second wife of the Emperor Nero (30-65 AD)
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7 episodes with poppea
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2 episodes with poppea
2 episodes with poppea
2 episodes with poppea
2 episodes with poppea
2 episodes with poppea
ATENÇÃO: A entrevista foi feita em francês. Para acessar o vídeo com legenda, recomendamos acesse o nosso canal no YouTube ( https://youtu.be/f8rr2Ny_UNE ) Nesse vídeo, Christopher Forey, fala sobre como sua carreira de iluminador, atuando em diversos países europeus, construiu uma perspectiva sobre diferentes núcleos de trabalho dentro da iluminação na Europa. Christophe Forey criou as luzes para inúmeras apresentações de teatro, ópera e dança. Ele trabalha regularmente com os diretores Moshe Leiser e Patrice Caurier: Carmen, Fidelio, Leonore, Traviata, Mazeppa no WNO; Hamlet, Der Rosenkavalier, Pelléas et Mélisande, O Anel de Nibelungo, Don Carlo no Grande Teatro de Genebra; La Cenerentola, Turco na Itália, Maria Stuarda na Royal Opera House em Londres; Clari de Halevy, Gesualdo de M-A Dalbavie, Mosè, Comte Ory, Otello de Rossini na Ópera de Zurique; Giulio Cesare de Handel, Norma de Bellini, Iphigénie en Tauride de Gluck, O italiano em Argel de Rossini no Festival de Salzburgo, Giovanna d'Arco de Verdi no Scala de Milão; Don Giovanni e Nozze di Figaro de Mozart, A Coroação de Poppea de Monteverdi para Angers-Nantes-Opéra, Teseo de Händel no Teatro de Viena, etc. Ele também trabalhou com Günther Krämer, Lucinda Childs (Orfeo, Canções de Antes, Œdipus-Rex, O Mandarim Maravilhoso de Bartok), Silviu Purcarete (Parsifal de Wagner), Robert Gironès (Argélia 54-62 de Jean Magnan), Bruno Boëglin (Roberto Zucco de BM Koltès), Jean-Marc Bourg (Uma frase para minha mãe de Christian Prigent), Benjamin Dupé, Jean-Claude Berutti, Sarath Amarasingam, Cédric Dorier (incluindo Danse Delhi de Ivan Viripaev), Vincent Huguet (Os Contos de Hoffmann em Bilbau).
Today's episode is with Sharon Kempton. Australian born soprano Sharon Kempton, completed a Bachelor of Music Performance and Music Therapy with honours and Master of Music Performance at the University of Melbourne, under the tuition of Kevin Casey, Bettine MacCaughan OAM and the distinguished Merlyn Quaife OAM. Sharon has been the recipient of many prestigious prizes including the German Operatic Award (2001), embarking on her European career, as a member of the Cologne Opera Studio, Germany, followed by an eleven year engagement as soloist at the Hessen State Theater in Wiesbaden. Sharon has performed with Aalto Musiktheater Essen, Köln Oper, Staatstheater Wiesbaden, Staatstheater Braunschweig, Staatstheater Kassel, Theater Ulm, Nationaltheater Mannheim, Theater Osnabrück and Saarländisches Staatstheater, in Saarbrücken. As an ensemble member of Staatstheater Wiesbaden from 2003 until 2014, Sharon performed and debuted forty operatic roles. Her extensive repertoire encompasses the genres of early Baroque Opera, performing roles such as Giunone (LaCallisto), Poppea (L'incoronazione di Poppea), Euridice (Orfeo ed Euridice), Elmira (Croesus), Armide (Armide) and Cleopatra (Julius Caesar) – for which she was nominated 'Singer of the Year' in 2007 by Opernwelt, Germany; through to Classical, Romantic and works of the modern Masters. Read more bio: https://sharonkempton.de/bio https://sharonkempton.de/ (Homepage) https://sharonkempton-coach.com/ (Coaching) -- Hosted by Jessica Harper (soprano) & Jeremy Boulton (baritone), 'So You Think You Can Belto?' was created to empower emerging operatic practitioners across Australia and the world with access to the direct knowledge and relayed experiences of professionals. It aims to help inform emerging artists by holding a mirror to the opera system so that artists can make their own individually-informed decisions about auditions, competitions, engagements, and more. You'll hear everything from in-depth artist interviews, to long form panel discussions on topics concerning emerging artists. BUY JESSICA A COFFEE: https://www.paypal.com/ncp/payment/32TKWJ6EQ7G8N TWITTER: twitter.com/sytycanbelto FACEBOOK: facebook.com/soyouthinkyoucanbelto INSTAGRAM: instagram.com/soyouthinkyoucanbelto HASHTAG: #SoYouThinkYouCanBelto JESSICA: jessicaharpersoprano.com JEREMY : jeremyboulton.com.au DISCLAIMER: The views and opinions expressed are solely those of the individuals that appear on the program, not the views of the organisations that they are employed by, nor who they represent in other capacities.
La Slovaquie en direct, Magazine en francais sur la Slovaquie
A l'Opéra de Vienne "Le Couronnement de Poppea" avec Slavka Zamecnikova. La poésie avec Stefan Povchanic. Les Malgaches a la rédaction de RSI. Rediffusion.
