general to have an inner circle of people that I trust, that I know I can go to, and that their opinions are valuable to me. They matter and they affect me and everyone else gets a nice, very polite, thank you very much. I Mary: I think we should learn that phrase. Thank you very much and then take what we want, leave what we want, right? Because I believe what you say is so true about everyone's gonna give you an opinion. I don't know how many entrepreneurs I've talked to on this podcast that say that every single one of them have faced naysayers, you know, and if you face too many and you open that circle up too big then it can be paralyzing, in fact, right? Katherine: And I'm not saying that there shouldn't be people that tell you no… that tell you when you're making a mistake. Heather would be the first person to tell me if I was making a mistake, and I appreciate that. I don't build an inner circle based on people who are yes men. And yes women. I build my inner circle based on people that I trust, and that their opinions and their advice is valuable to me.  Mary: Yeah. All right, Heather, why don't you take that question? Heather: Yeah, I'll say that my first piece of advice because I've got two also…goes hand in hand with that, which is after you surround yourself with that inner circle of people whose advice you trust….after that, you have to trust your gut. What do you have without your gut? You know, you have to trust your gut and so take all of that information, hone all of that down and then believe it and trust what your gut is telling you to do. And sometimes it will go against some of the advice that you receive. And that can be really scary, but sometimes you have to do that. And the second piece of advice goes with that, which is don't be afraid to fail. So trusting your gut might mean making a mistake and having to learn from that. We have made mistakes in our business. We have hired people that didn't work out or spent money on things that didn't bring value to our company and to our clients. And those are hard lessons, but we improve… we get better because of them. So trust your gut and the fear is but what if I fail? Well, what if you do? Then you're going to learn and you're going to brush yourself off and do better the next time. So that's my advice for people, for students, for college kids, or especially artists and entrepreneurs. Mary: Yeah. Ladies, thank you so much. This has been a great conversation and I could probably talk to you all afternoon, but I know we're all busy. Katherine: Thank you for having us.  Heather: Thank you so much Mary. Mary: Yeah, absolutely. So just to remind everybody, you can get in touch with them. Just go to onstage collective.com If you want to find out more about those auditions and the kinds of things that they're doing with their students. So that does it for this episode of the Class E Podcast. Remember, this podcast is brought to you through a partnership between the Hill Institute for Innovation and Entrepreneurship, and the Communication Studies Department here at Furman University. Remember, you can catch the podcast two ways now. You can check us out on our YouTube channel as well as of course listening to wherever you listen to your podcast, but make sure that you don't miss an episode by hitting that subscribe button so you're notified when new episodes are released. This episode is produced by Communication Studies major Isabella Martinez. Thank you for tuning in. I'm Mary Sturgill. Until next time everybody, dream big.

Kabát Kevin is megszólalt az édesapja kiütéséről 24.hu     2023-11-21 19:02:28     Bulvár Rácz Jenő Kabát Péter A fiatal focista azt mondja, Rácz Jenőn is ijedtséget látott, miután Kabát Péter eszméletét vesztette a ringben. Készül az új Jason Bourne-film, Matt Damon visszatér? Mafab     2023-11-22 04:00:03     Film Matt Damon A Universal új Jason Bourne-filmen dolgozik, a rendezői széket Edward Berger, a Nyugaton a helyzet változatlan direkrtora foglalhatja el. Balzsammal pólyálta be testem ölének ánizsillata Librarius     2023-11-22 07:59:16     Könyv Trend A Trend kiadó Piros delfinek című kötetében az 53 évesen elhunyt alkotó, Kormos István 53 verse kapott helyet.   Jackie Chan és az eredeti karate kölyök nyilvános felhívásban keresik az új Karate kölyök-mozi főszereplőjét Player     2023-11-22 08:33:05     Film Mozi Franchise Jackie Chan Oké, hogy az 1984-ben bemutatott A karate kölyök jó kis tinifilm volt, de azért a premier idején valószínűleg még senki nem gondolta, hogy ekkora franchise kerekedik belőle. 30 év után jön a Beverly Hills-i zsaru 4: nem hiszi el, hogyan néz ki benne Eddie Murphy Blikk     2023-11-22 09:35:05     Film Rendőrség Netflix Franchise Eddie Murphy A Netflix olyat húzott, mint még soha: feltámasztja hamvaiból a nyolcvanas évek legikonikusabb rendőrmozi-franchise-át. Érkezik a képernyőre a Beverly Hills-i zsaru negyedik része, Eddie Murphy főszereplésével. Érkezik a Black Mirror 7. évada - ezt tudni a Netflix sikersorozatának folytatásáról Joy     2023-11-22 09:52:00     Film Netflix Közel fél évvel a 6. évad bemutatója után a Netflix tárt karokkal várja a Black Mirror 7. évadát, amit szintén Charlie Brooker rendez majd. Schmidt Éva szerint a mitikus öcs története Magyarországon folytatódik Magyar Hírlap     2023-11-22 06:00:05     Film Hogyan juthatunk ki a zsákba varrtságból? – Erre keresi a választ a csütörtöki esten látható film és az élő előadás. Napóleon egy hisztigép volt, felesége pedig majdnem elröhögte magát a válási papírok aláírása közben rtl.hu     2023-11-21 17:30:42     Film Párkapcsolat Mozi Ridley Scott Sok nagyszabású alkotás és látványos bukás után most végre modern filmet kapott a történelem egyik legismertebb alakja, akinek hatása máig érződik Európában. Ridley Scott Napóleon-filmjét a mozis bemutatóra két és fél órásra vagdaltak szét, és jelenlegi formájában inkább működik párkapcsolati tragikomédiaként, mint történelmi eposzként. Szórakoztat Egy napig minden Dj Palotairól szól a Tilos Rádión refresher.hu     2023-11-22 09:43:00     Zene Rádió Főszerkesztő Dj Palotai Nappal emlékezik a Tilos Rádió a napokban elhunyt Palotai Zsoltra, a rádió egykori zenei főszerkesztőjére. Kodállyal barátkozott és Einstein hallgatta hangversenyeit kultura.hu     2023-11-22 08:00:00     Zene háború Anglia Száztíz éve, 1913. november 22-én született Edward Benjamin Britten, Henry Purcell óta az első világszerte elismert angol komponista, akinek leghíresebb művei közt van a Peter Grimes című opera és a Háborús Rekviem. Castingot hirdet a Madách Színház Színház.online     2023-11-22 09:15:33     Színpad Színház A Madách Színház castingot hirdet a repertoárján lévő, illetve készülő musical előadásaiban Ensemble feladatok (kórus és kisebb szerepek) eljátszására. A jelentkezés feltételei: – 18-25 év közötti életkor – hangterjedelem férfiaknál G magasságig (írott G''-ig), nőknél D magasságig (váltás nélkül D''-ig) A jelentkezéshez szükséges: – fényképes szakm

