Podcasts about Pierrot lunaire

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Nos hemos enterado de que el mismo dios nórdico, Odín, le habló a Roger Hodgson y a Kevin Ayers. Regresa a Subterranea Rarities Abel Fuentes para hablarnos de Roger Hodgson con motivo de su 75 cumpleaños. Abel nos trae cuatro maravillosas rarezas que os van a encantar, desde maquetas a temas inéditos. Por su parte, Carlos Romeo cierra su especial Kevin Ayers hablándonos de su última etapa y acompañándolo con piezas de sus tres últimos discos de estudio. Y finalmente, Carles Pinós, nos asombrará con tres rarezas, raras, raras, raras: Odin, Gebärväterli y Pierrot Lunaire. No te lo debes perder. Edición: David Pintos. www.subterranea.eu www.davidpintos.com Escucha este episodio completo y accede a todo el contenido exclusivo de Subterranea Podcast. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/17710

DescriptionArnold Schoenberg: The Maverick Composer with a Fear of 13 in 60 Seconds. Take a minute to get the scoop!Fun FactArnold Schoenberg's most famous piece, Pierrot Lunaire (1912), is a groundbreaking work blending atonal music with Sprechstimme—a vocal style between speaking and singing. Featuring a haunting mix of chamber instruments and surreal poetry, it redefined modern music, capturing the eerie, fragmented emotions of early 20th-century expressionism.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Today I present to you the extraordinarily versatile, even chameleon-like singer and actor Marni Nixon (22 February 1930 – 24 July 2016), who is no doubt best-known today as the so-called “Ghostess with the Mostest.” Born into a musical family in California, she became involved from an early age with the movies, and by a marvelous set of circumstances became The Voice for a number of Hollywood actresses not known for their singing voices. Her skill in matching the vocal and speech characteristics of each of these performers is exceptional, but she was so much more than that. She pioneered the work of many 20th century giants, including Igor Stravinsky, Arnold Schoenberg, Charles Ives, and Anton Webern. She hosted a local Seattle children's television program called Boomerang that netted her four Emmy Awards. She performed on opera stages and concert platforms around the world. She recorded widely, everything from Mary Poppins to Pierrot Lunaire, and in the mid-1970s was the first singer to perform and record Schoenberg's cabaret songs, his so-called Brettl-Lieder, works that are now standard repertoire. Reminiscences of Marni are provided by my good friend Thomas Bagwell, currently a coach and conductor at The Royal Danish Opera in Copenhagen, who was a colleague and good friend of Marni Nixon's for the last 25 years of her life. This episode features a cross-section of this stunning artist's extensive recorded output, recorded over six decades, including repertoire from Webern to Rodgers and Hammerstein. In between we have examples of Nixon's performances of songs by Schoenberg, Stravinsky, Debussy, Ives, Fauré and her former husband Ernest Gold; concert and song repertoire by Villa-Lobos, Boulez, Castelnuovo-Tedesco, Copland, and Gershwin; plus a few outliers, from a live performance of Korngold's Mariettas Lied to the jazzed-up exotica of Buddy Collette's Polynesia to Mr. Magoo's Mother Goose Suite, not to mention a spoonful of Mary Poppins. Overall, “It's a Jolly ‘Oliday with Marni!” 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 or yearly support at whatever level you can afford.  

Soprano Claire Booth is internationally renowned for her dedication to a vast repertoire, as well as the vitality and musicianship that she brings to the stage. Opera highlights include the title roles in Handel's Berenice for the Royal Opera and Janacek's Cunning Little Vixen for Garsington Opera, and her concert appearances have resulted in close associations with the BBC orchestras, the City of Birmingham Symphony Orchestra and the Mahler Chamber Orchestra. Claire has also collaborated with Pierre Boulez, Gustavo Dudamel and Yannick Nezet-Seguin, to name a few, and has premiered nearly 100 works over the course of her career so far.Claire's 2024 activity has focused on celebrating Schoenberg in his 150th anniversary year, with performances of a whole range of his works, and two albums centred around his music: 'Expressionist Music' with Christopher Glynn, released in May, and 'Pierrot Portraits' with Ensemble 360, released last Friday, with Pierrot Lunaire at its heart.In this episode, Claire talks more about her longstanding relationship with Pierrot Lunaire, and how the new album came to be; plus the eclectic career she's forged for herself, and how her recent Masters in Cultural Policy and Management has given her an even broader perspective on the industry as a whole. Claire also talks about the time she underwent surgery for pre-nodules, not being able to speak for a month, and wondering whether she would be able to sing again.-------------------Claire's links:WebsiteInstagram-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------This podcast is also available to listen to via The Violin Channel--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

Claire Booth speaks to Hattie Butterworth about her new album with Ensemble 360, 'Pierrot Portraits', focussed around Schoenberg's Pierrot Lunaire and looking at other composer's interpretations of the character of Pierrot across time. All audio clips come from Pierrot Portraits by Claire Booth and Ensemble 360 out now on Onyx Classics 

Arnold Schönberg schrieb den Zyklus «Pierrot Lunaire» von März bis Mai 1912, pro Tag eine der insgesamt 21 Nummer. Die Schauspielerin und Sängerin Albertine Zehme hatte bei Schönberg einen Zyklus von Melodramen bestellt. Sie selbst war bekannt als Darstellerin grosser Frauenrollen, etwa von William Shakespeare oder Henrik Ibsen, ebenso als Sängerin von grossen Wagner-Partien. In dieser Doppelrolle interessierte sie sich natürlich für die Verbindung von gesprochenem Wort und Musik, eben des Melodrams. Einer Form, die damals sehr en vogue war. Schönberg schrieb eine Musik für Stimme und kleines Instrumentalensemble voller komplexer Strukturen und zugleich auch als «Ausdrucksmusik» verstanden. Einen «leichten, satirischen Ton» sollte das Ganze haben. In dieser Diskothek zum 150. Geburtstag von Arnold Schönberg sind die Sängerin Claudia Dieterle und der Musikwissenschaftler Anselm Gerhard zu Gast bei Benjamin Herzog.