Kabát Kevin is megszólalt az édesapja kiütéséről 24.hu     2023-11-21 19:02:28     Bulvár Rácz Jenő Kabát Péter A fiatal focista azt mondja, Rácz Jenőn is ijedtséget látott, miután Kabát Péter eszméletét vesztette a ringben. Készül az új Jason Bourne-film, Matt Damon visszatér? Mafab     2023-11-22 04:00:03     Film Matt Damon A Universal új Jason Bourne-filmen dolgozik, a rendezői széket Edward Berger, a Nyugaton a helyzet változatlan direkrtora foglalhatja el. Balzsammal pólyálta be testem ölének ánizsillata Librarius     2023-11-22 07:59:16     Könyv Trend A Trend kiadó Piros delfinek című kötetében az 53 évesen elhunyt alkotó, Kormos István 53 verse kapott helyet.   Jackie Chan és az eredeti karate kölyök nyilvános felhívásban keresik az új Karate kölyök-mozi főszereplőjét Player     2023-11-22 08:33:05     Film Mozi Franchise Jackie Chan Oké, hogy az 1984-ben bemutatott A karate kölyök jó kis tinifilm volt, de azért a premier idején valószínűleg még senki nem gondolta, hogy ekkora franchise kerekedik belőle. 30 év után jön a Beverly Hills-i zsaru 4: nem hiszi el, hogyan néz ki benne Eddie Murphy Blikk     2023-11-22 09:35:05     Film Rendőrség Netflix Franchise Eddie Murphy A Netflix olyat húzott, mint még soha: feltámasztja hamvaiból a nyolcvanas évek legikonikusabb rendőrmozi-franchise-át. Érkezik a képernyőre a Beverly Hills-i zsaru negyedik része, Eddie Murphy főszereplésével. Érkezik a Black Mirror 7. évada - ezt tudni a Netflix sikersorozatának folytatásáról Joy     2023-11-22 09:52:00     Film Netflix Közel fél évvel a 6. évad bemutatója után a Netflix tárt karokkal várja a Black Mirror 7. évadát, amit szintén Charlie Brooker rendez majd. Schmidt Éva szerint a mitikus öcs története Magyarországon folytatódik Magyar Hírlap     2023-11-22 06:00:05     Film Hogyan juthatunk ki a zsákba varrtságból? – Erre keresi a választ a csütörtöki esten látható film és az élő előadás. Napóleon egy hisztigép volt, felesége pedig majdnem elröhögte magát a válási papírok aláírása közben rtl.hu     2023-11-21 17:30:42     Film Párkapcsolat Mozi Ridley Scott Sok nagyszabású alkotás és látványos bukás után most végre modern filmet kapott a történelem egyik legismertebb alakja, akinek hatása máig érződik Európában. Ridley Scott Napóleon-filmjét a mozis bemutatóra két és fél órásra vagdaltak szét, és jelenlegi formájában inkább működik párkapcsolati tragikomédiaként, mint történelmi eposzként. Szórakoztat Egy napig minden Dj Palotairól szól a Tilos Rádión refresher.hu     2023-11-22 09:43:00     Zene Rádió Főszerkesztő Dj Palotai Nappal emlékezik a Tilos Rádió a napokban elhunyt Palotai Zsoltra, a rádió egykori zenei főszerkesztőjére. Kodállyal barátkozott és Einstein hallgatta hangversenyeit kultura.hu     2023-11-22 08:00:00     Zene háború Anglia Száztíz éve, 1913. november 22-én született Edward Benjamin Britten, Henry Purcell óta az első világszerte elismert angol komponista, akinek leghíresebb művei közt van a Peter Grimes című opera és a Háborús Rekviem. Castingot hirdet a Madách Színház Színház.online     2023-11-22 09:15:33     Színpad Színház A Madách Színház castingot hirdet a repertoárján lévő, illetve készülő musical előadásaiban Ensemble feladatok (kórus és kisebb szerepek) eljátszására. A jelentkezés feltételei: – 18-25 év közötti életkor – hangterjedelem férfiaknál G magasságig (írott G''-ig), nőknél D magasságig (váltás nélkül D''-ig) A jelentkezéshez szükséges: – fényképes szakm

Baritone and composer Roderick Williams and violinist Jennifer Pike - the youngest ever winner of BBC Young Musician of the Year at the time in 2002, aged just 12 - join Cerys Matthews and Jeffrey Boakye to add five more tracks to the playlist. The musical choices take us from one of the most famous tunes in the UK (composer unknown) to a Labi Siffre hit famously sampled by Eminem, via arguably the most recognisable film theme of all time. Labi Siffre makes an appearance to look back on his 1975 classic. Producer Jerome Weatherald Presented, with music direction, by Cerys Matthews and Jeffrey Boakye The five tracks in this week's playlist: God Save the Queen (from 1888 and 1898) In Flanders Fields by Charles Ives and John McCrae Jaws – Main Title by John Williams Violin Sonata No.2 in G Major: III Perpetuum mobile by Maurice Ravel I Got the... by Labi Siffre Other music in this episode: Yeke Yeke by Mory Kante Let's Go Fly a Kite from Mary Poppins God Save the King, performed by Roderick Williams and Le Concert Spirituel Hen Wlad Fy Nhadau (Land of My Fathers) - the National Anthem of Wales Der Vogelfänger bin ich ja from The Magic Flute by Wolfgang Amadeus Mozart Vespers of 1610: Deus in adiutorium meum intende by Claudio Monteverdi Opening of La Valse by Maurice Ravel To Those Who Pass the Borough from Peter Grimes by Benjamin Britten Flight of the Bumblebee by Nikolai Rimsky-Korsakov My Name Is by Eminem

Zack Smithey is an interdisciplinary artist who continues to evolve, explore new concepts, designs and creative processes. Smithey has been working as a professional artist for the last 20 years and taught high school art for 7 years. In addition to showing in galleries, he paints murals, works with designers, agencies, and clients to source art from his inventory or create custom commissions. He has hundreds of pieces in his current inventory and over 3,000 original pieces in public, private and corporate collections.  In addition to art, Zack designed, consulted and oversaw the construction for the first 2 shipping container homes in the St. Louis area (St. Charles, 2016) and Old North neighborhood, STL, 2019.  Smithey has had over 100 solo and group shows (NYC, NJ, STL, Palm Beach, Palm Springs, Laguna Beach, La Jolla), has done art/film work for Lincoln Center in NYC (A Short Film for the End of Time - Part 1, Part 2), created a series of art videos for world renowned pianist Inon Barnatan (Darknesse Visible - La Valse, Ondine, Fantasy of Peter Grimes, Darknesse Visible, Le Gibet ), commissioned by Boeing to create 2 steel sculptures for their STL headquarters, commissioned performance piece for the La Jolla Music Society - Conrad Prebys Performing Arts Center, is the creator of the Easter Art Hunt in STL, was commissioned to do Album art for Smother Party in Brooklyn, and has been published in the New Yorker, Sophisticated Living, ShoutOut LA, CURBED, Newsweek, St. Louis Post-Dispatch, St. Louis At Home Magazine, All The Art, INSIDER, St. Louis Magazine, StreetScapes Magazine, St. Louis Homes & Lifestyles, Uptown Magazine, Community News, Lindenwood Connection and St. Charles Magazine. He has been covered/interviewed on NETFLIX, KCTV5, NBC, Fox, CBS, and USA Today ​ Follow Local 636 Join the Facebook Community - https://www.facebook.com/groups/334209248578123 Instagram https://www.instagram.com/local.636/ YouTube https://www.youtube.com/@Local.636 Local636.com

Oggi a Cult: Marcello Lorrai dalla Biennale Musica di Venezia; la direttrice d'orchestra Simone Young debutta al Teatro alla Scala con "Peter Grimes" di Benjamin Britten; Lella Costa in "Giovanna: la pulzella, la fanciulla, l'allodola" al Teatro Carcano; Gianni Biondillo sui 20 anni di "Nazione Indiana" celebrati in una due giorni al Trotter...

My coach from 1988-1990 was Trudy Kane. Ms Kane was Principal Flute with the Metropolitan Opera 1976-2008 and is Professor Emeritus at the Frost School of Music, University of Miami. She received both her BM and MM from the Juilliard School. She is active in the commercial recording field and can be heard on the soundtracks of many film scores including The Untouchables and Beauty and the Beast (original). She can be heard and seen on many Met videos including Il Trittico, Manon Lescaut, Peter Grimes and three different La Bohemes. Her solo CD In the French Style includes Sonatas by Franck, Fauré and the Gieseking Sonatine.

Indubtablement, l'ombra del compositor angl

Indubtablement, l'ombra del compositor angl

On today's episode of The Metropolitan Opera Guild Podcast, we have the last of three episodes exploring how the operatic canon is being expanded, featuring Guild lecturer Matthew Timmermans. In this final episode, he will dive into how the Met's production of foreign works such as Shostakovich's Lady Macbeth of Mtsensk and Britten's Peter Grimes have expanded the boundaries of the canon. This marks our final podcast episode of this season, but we will return on August 9 with a brand new season! Until then, make sure to follow The Metropolitan Opera Guild, Opera News, and The Metropolitan Opera on your favorite social media platforms to keep up to date on all things opera!