Inside this Episode with host, Mitch Hampton I seem to never tire of saying that among my many missions on this podcast is to have guests that are quite different than myself. Although Christine and I are both musicians and in the music world, I can't carry a tune to save my life and my truly awful singing voice is one of the main reasons I decided to purely instrumental music in terms of my own performance.  Not only does our guest have one of the best singing voices  in her for any field or genre of music but she also speaks five plus languages and is well versed in a remarkably diverse repertoire of music Indeed her newest release is representative of just the kind of eclecticism I always champion. I always love having guests on my show who have been in the "classical music" world as it is a genre most misunderstood at times by the public and always worthy of continuation and celebration. I sincerely hope you enjoy watching this episode as much as we did recording it. Ms. Moore's Bio : ( Full Bio on her website below) Praised by the Leipziger Volkszeitung for her lush sound and powerful expression, soprano Christine Moore Vassallo is a versatile performer with equal command in opera, recital, and contemporary music.  The Sacramento, California native counts among her many opera roles Mimi in La Boheme, the title role Madama Butterfly, Alice Ford in Falstaff, Micaela in Carmen, the title role in Suor Angelica, Santuzza in Cavalleria Rusticana, Donna Anna in Don Giovanni, Countess in Le Nozze di Figaro, Judith in Bluebeard's Castle, Leonora in Il Trovatore (described as "velvety and luscious" by SongWordSight Magazine), the title roles in Aida and Ariadne auf Naxos with such companies as the Leipzig Opera, Central City Opera, Santa Fe Opera, Chautauqua Institute, Utopia Opera, Create Opera, the Aldeburgh Summer Festival, Sacramento Opera, the Amato Opera and Lyric Artists of New York. She curated and performed in the first ever concert of Arab composers, entitled "Nearer to East: Chamber Music from the Arab World" at the Bruno Walter Auditorium at Lincoln Center, which concert was lauded by the Library as one of the outstanding of the year. Christine speaks five languages and sings in ten, and has given numerous solo recitals featuring works of all genres of repertoire and languages, including in Granada and Madrid with Festival de Cancion Espanola, Trinity Concert Series in New York, the Library at Lincoln Center, Merkin Concert Hall, the Edinburgh Fringe Festival, and the Old Stone House, Brooklyn. She made her UK debut in 2005 at the Paxton Chamber Music Festival in Scotland with Schoenberg's Pierrot Lunaire (praised by the Glasgow Herald) and has performed many new works by living composers, including the premiere at Merkin Hall NYC of Richard Thompson's song cycle The Shadow of Dawn as well as the NYC premiere of his opera The Mask in the Mirror, Andrew Rudin's Masha's Arias, and works by Michael Rose, Kareem Roustom, Halim El-Dabh, Richard Cameron-Wolfe, Steve Gerber and Zaid Jabri with the Brooklyn New Music Collective.  In 2016 she founded the singers collective Lyric Artists of New York, producing operas and concerts in the New York area. In 2023 she made her Weill Hall at Carnegie debut, and is currently collaborating on a project with composer and pianist Patricio Molina set to premiere in 2025 of his songs set to Arab women poets of the Andalus period. Album webpage on the Meridian Records website: https://www.meridian-records.co.uk/acatalog/CDE84647-From-Al-Andalus-to-the-Americas.html  Christine's Website: www.christinemooresoprano.com #middleeast #egypt #spain #oud #darbuka #andalus #soprano #classicalmusic #flute ##arabic #folkmusic #latinamerica #meridianrecords #istanbul #farsi #opera #newyorkcity #artsong  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

A Ada e o Hugo se reuniram com apoiadores para conversar sobre limites e conflitos entre nossas vivências baunilhas e fetichistas: como cada um de nós tenta equilibrar essas vivências e quais são nossas decisões sobre armário e exposição? Este papo está recheado de relatos de momentos divertidos, mas também de situações que podem ser desafiadoras: trocamos muitas experiências sobre dificuldades e delícias quando se trata de vida profissional, família, maternidade e mais. Vem participar dessa conversa com a gente!   Para colaborar com o debate, deixe seu comentário na caixinha do Spotify, no campo de comentários do YouTube ou da vitrine do Instagram. Quer participar do nosso próximo encontro? Basta apoiar o Chicotadas em https://apoia.se/chicotadas e votar nas enquetes sobre o tema e a data da próxima reunião no nosso grupo do Telegram! O encontro de junho ainda não aconteceu.   Este episódio foi gravado em 21 de abril de 2024. Equipe presente: Ada (sem insta), Hugo @h.chicotadas Apoiadores presentes: Bozi de Curitiba @bozi.tie, Maia de BH @maia.sub.2, Pierrot Lunaire de Brasília @le_pierrot_lunaire, Well de Maringá @seis.milimetros, Sabrina do Rio de Janeiro @sabrina_filidonia, Panwoof de Brasília @brunusbr, Ace n Kink de MG @acenkink, Michele da Austrália @shelly__sw, Morena de São Paulo @morena_femdom, Poli de São José dos Campos @pessoasnaomono.   Quer que a gente leia e responda às suas dúvidas ou feedbacks num próximo episódio? Envie uma mensagem pela DM do nosso Instagram ou anonimamente, pelo formulário: https://forms.gle/x3HUheP52BkALn989   A vitrine do episódio é uma arte com desenhos. Com um fundo vermelho, ela tem o desenho em bege de uma casa e de uma cruz de Santo André, cada um em um canto da arte, ligados por uma linha. No centro, o título do episódio (Clube dos apoiadores #09: Conflitos entre Vida Kinky e Baunilha. Um papo com apoiadores sobre como cada um de nós lida com o armário e nossos relatos sobre trabalho, família e maternidade).   Minutagens: Ordem de apresentação: Ada, Hugo, Bozi (citado: shibari/semenawa), Maia, Pierrot, Well, Sabrina, Panwoof, Ace n Kink, Michele, Morena, Poli (min 26). 5:36 Introdução do episódio   Apresentações: 7:16 Panwoof de Brasilia (citado: shibari) 10:58 Ace n Kink de MG (citado: podolatria) 17:35 Michele/Shelly (citado: Feeld) 25:56 Poli (citado: maternidade) 29:25 Morena de SP (citado: feminização, crossdressing, sissy) 39:17 Recado do Apoia.se https://apoia.se/chicotadas   Relatos: 40:51 Ada, criação de conteúdo, armário e família 46:45 Hugo, família e religião 49:52 Sabrina, festa fetichista, maternidade, esconderijo de brinquedos, faxineira 52:53 Maia, histórias de brinquedos, maternidade e outros Citados: E quando os filhos encontram brinquedos? Adolescentes e sexualidade, maternidade (relatos de Maia, Morena e Sabrina). Personagem baunilha e kinky, armário, autismo, medo de exposição e julgamento, evento, impact, marcas. 1:07:10 Bozi, exposição, família, trabalho e redes Citados: shibari, ponto de suspensão, bambu, comunidade, atados, sala versão kinky e versão baunilha, marcas na praia. 1:17:18 Ace n Kink, família, amigos baunilha, carreira de professor 1:22:34 Well, trabalho de professor e situações com alunos 1:26:40 Michele/Shelly, relação mãe e filha, exposição, exibicionismo, marcas 1:33:07 Pierrot Lunaire, exposição para amigos, trabalho e arte 1:39:08 Morena, falar abertamente, relação com filhos Citado: qual é a importância disso? Naturalização da saída do armário. 1:42:59 Panwoof, grupos e rede, conexão e troca de experiências (shibari) Citado: verdade e conexão, o alívio da honestidade 1:47:34 Hugo e a camisa de força 1:48:58 Well e trabalho com arte 1:50:33 Poli, drop, maternidade e trabalho com sexualidade 1:55:05 Despedidas e aftercare   https://linktr.ee/chicotadas

durée : 01:01:16 - Les Nuits de France Culture - par : Albane Penaranda - En 1996, Christian Rosset propose pour l'émission "Euphonia" de France Culture une série de cinq épisodes sur les chemins contradictoires empruntés au fil des siècles par la musique et la poésie. Dans ce premier volet, Jean-Yves Bosseur analyse leurs rapports complexes dans la musique contemporaine. - invités : Jean-Yves Bosseur Compositeur et musicologue, directeur de recherches au CNRS