Today's episode explores the lives and loves of two of the most significant figures in twentieth century music: Benjamin Britten, the dean of British composers and the tenor Peter Pears, his partner, lover, inspiration and muse for nearly forty years. When as a lost young gay boy I first encountered their music-making I intuited that these two men were lovers, that they represented a way forward for me out of a lonely and forlorn childhood. Whether in the many songs and cycles that Britten fashioned for him or the operatic roles, beginning with the title role of Peter Grimes, that were tailor-made for him, Pears remains the ideal interpreter of his partner's music, possessed as he was of a distinctive (some would say peculiar) voice, supple, reedy yet surprisingly powerful, along with pinpoint musical precision, plangent expressivity and dramatic aptitude. The episode features excerpts from many of Britten's most explicitly gay compositions, surprising for a man living in Britain while sex between men was still illegal, including the operas Peter Grimes, Curlew River, Billy Budd, and Death in Venice and his settings of poetry by Michelangelo, Shakespeare, Auden, and Francis Quarles. We also hear Pears and Britten in live and recorded performance of songs and arias by other composers, including composers Britten revered (Schumann, Schubert, Tchaikovsky, and Frank Bridge), and those of whose music he was much less fond (including Vaughan Williams and Brahms). The episode contains more biographical information than your typical Countermelody episode, and does not shy away from some of the thorniest questions that one must confront when discussing these two controversial figures. But in the end it is first and foremost a celebration of the music Britten and Pears made together and the love they shared for 40 years. The episode begins with a heartfelt (and heartbroken) tribute to the great Glenda Jackson, who died this week at the age of 87. 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.

Peter Grimes, Op. 33, is an opera in three acts by Benjamin Britten, with a libretto by Montagu Slater based on the section "Peter Grimes", in George Crabbe's long narrative poem The Borough. The "borough" of the opera is a fictional small town that bears some resemblance to Crabbe's – and later Britten's – home of Aldeburgh, Suffolk, on England's east coast.To learn more about this opera, please visit:Peter Grimes - Wikipedia

Synopsis On today's date in 1945 Peter Grimes, a new opera by the English composer Benjamin Britten, debuted at Sadler's Wells Theater in London. The libretto was based on George Crabbe's long poem, The Borough, published in 1810, which described life along England's North Sea coast. In the early 1940's, Britten was living in America, and had read Crabbe's poem in California. The commission for the opera was also American, coming from Serge Koussevitzky, conductor of the Boston Symphony and one of the leading music patrons of the day. But Britten's opera is intensely English – evoking, as it does, the images and sounds of the North Sea off the east coast of Suffolk. Britten was born within sight of this seascape, and lived, for the better part of his later life, a little farther down the coast at Aldeburgh – the "Borough," on which George Crabbe had based his poem. From the start, Peter Grimes was an immediate success. Within a week of its June 7th premiere, Britten conducted the London Philharmonic in an orchestral suite of Sea Interludes from his new opera, and these, too, have since firmly established themselves in the concert repertory. Music Played in Today's Program Benjamin Britten (1913 - 1976) Sea Interludes, fr Peter Grimes London Symphony; André Previn, conductor. EMI 72658

Avui hem sentit: "War Requiem", op. 66 (segona part). Just acabada la Segona Guerra Mundial, Benjamin Britten (1913-1976) va comen

Avui hem sentit: "War Requiem", op. 66 (primera part). Just acabada la Segona Guerra Mundial, Benjamin Britten (1913-1976) va comen

Avui hem sentit: "A wedding anthem", op. 46; "Five flowers songs", op. 47; "Missa brevis", per a cor infantil i orgue, op. 63; "Cantata acad

Avui hem sentit: "Cantata Sant Nicolau", per a solistes, tres cors, dos pianos, corda, orgue i percussi

Avui hem sentit: "Simfonia Primavera", per a solistes, cor i orquestra, op. 44. Just acabada la Segona Guerra Mundial, Benjamin Britten (1913-1976) va comen

Chandos was named Gramophone's Label of the Year at the 2022 Gramophone Classical Music Awards in October – a perfect excuse for a series of podcasts focusing on some of the label's key artists and the people who steer and shape the label.  This month, James Jolly talks to the conductor Edward Gardner, Principal Conductor of the London Philharmonic and Chief Conductor of the Bergen Philharmonic; in August 2024 he will assume the Music Directorship of the Norwegian Opera and Ballet. His recorded catalogue for Chandos is extensive and is crowned by the 2020 release of Benjamin Britten's Peter Grimes, recorded in Bergen, which was voted Gramophone's Opera Award winner but also our Recording of the Year.

Synopsis Benjamin Britten was the most famous English opera composer of the 20th century, but ironically his first opera, Paul Bunyan, had an American theme and premiered at Columbia University in New York City on today's date in 1941. Britten lived in America from 1939 to 1942. When his American publisher suggested he write something that could be performed by any high school, Britten's good friend, the British poet W. H. Auden, also living in the U.S., fashioned a libretto around the tall tales of the mythical American folk hero, the giant logger Paul Bunyan and his blue ox, Babe. The New York Times review of the premiere of Paul Bunyan was a mixture of praise and pans. “Mr. Britten is a very clever young man,” wrote Olin Downes, but firmly suggested the young composer was capable of much better things. Britten's next opera, Peter Grimes, would receive its world premiere in London, in 1945, by which time Britten was back in England for good, but like Paul Bunyan had an American connection: it was originally commissioned for $1000 by the Koussevitsky Foundation of Boston, and so received its American premiere at the Berkshire Music Festival in 1946 under the baton of Leonard Bernstein. Music Played in Today's Program Benjamin Britten (1913 - 1976) Paul Bunyan Overture English Chamber Orchestra; Philip Brunelle, conductor. Virgin 45093 Benjamin Britten (1913 - 1976) Sea Interludes, fr Peter Grimes, Op 33a BBC Symphony; Andrew Davis, conductor. Teldec 73126

Kate Kennedy chooses her favourite recording of Britten's Peter Grimes The opera Peter Grimes is set in a fictional small town that bears some resemblance to Britten's home of Aldeburgh, Suffolk, on England's east coast. It is a drama about outsiders and oppression. As Britten himself said, it was "a subject very close to my heart – the struggle of the individual against the masses. The more vicious the society, the more vicious the individual". The score is full of great orchestral descriptions of the Suffolk coast and highly dramatic confrontations.