This episode is about the dynamic, transformative, ancient, and contemporary process that is fermentation. We also get into feminist theory, the queering of food, and taste in zero gravity during conversations with fermentation experts Joshua Evans and Maya Hey. David and Maxime taste kimchi, miso, and perga (bee bread) in the fermented edition of ‘Stick This in Your Mouth', and filmmaker Bruce LaBruce responds scrumptiously to the Food Questionnaire.Guests:Dr. Joshua Evans is a senior researcher at the Novo Nordisk Foundation Center for Biosustainability at the Technical University of Denmark in Copenhagen, where he founded and leads the Sustainable Food Innovation Group. Their work brings together culinary research and development with academic research and practice in the humanities, social sciences, and natural sciences.Dr. Maya Hey is a postdoctoral researcher with the Centre for the Social Study of Microbes at the University of Helsinki. She is the instigator of food feminism fermentation, an organization that brings together the three themes in publications and conversations that cross culinary, health, and educational participants.Bruce LaBruce is a filmmaker, photographer, writer, and artist based in Toronto and working internationally. He has written and directed fourteen feature films, including Gerontophilia, which won the Grand Prix at the Festival du Nouveau Cinema in Montreal in 2013, and Pierrot Lunaire, which won a Teddy Award at the Berlinale in 2014.Other references:a list of global fermented foodsNewScientist article about “space miso”Sandor Katz's, The Art of FermentationHost/Producer: David Szanto Music: Story ModeStock media: ProSoundEffects / Pond5@makingamealpodcastmakingamealofit.com

Mais um episódio conversando sobre um tema super relevante e importante com nossos apoiadores! O tema do dia é “Drop e Aftercare: relatos”. Explicamos melhor do que se trata o drop, como e por que ele aparece, como lidar com ele e, é claro, dividimos vivências e relatos sobre momentos de drop, aftercares preferidos e aprendizados ao longo da jornada. Vem participar dessa conversa com a gente!   Quer colaborar com o debate? Deixa seu comentário na caixinha do Spotify, no campo de comentários do YouTube ou da vitrine do Instagram.   Quer participar do nosso próximo encontro? Basta apoiar o Chicotadas em https://apoia.se/chicotadas e votar nas enquetes sobre o tema e a data da próxima reunião no nosso grupo do Telegram! Este episódio foi gravado em 3 de fevereiro de 2024.   Equipe presente: Ada (sem insta) @h.chicotadas Apoiadores presentes: Nath/Vi de Santos @versoes.ineditas, Mona/sexythem de SC @a.corda.mona, Pierrot Lunaire de Brasília @le_pierrot_lunaire, Bozi de Curitiba @bzn.tie, Aliunes dos Países Baixos/Holanda @aliunes11, Maia de BH @maia.sub Quer que a gente leia e responda às suas dúvidas ou feedbacks num próximo episódio? Envie uma mensagem pela DM do nosso Instagram ou anonimamente, pelo formulário: https://forms.gle/x3HUheP52BkALn989 Confira nosso Instagram! www.instagram.com/chicotadaspodcast Nosso insta backup: www.instagram.com/chicotadascast   A vitrine do episódio é uma arte com desenhos. Com um fundo vermelho, ela tem o desenho de bombons e de mãos dadas em vermelho claro e bege, com o título do episódio à esquerda (Clube dos apoiadores #07: Drop e aftercare: relatos. Um papo com apoiadores sobre o que é drop, por que e como ele acontece, nosso aftercare preferido, relatos e experiências) e o logotipo do Chicotadas (a silhueta de um chicote posicionado para lembrar o formato de uma onda sonora).   Minutagens: 2m48s Introdução do episódio Episódios mencionados: Episódio 2, "Principios basicos do BDSM II", Ep bônus 28.5 "Especial de fim de ano", Chicotinho #06, "Aftercare". Post aftercare: https://www.instagram.com/p/Cn2Vh14uDC_/ Reels drop: https://www.instagram.com/p/C407PDHOz3q/   4m38s Nosso Apoia.se https://apoia.se/chicotadas   5m52s Apresentações de quem está participando pela primeira vez. 6m15s Pierrot Lunaire (hipnose erótica, mencionada no clube #05, CNC, caregiver) 13m42s Bozi (shibari, atados no parque de Curitiba @atadosnoparquecwb 19m27s Aliunes (Países Baixos/Holanda, encontrar comunidade fora do país) 30m05s Maia (D/s a distância, início na comunidade, experiências positivas e negativas)   39m25s O tema: o que é drop? Como identificar? Como e por que acontece? Como evitá-lo, amenizá-lo ou lidar com ele? O que é importante ter em mente? Reconhecimento e estratégias.   59m46s Relatos e conselhos de apoiadores Mencionado: Loving BDSM (podcast), OTK (over the knee, posição para spanking)   1h34m17s Últimos conselhos   1h37m43s Agradecimentos, despedidas e aftercare   Siga-nos no Instagram, no Twitter, no YouTube e no seu agregador de podcasts preferido para não perder nenhuma novidade e conta pra gente o que você achou! Se puder, ouça-nos pela Orelo ou pelo YouTube. Esperamos que vocês curtam debater, democratizar e humanizar esse universo tão amplo, divertido e excitante conosco.   // https://www.instagram.com/chicotadaspodcast/ / https://www.tiktok.com/@chicotadaspodcast / https://twitter.com/chicotadascast / chicotadaspodcast@gmail.com / https://linktr.ee/chicotadas

What is expressionism? A school? A movement? A philosophy? At the end of this episode, Phil and JF agree that it is, above all, a sensibility, one that surfaces periodically in history, punctuating it with occasional bursts of frenetic colour and eruptions of light and shadow. Whenever it appears, expressionism challenges our tendency to divide the world up into neat quadrants: mind and matter, subject and object lose their legitimacy as they start to bleed into one another. Prior to recording, your hosts agreed to focus on two pieces of writing: Victoria Nelson's The Secret Life of Puppets and a recent Internet post on eighties and nineties American films entitled "Neo-Expressionism: The Forgotten Studio Style." Though focused on a number of films, the conversation includes forays into the world of the visual arts, literature, and music. Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies soundtrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES comradeyui, “neo-expressionism: the forgotten studio style” (https://letterboxd.com/comrade_yui/list/neo-expressionism-the-forgotten-studio-style/#:~:text=many%20neo%2Dexpressionist%20films%20are,visual%20grammar%20of%20those%20works.) Victoria Nelson, _The Secret Life of Puppets (https://bookshop.org/a/18799/9780674012448) Francis Ford Coppola, Bram Stoker's Dracula (https://www.imdb.com/title/tt0103874/) Weird Studies, Episode 161 on ‘From Hell' (https://www.weirdstudies.com/161) Bram Stoker, Dracula (https://bookshop.org/a/18799/9780141439846) E. H. Gombrich, The Story of Art (https://bookshop.org/a/18799/9780714832470) Jean-Francois Millet, “Gleaners” (https://artsandculture.google.com/asset/gleaners/GgHsT2RumWxbtw?hl=en) Kathe Kollwitz, “Need” (https://www.kollwitz.de/en/sheet-1-need) Robert Weine, The Cabinet of Dr. Caligari (https://www.imdb.com/title/tt0010323/) Arnold Schoneberg, Pierrot Lunaire (https://imslp.org/wiki/Special:ImagefromIndex/315809/hfva) Gilles Deleuze, Cinema 1 (https://bookshop.org/a/18799/9780816614004) Peter Yates (dir.), Krull (https://www.imdb.com/title/tt0085811/) Wilhelm Worringer, (https://en.wikipedia.org/wiki/Wilhelm_Worringer) German art historian Weird Studies, Episode 136 on ‘The Evil Dead' (https://www.weirdstudies.com/136) In Camera The Naive Visual Effects of Dracula (https://www.weirdstudies.com/136) Kenneth Gross, Puppet: An Essay on Uncanny Life (https://bookshop.org/a/18799/9780226005508) Weird Studies, Episode 121 ‘Mandwagon' (https://www.weirdstudies.com/121)

durée : 01:28:38 - Romeo Castellucci, metteur en scène - par : Priscille Lafitte - Iconoclaste, Romeo Castellucci ? Le metteur en scène raconte comment il fait le vide dans une oeuvre pour l'aborder sans être lesté du poids d'une histoire. Ses références tournent autour du Pierrot Lunaire de Schönberg, du Sacre de Stravinsky, et de la voix de Christian Gerhaher dans Wagner. - réalisé par : Claire Lagarde

Today, in another of my Women's History Month episodes, I present to you the extraordinarily versatile, even chameleon-like singer and actor Marni Nixon (22 February 1930 - 24 July 2016), who is no doubt best-known today as the so-called “Ghostess with the Mostest.” Born into a musical family in California, she became involved from an early age with the movies, and by a marvelous set of circumstances became The Voice for a number of Hollywood actresses not known for their singing voices, among them Deborah Kerr in The King and I, Natalie Wood in West Side Story, and Audrey Hepburn in My Fair Lady. Her skill in matching the vocal and speech characteristics of each of these performers is exceptional, but she was so much more than that. She pioneered the work of many 20th century giants, including Igor Stravinsky, Arnold Schoenberg, Charles Ives, and Anton Webern. She hosted a local Seattled children's television program called Boomerang that netted her four Emmy Awards. She performed on opera stages and concert platforms around the world. She recorded widely, everything from Mary Poppins to Pierrot Lunaire, and in the mid-1970s was the first singer to perform and record Schoenberg's cabaret songs, his so-called Brettl-Lieder, works that are now standard repertoire. She studied with Viennese soprano Vera Schwarz as well as the iconic Lotte Lehmann, and actively performed and recorded for more than 50 years. Her late career saw an extraordinary return to the musical stage, where she starred in both new work and revivals both on and Off-Broadway. Guiding us along the trajectory of her career is my good friend Thomas Bagwell, currently a coach and conductor at The Royal Danish Opera in Copenhagen, who was a colleague and good friend of Marni Nixon's for the last 25 years of her life. His anecdotes and reminscences are interspersed with examples (often familiar, more often rare) of Marni's vast recorded legacy, which give testament not only to her versatility, but to her flawless musicality and depth of expression. 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.

Cathy Berberian Ensemble Ars Nova Conductor: Marius Constant Radio France, Paris 17 April 1972 Broadcast

Unter den verschiedenen Strömungen der musikalischen Moderne des frühen 20. Jahrhunderts war der Weg Arnold Schönbergs und seiner sogenannten Zweiten Wiener Schule zweifellos ein besonders kühner und entsprechend heftig angefeindeter. In den Jahren vor dem Ersten Weltkrieg gerieten etliche Aufführungen der ‘frei-atonalen‘ Kompositionen eben von Schönberg, Berg oder Webern in Wien und Prag in erhebliche Turbulenzen und gingen auch wegen der um sie geführten Saalschlachten respektive als „Watschenkonzert“ in die Geschichte ein. In den 1920er Jahren verlagerte Schönberg seinen künstlerischen Lebensmittelpunkt zunehmend nach Berlin, und auch hier wiederholten sich die Konflikte um sein Werk. Die Rezension seines Pierrot Lunaire im Berliner Börsen-Courier vom 8. Oktober 1922 ‘würdigt‘ kurz die skandalhaften Umstände auch dieses Konzertabends, zeigt sich dann aber doch vornehmlich an der Musik interessiert. Es liest Frank Riede.

Bruce LaBruce is an internationally acclaimed filmmaker, photographer, writer, and artist based in Toronto. His latest film is "St. Narcisse" a comedy-drama starring Félix-Antoine Duval as a pair of identical twins who were separated at birth and did not previously know of each other's existence, but who fall in love and begin a twincest relationship with each other after being reunited.  The film premiered at the Venice Film Festival.LaBruce's earlier film Gerontophilia won the Grand Prix at the Festival du Nouveau Cinema in Montreal in 2013, and Pierrot Lunaire, which won the Teddy Award Special Jury Prize at the Berlinale in 2014. As a visual artist he is represented by Peres Projects in Berlin, and has had numerous gallery shows around the world, the latest of which, called Obscenity, a photography exhibit, caused a national ruckus in Spain in 2011.His feature film L.A. Zombie was notably banned in Australia in 2010 after having been programmed at the Melbourne International Film Festival. It later premiered in competition at the Locarno Film Festival, Switzerland that same year. LaBruce has written and directed three theatrical works at the Hau Theater in Berlin, including a production of Arnold Schoenberg's avant-garde piece Pierrot Lunaire at the legendary Hebbel am Ufer Theater. He adapted the latter project into an experimental film, incorporating footage from the stage production combined with additional material shot on location in Berlin. He has also directed theatrical works at the Theater Neumarkt in Zurich, Switzerland, and he participated as a director in the Hau Theater's ambitious X-Homes project in Johannesburg, South Africa. LaBruce has written a premature memoir called The Reluctant Pornographer, and has had two books published about his work: Ride, Queer, Ride, from Plug-In Gallery in Winnipeg, and Bruce(x)ploitation, a monograph from his Italian distributor, Atlantide Entertainment. LaBruce has contributed to a variety of international magazines, newspapers and websites as both a writer and photographer, including index magazine, for which he also acted as a contributing editor, Vice, The National Post, Purple Fashion, The Guardian UK, and many others. He has also been a regular columnist over the years for Eye, Exclaim! and Vice magazines. Additionally, LaBruce has directed a number of music videos, two of which won him MuchMusic Video Awards in Canada. Most recently, LaBruce has been honoured with film retrospectives at both TIFF/Bell Lightbox 2014, and at the Museum of Modern Art in New York, 2015. The MoMA retrospective featured all nine of LaBruce's features as well as a program of short films. All of the films have now become part of MoMA's permanent film collection.