Gillian Moore, author and Artistic Associate of London's Southbank Centre, and Ivor Novello-winning composer Gavin Higgins join Cerys Matthews and Jeffrey Boakye as they add five more tracks to the playlist in the penultimate show of this series. The journey takes them from the accordions of Texas to the mellow sounds of Portugal via the ploughed fields of Belgium and the raging seas of Suffolk, and they are joined on the line by the singer and composer Vashti Bunyan. Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald The five tracks in this week's playlist: Ay te Dejo en San Antonio by Flaco Jiménez Scherza Infida by George Frideric Handel Diamond Day by Vashti Bunyan Storm Interlude from Peter Grimes by Benjamin Britten Lilac Wine by Ana Moura Other music in this episode: Theme from Starsky & Hutch - Funky People Mix - by the James Taylor Quartet Concerto Grosso for Brass Band and Orchestra by Gavin Higgins Do-Re-Mi by Julie Andrews from The Sound of Music by Rodgers and Hammerstein Chasing Cars by Snow Patrol Bluebell Polka by Jimmy Shand Stairway to Heaven by Led Zeppelin Lilac Wine by Jeff Buckley Fanfare and Love Songs: Brightly by Gavin Higgins

On this episode of the Met Opera Guild Podcast, lecturer Michael Bolton explores Britten's magnificent meditation on isolation and persecution.

๏ Épisode 48 ๏ Les Quatre Interludes Marins de Benjamin Britten sont extraits de l'opéra Peter Grimes qui raconte l'histoire d'un pêcheur dont le jeune mousse vient de disparaître dans d'étranges circonstances. La suite orchestrale, jouée indépendamment de l'opéra, évoque les atmosphères changeantes et imprévisibles d'un village de pêcheurs en bord de mer. Dans ce podcast, Charlotte Landru-Chandès nous propose de découvrir comment Britten met en musique ces différentes peintures maritimes avant de présenter les compositeurs britanniques pour qui les tempêtes, les vagues et les marées ont également été une puissante source d'inspiration. ▂

This episode begins with “Early in the Morning,” the song by Ned Rorem (who just turned ninety-nine). It proceeds with “Oh, What a Beautiful Mornin’.” Later on, there is “Sunday Morning,” one of the “Sea Interludes” from Britten’s opera “Peter Grimes.” Jay was not going for a morning theme. It just happened that way. There is other music too, including a hymn, both in its straightforward choral... Source

This episode begins with “Early in the Morning,” the song by Ned Rorem (who just turned ninety-nine). It proceeds with “Oh, What a Beautiful Mornin'.” Later on, there is “Sunday Morning,” one of the “Sea Interludes” from Britten's opera “Peter Grimes.” Jay was not going for a morning theme. It just happened that way. There is other music too, including a hymn, both in its straightforward choral version and in an improvisation by a famous, and devoted, pianist. Rorem, “Early in the Morning” Rodgers & Hammerstein, “Oh, What a Beautiful Mornin',” from “Oklahoma!” Schoenberg, “Waldsonne” Britten, “Sea Interlude,” “Sunday Morning,” from “Peter Grimes” Shostakovich, Interlude No. 2, from “Lady Macbeth of Mtsensk” Chapí, “Carceleras,” from “Las hijas del zebedeo” Trad., “Come, Come, Ye Saints” Johannesen, Improvisation on a Mormon Hymn

Ein Besuch auf dem Oktoberfest gehört für Startenor Jonas Kaufmann dazu - schließlich ist er ein Münchner Kindl. Wann dafür der richtige Zeitpunkt ist, muss er als Sänger aber gut überlegen: Am 21. September singt er zum ersten Mal den "Peter Grimes" an der Bayerischen Staatsoper.

Join CBeebies for an Ocean Adventure travelling the musical world in the Royal Albert Hall submarine, finding endangered creatures and tackling tricky environmental problems. Andy, Chantelle, Jen, Maddie, Nigel and Rory are on board RA Sub with a marvellous musical crew, the Southbank Sinfonia, led by captain, conductor Kwamé Ryan. JoJo helps with a Gran Gran plan to make a musical ocean scrapbook, the Go Jetters rescue a Hawksbill Turtle, and Andy jets off on an Aquatic Adventure to find humpback whales, while Chantelle and Rory take everyone on Teeny Tiny Creature trips underwater and to shore searching out seahorse and starfish habitats. There's also a special Hey Duggee surprise. Brand new musical commissions from Dominique Le Gendre and Mason Bates are performed alongside Telemann and Britten classics, as well as a new CBeebies Medley. There really is something for every CBeebies Prommer at the CBeebies Prom Ocean Adventure. The on-stage team are the ocean guides as the Prommers meet creatures, find out fascinating facts and work together to help species survive. Around the globe, ocean creatures are struggling with growing environmental problems affecting their survival – noise pollution, plastic, fishing nets, damage to their habitats and climate change. Collecting photos and sounds the Prommers create an ocean scrapbook. And each creature and environmental solution is a key part of the CBeebies Prom Ocean Adventure action song – an immersive earworm that resounds around the Albert Hall. The animation is embedded alongside live action films with live orchestral music played on stage by the Southbank Sinfonia as the concert brings the outdoors inside the Royal Albert Hall. JoJo is super excited about the CBeebies Prom mission and comes up with a Gran Gran plan – let's make a musical ocean scrapbook full of sounds and pictures. First stop a check in with their overseas dolphin detective - Great Gran Gran in St Lucia. There are lots of dolphins to be spotted – but we need to look after these special chatty creatures and make sure they aren't caught in fishing nets. Maddie wants to tell everyone about the Galapagos penguins. Do You Know they are so clever they are changing to make sure they can live with climate change? Nigel has the new penguin moves - leaning forward to shade their feet from the sun and stretching flippers to keep cool. Chantelle and Rory are worried about the damage to seahorse and starfish habitats. Chantelle has been scuba-diving to check on precious seahorses while Rory has been litter-picking to keep the beaches clean for the starfish. There are lots of special photos and sounds for JoJo's scrapbook. The Go Jetters with the CBeebies Prommers help with a tricky Hawksbill Turtle rescue when there's just too much plastic in the Pacific. Andy and his trusty assistant Jen are helping with the sounds for a very special piece of music “Whalesong” – Andy jets off in his submarine pod to find a singing whale with helpful pointers from Jen. But there's so much noise in the sea will Andy be able to record the song in time? Finally the team reveal there's someone else who loves the Ocean. Duggee has an Ocean Badge for everyone and a very important Duggee Hug! And the Royal Albert Hall has its special role to play becoming a submarine to take everyone underwater for a unique view of the ocean and creatures that live there. Was that really a whale swimming in the Royal Albert Hall? The musical repertoire played by the Southbank Sinfonia is: Argentum (excerpt) by Dani Howard Dolphin Dance ( BBC Commission) by Dominque le Gendre Overture from ‘Wassermusik' by Georg Philipp Telemann The Fairy Garden from ‘Mother Goose' by Maurice Ravel G.R.S. from “Enigma Variations' by Edward Elgar Storm from ‘Peter Grimes' by Benjamin Britten Whalesong (BBC Commission) by Mason Bates CBeebies Medley arranged by Daniel Whibley Celebration Dance by Eleanor Alberga This is a truly immersive high gloss experience for audiences across the UK, encouraging the youngest audiences to look out and listen for those sounds and photos they can include in their scrapbooks, just like JoJo, while discovering the world and environmental challenges around them.