For our final episode of Season 4, we thought we'd join in with the many others across the globe to celebrate the Moon and the Lunar New Year. One glimpse of that radiant sphere in the night sky is all you need to understand why so much has been attributed to the moon over the millenia. From poetry to deity, astrology to mythology, and, of course, art to music - the Moon has been an inspiration. So join us for a brief look at some beautiful works of art and music that emphasize different aspects surrounding the Moon and its celebration!   Art: Unknown artist: Cizhao Ware Pillow in the Form of a Tiger (1182) Unknown artist: Tsuru (17th century) Ren Yude: Chinese Zodiac Offering Best Wishes (1998)   Music (Spotify playlist): Arnold Shoenberg (1874-1951): "Mondestrunken" from Pierrot Lunaire (1912) Franz Schubert (1797-1828): An den Mond   Connect with us! Patreon | Instagram | Facebook     Email us any time! notesandstrokespodcast@gmail.com 

Ooit begonnen we deze serie omdat we het gruwelijk oneens waren over sommige dingen, maar in de praktijk pakt dat toch weer anders uit. In aflevering 14 van deze boeiende serie insidersgesprekken over theater en wat dies meer zij, spreken we over een paar voorstellingen van het Holland Festival en blikken we vooruit naar de festivalzomer. Zo blijkt de nieuwe coronaversie van De Parade opeens iets te zijn waar Wijbrand weer graag voor op pad gaat, namelijk, zoals Marijn vertelt: een diner met tweee voorstellingen waarvan er minstens 1 buiten je eigen bubbel valt. Ook buiten de bubbel voor beiden was overigens Pierrot Lunaire van Klangforum Wien, en eigenlijk ook Age of Rage van ITA, die voor beiden te gortig was. En dan duikt opeens de naam van Erik Snel op, oprichter van het Utrechtse gezelschap Aluin. Marijn en Wijbrand zijn het eens over diens capaciteiten om de klassieke tragedies wel te kunnen vertalen naar iets met inhoud en zeggingskracht. En dan gaat het ook nog over katholiek theater. Wat ze daarmee bedoelen? Luister hier naar de zomerspecial van de nerdpodcast! --- Send in a voice message: https://anchor.fm/cultuurpers/message

Canadian Soprano Rose Hegele talks about equity in the arts, sustainable performance, musical collaboration, and how to prioritize emotional, physical, and spiritual healing as a performer. Canadian soprano, Rose Hegele, facilitates artistically rigorous performance experiences that explore the extremes of human vocal and artistic expression in 20th and 21st century art music. Working across disciplines including experimental theatre, silent film, chamber music, improvisation and choral singing, Rose sings to create a space to heal souls and bodies, and to allow humans to embrace all of their complexity and humanity. Highlights include performing the world premiere of Andy Vores's Chrononhotonthologos with Guerilla Opera and leading ensemble performances in Arnold Schoenberg's Pierrot Lunaire and Kian Khalilian's به تماشای طلوع خورشید… be tamásháye tolúe khorsheed… to watch the sun rise… (In Memory of Abbás Kiárostamí) at Clark University as an Artist-in-Residence. She has performed at Boston's Institute of Contemporary Art, Jordan Hall, The Castro Theatre, Carnegie Hall, and the Isabella Stewart Gardner Museum.I Go To Therapy is hosted by Sydney Warner Brooman and produced by Christian Hegele. Original music and sound mixing by Christian Hegele. You can find us on Igototherapypodcast.simplecast,com, Apple Podcasts, Spotify, or anywhere else you get your podcasts from.We record this podcast on Treaty 13 land, which is the traditional territory of many nations including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples and is now home to many diverse First Nations, Inuit and Métis peoples.https://www.facebook.com/TorontoIndigenousHarmReduction/https://www.toronto.ca/city-government/accessibility-human-rights/indigenous-affairs-office/land-acknowledgement/#:~:text=Share,Nations%2C%20Inuit%20and%20M%C3%A9tis%20peoples.Instagram: @IgototherapypodcastTwitter: @IgototherapypodSimplecast: https://igototherapypodcast.simplecast.com/https://www.sydneywarnerbrooman.com/

This week in a special bonus episode of the Presto Music Podcast, Patricia Kopatchinskaja took time out from her busy schedule to record answers to some questions I had about her new Alpha recording of Schoenberg's *Pierrot Lunaire*,  which finds the acclaimed violinist singing, or rather Sprechstimming, the titular role. Patricia tells us why the piece holds such an important place in her heart, and how she approaches this demanding modernist statement.You can listen to the podcast right here on this page, or click on the links in the player (via the symbol of the box with the arrow coming out of the top) to find it in Apple, Spotify, Stitcher and other popular podcast apps, where you will be able to subscribe and receive notifications when new episodes become available in the future.If you are enjoying the Presto Music Podcast please like and subscribe to it on your preferred platform, and maybe even give us a short review.  And we would love to hear your feedback and suggestions for future topics, and also guests who you would like us to talk to. Please email us at info@prestomusic.com

Arnold Schönberg vertonte 1912 in freier Atonalität „Dreimal sieben Gedichte“ des Belgiers Albert Giraud. Sein Zyklus Pierrot Lunaire: Rondels Bergamasques (1884) ist reinster französischer Symbolismus und spürt den naiven Sehnsüchten und bösen Nachtmahren des mondsüchtigen Pierrots nach. Schönberg komponierte ein Melodram, dessen Regeln der Deklamation, des Nicht-mehr-Sprechens, aber Noch-nicht-Singens er sehr genau beschrieb. Die Zustände der fiktiven Figur Pierrot werden von mehreren Sängerinnen variiert und dadurch neu angeordnet. Dem Programmatisch-Artifizellen von Giraud und Schönberg wird der Realismus des Ausdrucks von La voix humaine entgegengestellt, einer Oper für Sopran und Orchester von Francis Poulenc. Pierrot lunaire: Regie und Animation: Luis August Krawen Kostüme: Marie-Thérèse Jossen Dramaturgie: Johannes Blum La voix humaine: Szenische Einrichtung: Georges Delnon Kostüme: Marie-Thérèse Jossen Dramaturgie: Johannes Blum

Was verbindet Arnold Schönberg und Samuel Beckett? Nun, sie haben Stücke für Stimmen geschrieben. Drei dieser Monodramen haben nun in der Komischen Oper Berlin Premiere: "Pierrot Lunaire" nennt sich der Abend mit Dagmar Manzel, von Barrie Kosky inszeniert. Kai Luehrs-Kaiser war dabei.

Autor: Friedrich, Uwe Sendung: Kultur heute Hören bis: 19.01.2038 04:14

Eine Darstellerin auf der Bühne, fünf Musiker und ein Dirigent im Graben: An der Komischen Oper Berlin Schönbergs läuft gerade ein Kammerabend, mit "Pierrot Lunaire", dazu die zwei Monologe "Nicht ich" und "Rockaby" von Samuel Beckett. Uwe Friedrich war dabei.