Synopsis On today's date in 1946, Leonard Bernstein conducted the American premiere of Benjamin Britten's opera, "Peter Grimes," at the Tanglewood Festival in Lenox, Massachusetts. "Peter Grimes" had received its very first performance in London the previous year, and had already been staged elsewhere in Europe before reaching America. In fact, this quintessentially British opera was originally an American commission from the Koussevitzky Foundation run by the famous conductor and music patron Serge Koussevitzky, who was the founder and guiding spirit of the Tanglewood Festival. Opera News covered the American premiere with a feature titled "Peter Grimes On Trial – A Symposium of Verdicts," beginning by quoting with the grudging praise of the New York Times' very conservative critic that the opera was "a very interesting modern work in a provocative form." Also included were quotes from the lead singers, who noted its "strange intervals, harmonies, and difficult counter-play of the various voices." But Boris Goldowsky, the music director of the Tanglewood Center, provided the most accurate assessment, given the hindsight of history: "The opera has lasting merit," said Goldovsky, "and it will join the standard repertory. Like all new works, it was difficult at first, but future productions will be easier." Here's an additional historical footnote: the Tanglewood premiere of "Peter Grimes" was the first opera Leonard Bernstein conducted professionally, and the opera's instrumental "Sea Interludes" were on the program of the last orchestral concert he ever conducted, 44 years later, in August of 1990, and again at Tanglewood. Music Played in Today's Program Benjamin Britten (1913-1976) –Sunday Morning and Storm, fr Peter Grimes (New York Philharmonic; Leonard Bernstein, cond.) Sony Classical 47541

"Die Ersten ihrer Art": Heike Spechts Buch über weltverändernde Frauen in der Politik wird heute Abend im Literaturhaus in Nürnberg vorgestellt. / Kultur des Wegschauens: Missbrauch in der Oper "Peter Grimes" am Staatstheater Nürnberg./ Schatten im kalifornischen Sommergefühl: Der Beach Boy Brian Wilson wird 80./ Jeden Tag im Museum: Aufsichten präsentieren ihre Lieblingswerke./ Und: Der Gründer des Jazzlabels Enja ist tot: Matthias Winckelmann.

In 2014 Dame Clare Marx became the first woman President of the Royal College of Surgeons of England, and, five years later, she was the first woman to become the Chair of the General Medical Council. When she started practising as an orthopaedic surgeon, in 1993, there were very few women surgeons and, shockingly, that's still the case: men outnumber women eight to one as surgical consultants. So Clare Marx has overcome significant prejudice to reach the top of her field; in 2007 she received a CBE and in 2018 a DBE for services to medicine. But last summer she announced her resignation from the General Medical Council after she was diagnosed with incurable pancreatic cancer. She's sixty-eight. In a public letter she said: “Since receiving this news, I've been reminded once again of the importance and power of kindness in everything we do as doctors.” In a moving and uplifting interview, Clare Marx talks to Michael Berkeley about her pioneering medical career, the shock of her diagnosis, and the music that's sustained her. Choices include Britten's “Sea Interludes” from Peter Grimes, to remind her of her home in Suffolk; Tchaikovsky's first piano concerto; Beethoven's Ode to Joy; Verdi's Requiem; and Mozart's Cosi fan tutte. Pancreatic Cancer UK www.pancreaticcancer.org.uk Information and support: Cancer https://www.bbc.co.uk/programmes/articles/1KkkxvD0G1w4l294QCrQZbh/information-and-support-cancer Produced by Elizabeth Burke A Loftus Media production for BBC Radio 3

Ahead of a new production of Britten's Peter Grimes at the Royal Opera House, Sara Mohr-Pietsch hears from members of the creative team bringing this compelling tale of an outsider to life, in a post-pandemic, 21st-century context. The composer Anna Clyne also talks to Sara about her latest work, including a Handel-inspired piece to be premiered later this month by the Academy of Ancient Music and the National Youth Choir of Great Britain. As the situation in Ukraine continues, Sara looks talks to Peter Gelb, general manager of the Metropolitan Opera in New York, about the company's parting of ways with Russian soprano Anna Netrebko, and to conductor Thomas Sanderling about the decision to leave his post at the Novosibirsk Philharmonic Orchestra, asking the question of how one effectively balances art and politics. And the phenomenally successful Italian composer Ludovico Einaudi joins Sara from his home studio in the Italian Alps, where the pandemic allowed a break in his usual hectic schedule to reappraise his creative process. Producer: Sam Hickling Image: Ludovico Einaudi (c) Duet Postscriptum

Live from the Grand Teton Music Festival is a series of one-hour podcasts hosted by Music Director Sir Donald Runnicles and GTMF General Manager Jeff Counts. Season Five's episodes celebrate the Festival's 2021 return to live performances at Walk Festival Hall in Jackson Hole.Grand Teton Music Festival OrchestraSir Donald Runnicles, conductorEdward ElgarCockaigne, Op. 40, “In London Town”Edward ElgarIntroduction and Allegro, Op. 47Benjamin BrittenFour Sea Interludes from Peter Grimes, Op. 33

Die subjektive, leicht beschwipste Opernkritik: Diesmal mit unserem Fan Michaela. Sie hatte diesmal das Glück durch ein Gewinnspiel zusammen mit Kathi Roeb in die Oper zu gehen. Auch diesmal hat Kathi natürlich gleich die Chance ergriffen und mit Micha über ihre Eindrücke des Premierenabends gesprochen. Habt Ihr Fragen oder Anregungen? Dann schreibt Kathi und Linda: how-to-oper@staatsoper.de FRAGEN, ANREGUNGEN, IDEEN? Schreibt Kathi und Linda: how-to-oper@staatsoper.de

Fuchs, Jörn Florianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Eine Premiere mit Hindernissen gab es am 6. März an der Bayerischen Staatsoper in München: Eigentlich hätte die Neuinszenierung von Benjamin Brittens Erfolgsoper "Peter Grimes" schon vor knapp einer Woche erstmals über die Bühne gehen sollen - wegen Corona verzögerte sich alles. Regie führte der Norweger Stefan Herheim.

Die Masse gegen den Einzelnen! Peter Grimes, ein im britischen Küstenort Aldeburgh festverwurzelter Fischer, wird verdächtigt, für den Tod seines Fischerlehrlings verantwortlich zu sein. Der richterliche Freispruch interessiert die Dorfgemeinschaft herzlich wenig, für sie stand bereits vor Prozessbeginn fest, dass der sonderbare Grimes schuldig ist. Und so entlädt sich der Hass. Rumor has it! Peter Grimes, die erste Oper von Benjamin Britten, 1945 uraufgeführt, seziert die Mechanismen, die greifen, wenn Menschen sich zu einem Kollektiv gegen ein einzelnes Individuum zusammenschließen. Es ist ein feinfühliger, mitunter verstörender Blick auf die Natur des Menschen – so unkontrollierbar und erbarmungslos wie die See selbst. Autor und Sprecher: Holger Noltze Sprecher: Stefan Herheim Sprecherin: Cathrin Störmer Schnitt: Thomas Rott, Sven Eckhoff Betreuung: Anna Bleib Dramaturgie und Projektleitung: Christopher Warmuth

Die Bayerische Staatsoper bringt am 6. März eine Neuproduktion von Benjamin Brittens "Peter Grimes" auf die Bühne. Stuart Skelton singt die Titelpartie, Edward Gardner dirigiert und der Regisseur Stefan Herheim gibt sein Hausdebüt.

Sonne, Strand und Palme – die Seele baumeln lassen. Die Traumvorstellung, wenn man ans Meer denkt. In PETER GRIMES, der aktuellen Neuproduktion, verschlägt es uns an einen etwas weniger idyllischen Ort am Meer: ein kleines englisches Fischerdorf, in dem nicht alles so friedlich ist wie am türkiesen Strand der Tropen. In der vierten Folge HOW TO OPER spricht Kathi Roeb gemeinsam mit dem Team der Neuproduktion von PETER GRIMES. Die Oper von Benjamin Britten feiert am 6. März 2022 Premiere in München. FRAGEN, ANREGUNGEN, IDEEN? Schreibt Kathi und Linda: how-to-oper@staatsoper.de