David Lynch's Lost Highway was released in 1997, five years after Twin Peaks: Fire Walk With Me elicited a fusillade of boos and hisses at Cannes. The Twin Peaks prequel's poor reception allegedly sent its American auteur spiralling into something of an existential crisis, and Lost Highway has often been interpreted as a response to -- or result of -- that crisis. Certainly, the film is among Lynch's darkest, boldest, and most enigmatic. But of course, we do the film an injustice by reducing it to the psychological state of its director. Indeed, one of the contentions of this episode is that all artistic interpretation constitutes a kind of injustice. But as you will hear, that doesn't stop Phil and JF from interpreting the hell out of the film. Just or unjust, fair or unfair, interpretation may well be necessary in aesthetic matters. It may be the means by which we grow through the experience of art, the way by which art makes us something new, strange, and other. Perhaps the trick is to remember that no mode of interpretation is, to borrow Freud's phrase, the one and only via regia, but that every one is just another highway at night... REFERENCES David Lynch (dir.), Lost Highway (https://www.imdb.com/title/tt0116922/) Alfred Hitchcock (dir.), Vertigo (https://www.imdb.com/title/tt0052357/) Arnold Schoenberg, Three Keyboard Pieces, op. 11 (https://www.youtube.com/watch?v=VeTFxbsVGrI) James Joyce, [Finnegan’s Wake](https://en.wikipedia.org/wiki/FinnegansWake)_ Weird Studies, Episode 81 on The Course of the Heart (https://www.weirdstudies.com/81) Jacques Lacan, (https://plato.stanford.edu/entries/lacan/) French psychoanalyst Slavoj Žižek, (https://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek) Slovenian philosopher Arnold Schoenberg, Pierrot Lunaire (https://www.youtube.com/watch?v=vQVkbKULKpI) Cabinet of Dr. Caligari (https://www.imdb.com/title/tt0010323/) David Foster Wallace, "David Lynch Keeps his Head" in A Supposedly Fun Thing I'll Never do Again (https://www.amazon.com/Supposedly-Fun-Thing-Never-Again/dp/0316925284) Leonard Bernstein, West Side Story (https://www.westsidestory.com/) Patreon audio extra on Penderecki's "Threnody" (https://www.patreon.com/posts/threnody-36382598) Trent Reznor, (https://en.wikipedia.org/wiki/Trent_Reznor) American musician David Bowie, "Deranged" (https://www.youtube.com/watch?v=aepBpZ3kXek) Brian Eno and Peter Schmidt, "Oblique Strategies" (https://en.wikipedia.org/wiki/Oblique_Strategies) Tim Powers, Last Call (https://www.amazon.com/Last-Call-Novel-Fault-Lines/dp/0062233270) Manuel DeLanda, (https://en.wikipedia.org/wiki/Manuel_DeLanda) Mexican-American philosopher

1. Garth Baxter – From the Heart: Three American Womenhttps://open.spotify.com/playlist/7k9n3QWkHSYQ5e5TGProGb2. Jennifer Jolley – Prisoner of Consciencehttps://open.spotify.com/playlist/0kAYkFmqvLvBeFVeKL8Zx43. Gleb Kanasevich – your fortresshttps://youtu.be/V1l141q9_VAPanelists:Soprano Katie Procell has been praised throughout the Baltimore area for her “golden tone and arresting stage presence” (Peter Dayton). Her musical curiosity includes the avant-garde and she has performed Pierrot Lunaire, Ginastera’s third String Quartet, Messiaen’s Harawi, Berio Sequenza III, even Kurtàg’s Attila Fragments. Procell’s past opera credits include Giselle, Jenny, Mel 2, and various roles in the two-woman collection of short new operas called Elevator (ENA Ensemble); Lisa ( La Sonnambula; Opera Alchemy); Susanna ( Le nozze di Figaro; Peabody Conservatory); Giulietta ( I Capuleti e i Montecchi; Alchemy); Krysia (understudy, Out of Darkness; Peabody); Rosina ( Il barbiere di Siviglia; James Madison University); and more. She studies with Elizabeth Futral and has studied with Phyllis Bryn-Julson and Kevin McMillan. Procell has trained at Opera Roanoke (Apprentice Artist), Centre for Opera Studies in Italy, and SongFest. She works closely with composer Peter Dayton and has premiered several of his works and is collaborating with both Dayton and Baxter on upcoming recording projects.Award-winning conductor Jordan Randall Smith is the Music Director of Symphony Number One and Assistant Conductor of Hopkins Symphony Orchestra. Smith was recently named Visiting Assistant Professor of Music and Director of Orchestras at Susquehanna University. Smith was formerly Co-founder and Artistic Director of the Dallas Festival of Modern Music and Assistant Conductor of the Peabody Opera Theatre. Smith was lauded for being “an attentive partner” by the Baltimore Sun. His leadership of Mahler’s fourth symphony was praised by the Sun’s Tim Smith: “The third movement, in particular, was quite sensitively molded.” Conductor Alan Gilbert called Jordan’s conducting of Boulez’ Le Marteau sans Maître, “impressive.” An active supporter of new music, Jordan has a discography spanning four commercial releases and a history of commissions, leading over 50 world premieres. Jordan is also a Creative Director of the International Florence Price Festival. Smith was named to the Executive Council for the Institute for Composer Diversity at SUNY-Fredonia in January 2020.Ian Power is a composer, performer, and Director of Integrated Arts at the University of Baltimore. Ian’s music is inscrutable, warm, insistent, and performer-driven, and has been performed by ensembles and soloists in the US, UK, Germany, Denmark, and Israel. His writing on rhetoric in new music and reviews of CDs and performances are published in TEMPO, and he has lectured at the American Musicological Society, American Studies Association, and universities in the US, UK, and Turkey. Ian studied with Chaya Czernowin, Steven Takasugi, and John Luther Adams. Ian’s first CD, Diligence, featuring long solo pieces, is out on Edition Wandelweiser Records (Germany) in June 2020. His CD Maintenance Hums, featuring chamber works, is out on Carrier Records (New York) in September 2020. He is writing an orchestra piece for the BBC Scottish Symphony Orchestra, to be premiered at the TECTONICS festival in Glasgow in May 2022.More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

Robert Ambrose is the director of bands at Georgia State University, the conductor of the Atlanta Chamber Winds and the National Chamber Winds, founder of the Digital Director's Lounge, and is the chair of the CBDNA Covid-19 Response Committee. Topics: Robert’s journey from guitarist to college band director and all of the people who took an interest in his career and helped to push him along. Having the courage to ask for what you want and a brief discussion of impostor syndrome. The band program at Georgia State, the Atlanta Chamber Winds, and the National Chamber Winds. The CBDNA Covid-19 Response Committee and the Digital Director’s Lounge. Links: Robert Ambrose CBDNA Covid-19 Committee Report Atlanta Chamber Winds National Chamber Winds Mozart: Serenade for 13 Winds in B-flat major, K. 361 "Gran Partita" Maslanka: Symphony no. 4 Biography: Conductor Robert J. Ambrose enjoys a highly successful and diverse career as a dynamic and engaging musician. His musical interests cross many genres and can be seen in the wide range of professional activities he pursues. Dr. Ambrose studied formally at Boston College, Boston University and Northwestern University, where he received the Doctor of Musical Arts degree in conducting. Dr. Ambrose has conducted professionally across the United States as well as in Australia, Canada, Finland, Germany, Greece, Hong Kong, Singapore and Taiwan. His interpretations have earned the enthusiastic praise of many leading composers including Pulitzer Prize winners Leslie Bassett, Michael Colgrass and John Harbison. He has conducted over two dozen premiere performances including works by Michael Colgrass, Jonathan Newman, Joel Puckett, Christopher Theofanidis and Joseph Turrin. Dr. Ambrose has conducted Arnold Schoenberg's landmark piece Pierrot Lunaire several times in three different countries and a recent performance of Igor Stravinsky's Symphony of Psalms under his direction has been given repeated airings on Georgia Public Radio. Dr. Ambrose is founder and music director of the Atlanta Chamber Winds a professional dectet specializing in the promotion of music by emerging composers as well as lesser-known works of established composers. Their premiere compact disc, Music from Paris, was released in 2009 on the Albany Records label and has received outstanding reviews in both Fanfare and Gramophone magazines. As a guitarist, Robert Ambrose has performed in dozens of jazz ensembles, combos, rock bands and pit orchestras. His rock band "Hoochie Suit," formed with members of the Chicago Symphony Orchestra, received rave reviews throughout the Chicago area and performed for such distinguished guests as Yo-Yo Ma and Daniel Barenboim. Dr. Ambrose currently serves as director of bands, associate professor of music and associate director of the School of Music at Georgia State University, a Research I institution of 32,000 students located in Atlanta, Georgia. As director of bands he conducts the Symphonic Wind Ensemble, maintains a highly selective studio of graduate students in the Master of Music in wind band conducting degree program, and oversees a large, comprehensive band program comprised of four concert ensembles and three athletic bands. Robert Ambrose lives in Peachtree City, Georgia with his wife Sarah Kruser Ambrose, a professional flute player, and daughters Isabelle and Hannah. ------- Are you planning to travel with your group sometime soon? If so, please consider my sponsor, Kaleidoscope Adventures, a full service tour company specializing in student group travel. With a former educator as its CEO, Kaleidoscope Adventures is dedicated to changing student lives through travel and they offer high quality service and an attention to detail that comes from more than 25 years of student travel experience. Trust Kaleidoscope’s outstanding staff to focus on your group’s one-of-a-kind adventure, so that you can focus on everything else!

O Replicante recebe Nuno Crato, ex ministro da educação de Portugal e revela a crueldade das teorias paulofreirianas da pedagogia que apontam para uma desistência de trazer aos jovens o acesso à grande cultura e ciências, mantendo o status quo e impedindo a mobilidade social. E pra relaxar Pierrot Lunaire, uma das bandas de prog italiano mais phodásticas ever.

This coffee break tries to find it's way home in the twelve tone composition world by listening to music by Arnold Schoenberg, particularly pieces that seem like waltzes and marches, and particularly his highly influential Pierrot Lunaire. We explore how these compositions don't have the foundations provided by major and minor keys. We listen to Alban Berg's Violin Concerto and its stirring connection to the lose of a loved one. contact the show at YCCB@mauriceriverpress.com

Martin Zingsheim über Schönbergs faszinierendes Melodram aus dem Jahr 1912. Eine Diseuse gab den Anstoß zu den Gedichtvertonungen, mit denen der Komponist weit ins Neuland der freien Atonalität vordringt - noch ganz ohne Zwölftontechnik übrigens.

In this episode we explore the brilliantly diverse compositional approaches of composers from around the world in this second volume of works created especially for the iconic new music formation known at the Pierrot ensemble (after Schoenberg’s landmark work Pierrot Lunaire). Alternately evocative, abstract, direct, intense, emotional and brilliantly colored, this disc has something for every listener.

This coffee break discusses Arnold Schoenberg's Pierrot Lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight")and its effect on the direction of classical music. The piece, premiering in 1912, abandoned a tonal center, reflected the political controversy of the day, and become a essential piece of the Second Viennese School. We listen to a piece by his student Anton Friedrich Wilhelm von Webern and discuss how the twelve-tone technique created a sharp divide with the audiences of the day. Listen to Pierrot Lunaire https://www.youtube.com/watch?v=KsIATAaR-X0 Help keep Your Classical Coffee Break serving up it delicious brew of classical music discussions and donate with PayPal at www.mauriceriverpress.com We appreciate the economic vote of confidence.

Season 2, Ep. 3 – Renowned Violinist Patricia Kopatchinskaja talks about her upcoming performance of Berg's Violin Concerto with the Utah Symphony and her highly anticipated sprechstimme performance of Pierrot Lunaire.

Hai-Ting Chinn Read more at www.hai-ting.com American Mezzo-soprano Hai-Ting Chinn performs in a wide range of styles and venues, from Purcell to Pierrot Lunaire, Cherubino to The King & I, J.S. Bach to P.D.Q. Bach. She was featured in the revival and tour of Phillip Glass’s Einstein on the Beach, performed at venues around the world from 2011–2014, and she is currently singing the role of Belle in Glass’s La Belle et la Bête, also on tour. She has performed with New York City Opera, The Wooster Group, OperaOmnia, the Orpheus Chamber Orchestra, Israel Philharmonic, Orchestra of St. Luke’s, and the Waverly Consort; and on the stages of Carnegie Hall, the Mann Center in Philadelphia, the Edinburgh Festival, the Verbier Festival, and London’s West End. She has premiered new works by Amy Beth Kirsten, Du Yun, Conrad Cummings, Stefan Weisman, Yoav Gal, and Matt Schickele. Hai-Ting is also an Artist in Residence at HERE arts center, where she is developing Science Fair, a staged solo show of science set to music.

Tracking Pierrot bei Henry, die Zweite. In der vergangenen Folge erschien die Parade der Pierrot-Bearbeiter. Pierrot hat sie angezogen wie eine nächtliche Straßenlaterne die Motten. Und jetzt steigen wir tiefer ein, auch weil Henry weiß: Wer den Text kennt, hat mehr Freude. Also: Wer ist Pierrot Lunaire? Ergänzende Infos und Links: http://bit.ly/trackingpierrot

Wer wie was? Pierrot Lunaire hat über mehr als Jahrhundert künstlerische Bearbeiter angezogen wie eine nächtliche Straßenlaterne die Motten: Rechtsanwälte, Juristen, Mathematiker, Komponisten. Henry schafft Ordnung. Wir danken dem Label Testklang sehr herzlich für die Möglichkeit diese besondere Aufnahme vorstellen zu dürfen. Erweiterte Shownotes: http://bit.ly/2nRUalc

No Sounds Are Forbidden - Episode 1 - Moondrunk: Pierrot Lunaire at the Edge of Modernity

Ricordo di Gaio Chiocchio e dei Pierrot Lunaire : incontro con Arturo Stalteri .Prima parte.

Ricordo di Gaio Chiocchio e dei Pierrot Lunaire : incontro con Arturo Stalteri. Seconda parte.