Im Oktober 2021 hatte Benjamin Brittens „Peter Grimes“ im Theater an der Wien großen Erfolg. Gestern nahm die Staatsoper die Christibe Mielitz-Inszenierung aus dem vorigen Jahrhundert (Premiere 12.2.1996) wieder in den Spielplan auf. Von der Oktober-Premiere an der linken Wienzeile war Richard Schmitz begeistert. Wie war es gestern am Ring? Die Inszenierung von Christine Mielitz widmet sich vor allem der Charakterisierung der vielen Figuren, vor allem der des Peter Grimes. Die Kostüme unterstützen das sehr gut. Das Bühnenbild stört nicht. Auch in der Wiener Staatsoper stand daher der Sänger der Titelrolle im Mittelpunkt. Jonas Kaufmann legte den Peter Grimes grundlegend anders an. Da war kein dumpfer Gewaltmensch zu sehen, sondern ein vom Pech verfolgter sentimentaler, im Grunde gutmütiger Fischer, der für seine Heirat Geld scheffeln wollte und in der Dorfgemeinschaft aneckt. Diese Charakterambivalenz erfüllt Jonas Kaufmann mit all seinen künstlerischen Ausdrucksfacetten. Da gibt es herbe Töne, aber auch lyrische Legatobögen, klare Spitzentöne und verhaltenes Piano. Lise Davidsen als Ellen Orford kann da mit ihrer großen, noch ungeschliffenen Stimme nicht ganz mithalten. Wenn sie an der Differenzierung ihres Ausdrucks arbeitet, wird das noch eine der ganz Großen des Sopranfaches. Eine verhuschte Dorfschullehrerin ist sie natürlich nicht. Bryn Terfel als Balstrode zur Verfügung zu haben, ist ein großes Glück. Die unverrückbare Treue dieser Figur wird da deutlich. Auch die anderen Rollen haben bei Christine Mielitz eigene Charakterisierungen, die etwa Thomas Ebenstein als betrunkener Sektierer und Stephanie Houtzeel als kapriziöse, drogensüchtige Sedley voll ausspielen. Auch die anderen, Wolfgang Bankl, Noa Beinart, Ileana Tonca und Aurora Marthens als ungleiches Nichtenpaar, Carlos Osuna geben ihren Rollen ein eigenes Profil. Die Feinheiten des Feministinnenquartetts kommen vor dem Vorhang besonders intensiv zur Geltung. Die Widersprüchlichkeit der Haltung der Dorfbevölkerung wird durch den exzellenten Chor klar zum Ausdruck gebracht. Zurecht wurden auch Simone Young und das Staatsopernorchester am Ende bejubelt. benjamin Brittens Zwischenspiele, die richtige Klangjuwele sind, konnte man ohne Ablenkung genießen. Philharmonische Höhepunkte. Jonas Kaufmann hat seinen Fans bewiesen, dass er auch aus komplexeren Opernrollen menschliche Figuren machen kann. PS: Ich bin froh, dass meine Frau und ich das erleben konnten. Noch am Nachmittag war das gar nicht so sicher. Unsere PCR-Tests sind erst nach 36 Stunden während der Vorstellung eingetroffen. Erfreulicherweise wurde ein aktueller Antigen-Test akzeptiert. Es war ein großer Opernabend, der der Wiener Staatsoper und seinem jubelnden Publikum alle Ehre macht. Wertnote: 9,3/10 Punkten!

Our series saluting great Canadian singers continues with a tribute to one of the greatest singers I have ever seen in performance, the Saskatchewan-born tenor Jon Vickers. Not only was he a profoundly imaginative and creative singing actor, he was also one of the most problematic personalities to appear on the operatic stage in the second half of the twentieth century. I discuss many of the controversies surrounding Vickers the man, in particular his virulent homophobia and sexism, while still giving full attention to his unmatched artistry. I feature both live and studio recordings over the course of his entire career, encompassing both opera and art song, focusing on what are probably his four greatest operatic roles: Florestan, Otello, Peter Grimes, and Tristan. Vocal guest stars include Maria Callas, Eileen Farrell, Joan Carlyle, Leonie Rysanek, and Renata Scotto; conductors include Colin Davis, Otto Klemperer, Tullio Serafin, Rudolf Kempe, Nicola Rescigno, William Steinberg, and Herbert von Karajan. 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.

Wagner satt, fünf Produktionen mit Meisterregisseur Christof Loy und ein neuer "Peter Grimes" an der Bayerischen Staatsoper: Das Jahr 2022 wartet mit etlichen spannenden Neuinszenierungen auf. BR-KLASSIK gibt Ihnen einen Vorgeschmack und hilft bei der Auswahl.

Inevitable ang differences sa love and relationships, at kasama dyan ang pagkakaiba when it comes to culture, lalo na, archipelago ang Pilipinas-- composed of thousands of islands and different regions-- at syempre, ngayon ding we're in a global world. Kaya ang tanong na hinimay namin ni Doc Gia Sison: Sa totoo lang, how do cultural differences affect a relationship? What are the ups and downs of intercultural relationships? Paano ito nagiging hadlang, o paano ito nakakatulong sa ating lahat to be #FreeToLove? Para mas maintindihan ito, nakasama natin sa show ang younger sister kong si Leng Sangalang-Grimes, na based na ngayon sa Dublin, Ireland; happily married to her loving husband, Peter Grimes, with 2 cute kids.

In the ‘Four Sea Interludes' by Benjamin Britten you're standing on the cliffs of the English Channel and a storm is raging around you. Waves are crashing, wind is hurtling, and rain is drenching you from all angles! In this episode I share insights into the piece, I answer the question ‘What is rhythm?', and we continue to explore the different types of pieces played by orchestras. This episode features ‘Storm' from the ‘Four Sea Interludes from Peter Grimes' by the composer Benjamin Britten. I recommend the recording by the BBC Symphony Orchestra conducted by Sir Andrew Davis. Further information: www.athousandpictures.com/episode7.   I hope you enjoy the show! Please subscribe and help us grow by leaving a rating and a review. And please share the podcast with others!   Feel free to contact Scott Wilson via:  EMAIL: feedback@athousandpictures.com  FACEBOOK: www.facebook.com/1000PicturesPod INSTAGRAM: @1000picturespod TWITTER: @1000PicturesPod WEBSITE: www.athousandpictures.com

Stefano Flavoni is joined by prolific Australian Heldentenor Stuart Skelton in a discussion of Wagner, Beethoven, Bruckner, Mahler, Sibelius, and just how absurd 2020 has been, especially for artists. Stuart has appeared on the stages of The Met, La Scala, San Francisco Opera, and just about every other major opera company and symphony you could imagine. With signature roles including Peter Grimes and Siegmund, among many others, Stuart is a voice and human for the ages.