This week in our exploration of the past 100 years of modernism in music we take a look at the legacy of Arnold Schoenberg. The 1912 performance of Pierrot Lunaire created a model of atonality that continues to influence modern composers in the present day. Hosted by Seth Boustead Produced by Jesse McQuarters Arnold Schoenberg – Pierrot Lunaire Part One Ensemble Intercontemporain Anton Webern – Five Movements for String Quartet, op. 5 Emerson String Quartet Alban Berg – Violin Concerto Anne-Sophie Mutter Pierre Boulez – Structures Book 1 Milton Babbitt – String Quartet No. 2 Bernard Rands – Concertino Augusta Read Thomas – In My Sky at Twilight

Alan Gesso, Incredible Shrinking Fireman, Giant Claw, Raw Thug, Somnaphon, Potpourri, Deadmoths, Orchard Thief, Bang Bros, Ouxatil 95, Abortus Fever, William Clay Martin, Pierrot Lunaire, Charles Barabé, Oneohtrix Point Never, and Birds of Passage

Alan Gesso, Incredible Shrinking Fireman, Giant Claw, Raw Thug, Somnaphon, Potpourri, Deadmoths, Orchard Thief, Bang Bros, Ouxatil 95, Abortus Fever, William Clay Martin, Pierrot Lunaire, Charles Barabé, Oneohtrix Point Never, and Birds of Passage

In a voice caught somewhere between speech and singing, ‘moonstruck’ Pierrot, the sad, lovelorn clown, takes a darkly comic journey through music colored by the smoky decadence of Berlin cabarets. Paul Mathews, co-author of the book Inside Pierrot Lunaire, speaks about the significance of Arnold Schoenberg's cornerstone 20th century work, followed by a performance of the piece by the Baltimore-based LUNAR Ensemble. Recorded On: Saturday, October 6, 2012

Works for flute and harp and for voice and chamber ensemble performed by flutists Paula Robison and Sooyun Kim, clarinetist Alexis Lanz, violinist David Fulmer, cellist Eric Jacobsen, harpist Mariko Anraku, and pianist Steven Beck.Debussy: Chansons de Bilitis (arr. Paula Robison)Schoenberg: Pierrot Lunaire, Op. 21 Flutist Paula Robison is undoubtedly one of the Gardner Museum’s greatest champions and favorite guests. On this podcast, we’ll hear two of her Gardner performances. Chansons de Bilitis had many lives within Debussy’s own oeuvre: first as a cycle of three songs; then as incidental music for narrator, harps, flutes, and celeste; and finally, rearranged for two pianists. That music, in turn, was arranged for orchestra and—now—flute and harp. It seems a fitting instrumentation—languid and sensual, and also evocative of the poems, which mention the mythical flutist Pan. Ms. Robison puts down the flute for a special performance as the speaker in Schoenberg’s Pierrot Lunaire. The technique of Sprechstimme had been used in German musical theatre before, but it truly came to life in this work. Rather than vocalizing on pitch, the narrator recites poetry in a semi-song, following Schoenberg’s melodic contours and rhythms to produce a sort of heightened, dramatic speech. One of the piece’s other great legacies is its distinctive five-instrument ensemble, a configuration that would come to be known as the “Pierrot Ensemble,” and which has been employed by a variety of 20th century composers.

Looking forward to her appearance at the 2009 London Jazz Festival, Cleo Laine joins Alyn Shipton to select some of the finest recorded performances from her distinguished career. DISC 1 Title: Just a Sittin' and A Rockin' Artist: Cleo Laine Composer: Ellington, Strayhorn, Gaines Album: I Hear Music Label: Salvo (Union Square) Number BX403 CD3 Track 13 Personnel: Cleo Laine (vocals), Clark Terry (trumpet), Mark Whitfield (guitar) John Dankworth Orchestra. DISC 2 Title: Mr and Mississippi Artist: Cleo Laine with the Johnny Dankworth Seven Composer: Gordon Album: I Hear Music Label: Salvo (Union Square) Number: BX403 CD1 Track 8 Personnel: Cleo Laine (vocals), Jimmy Deuchar (trumpet), John Dankworth (alto sax), Don Rendell (tenor sax), Bill Le Sage (vibes), Joe Muddell (bass), Eddie Taylor (drums). 4 March 1952. DISC 3 Title: Easy Living Artist: Cleo Laine with the Johnny Dankworth Seven Composer: Rainger/Robin Album: I Hear Music Label: Salvo (Union Square) Number: BX403 CD1 Tr 6 Personnel: as above. 6 May 1953. DISC 4 Title: A Child Is Born Artist: Cleo Laine Composer: Jones/Wilder Album: Christmas at the Stables Label: Audio B Number: 5011 Personnel: Cleo Laine, voc; John Dankworth, ss; John Horler, p; Malcolm Creese, b; Allan Ganley, d; Andy Panayi, fl; Chris Garrick, vn; Matt Skelton, perc. 1999. DISC 5 Title: PIerrot Lunaire Artist: Cleo Laine, Nash Ensemble - Elgar Howarth (conductor) Composer: Schoenberg Album: Cleo Laine sings Pierrot Lunaire and songs by Charles Ives Label: RCA Number: LRL1 5058 Personnel: Cleo Laine, voc; Nash Ensemble - Elgar Howarth (conductor) DISC 6 Title: Summertime Artist: Cleo Laine and Ray Charles Composer: George and Ira Gershwin, Heyward and Hayward Album: I Hear Music Label: Salvo Number BX 403 CD 3 Track 10 Personnel: Cleo Laine and Ray Charles, with studio orchestra from the original RCA album Porgy and Bess. DISC 7 Title: He Was Beautiful Artist: Cleo Laine and John Williams Composer: Myers, Laine Album: I Hear Music Label: Salvo Number BX 403 CD 3 Track 12 Personnel: Cleo Laine, voc; John Williams, g. 1976. DISC 8 Title: Shall I Compare thee to a Summer's Day Artist: Cleo Laine Composer: Shakespeare, Laine, Dankworth Album: I Hear Music Label: Salvo Number: BX 403 CD 3 Track 5 Personnel: Cleo Laine, voc. Personnel not listed. DISC 8 Title: Oh Tell me The Truth About Love Artist: Cleo Laine Composer: Auden/Dankworth Album: I Hear Music Label: Salvo Number BX 403 CD 3 Track 6 Personnel: Cleo Laine, voc; John Dankworth, cl, arr., dir. Personnel not listed. DISC 9 Title: Bill Artist: Cleo Laine Composer: Kern/Wodehouse/Hammerstein Album: I Hear Music Label: Salvo Number: BX 403 CD 3 Track 8 Personnel: Cleo Laine and John Dankworth Orchestra, Carnegie Hall, 1974. DISC 10 Title: No One Is Alone Artist: Cleo Laine and Jacqui Dankworth Composer: Sondheim Album: I Hear Music Label: Salvo Number: BX 403 CD 4 Track 2 Personnel: Cleo Laine, voc; Jacqui Dankworth, voc; ensemble arr and cond. John Dankworth. DISC 11 Title: It was a Lover and His Lass Artist: Cleo Laine Composer: Shakespeare/Young Album: I Hear Music Label: Salvo Number: BX 403 CD 3 Track 10 Personnel: as for disc 8.

NONPOP-H

Arnold Schoenberg: from Pierrot lunaire: "Valse de Chopin"

Arnold Schoenberg: from Pierrot lunaire: "Mondestrunken"