Poppea, die Titelfigur, will mit allen Mitteln an die Macht kommen. An die Seite von Kaiser Nero. Was ihr auch gelingen wird. Der Weg dorthin: blutig, intrigant. Und von Claudio Monteverdi in Musik gesetzt, die uns heute, knapp 400 Jahre nach der Uraufführung, noch erschaudern lässt. Aufnahmen dieser frühen und dabei stilbildenden Oper aus den 1640er Jahren gibt es zuhauf. Neben Sängerinnen der Poppea sind hier vor allem die Männerstimmen stark gefordert: es geht hoch bis ins Sopran-Register. Doch spielt es überhaupt eine Rolle, ob Nero von einem Mann oder einer Frau gesungen wird? Gäste von Benjamin Herzog sind die Musikwissenschaftlerin Silke Leopold und die Dramaturgin Beate Breidenbach.
(00:00:41) Antisemitische Zwischenfälle haben seit dem Terrorangriff der Hamas auf Israel und dem andauernden Krieg im Gazastreifen vielerorts zugenommen, auch an Universitäten. (00:05:40) Christoph Marthalers Inszenierung der «Poppea» am Theater Basel ist hoch aktuell. (00:10:11) Altersfreigabe für «Mary Poppins» in Grossbritannien wegen diskriminierenden Begriffen hochgestuft: Wie werden Altersfreigaben in der Schweiz festgelegt? (00:14:43) «Supergute Tage» am Theater St. Gallen: Zum vierten Mal findet das Theaterfestival «jungspund» für ein junges St. Galler Publikum statt.
Women of Substance with Dr. Scarlett Horton Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171
Women of Substance with Dr. Scarlett Horton Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171
If you enjoyed the latest Happy Times and Places, on The Romans, then enjoy this interview with one of its cast members : Poppea herself, actress, writer and prolific TV director Kay Patrick who talks about working with William Hartnell and Christopher Barry, and about her fascinating and impressive career as a whole. Please support these podcasts on Patreon, where you will get advance releases, exclusive content (including a patron-only podcast - Far Too Much Information), regular AMAs and more. Tiers start from as little as £3 per month. patreon.com/tobyhadoke Or there is Ko-fi for the occasional donation with no commitments: ko-fi.com/tobyhadoke Follow Toby on Twitter @tobyhadoke And these podcasts @HadokePodcasts And his comedy club @xsmalarkey www.tobyhadoke.com for news, blog, mailing list and more.
30 agosto 2023 - Italiano in Podcast. Agosto è quasi finito ma il podcast continua. Giornata passate tra allenamenti, lavoro in cantiere, lezioni e studio. Tutto procede regolarmente dopo la paura per il passaggio di Poppea che al Nord ha creato moltissimi problemi. Inizia l'edizione numero ottanta del Festival del Cinema di Venezia con il premio alla carriera a Liliana Cavani, una grande regista e sceneggiatrice italiana. In chiusura la frase celebre è dedicata a Toto Cutugno, come omaggio a pochi giorni dalla sua scomparsa. Grazie a tutti da Paolo e da iSpeakItaliano per seguire sempre Italiano in Podcast. Ciao a tutti alla prossima. Abbonati per dare un contributo e ascoltare gli episodi speciali di Italiano in Podcast https://anchor.fm/ispeakitaliano/subscribe Supporta iSpeakItaliano su BuyMeACoffee Il negozio di iSpeakItaliano https://www.ispeakitaliano.it/merchandise iSpeakItaliano https://www.ispeakitaliano.it/collegamenti/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/ispeakitaliano/message
26 agosto 2023 - Italiano in Podcast. Settimana super piena con tantissime lezioni, gli allenamenti, alcuni impegni e soprattutto il cantiere. Ogni mattina un po' di lavoro con Luigi e Agostino per organizzare il lavoro e iniziare a fare sul serio. Caldo da morire in questi giorni con afa insopportabile nelle ore più calde della giornata. Già stasera arriva nel nord Poppea che dovrebbe portare pioggia e temperature più basse, speriamo però che non porti guai. Il 26 agosto pè la giornata mondiale del cane e il Podcast lo festeggia con una bella frase di Totò. Paolo e iSpeakItaliano vi danno appuntamento al prossimo episodio di Italiano in Podcast, forse già domani. Ciao a tutti e grazie come sempre! Abbonati per dare un contributo e ascoltare gli episodi speciali di Italiano in Podcast https://anchor.fm/ispeakitaliano/subscribe Supporta iSpeakItaliano su BuyMeACoffee Il negozio di iSpeakItaliano https://www.ispeakitaliano.it/merchandise iSpeakItaliano https://www.ispeakitaliano.it/collegamenti/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/ispeakitaliano/message
This past week the opera world was plunged into mourning over the sudden death of Renata Scotto. Originally I had intended this week's episode to be devoted to her memory. But I can't even speak her name without bursting into tears. In other words, I need more time as I try to come to terms with her demise. I have decided to feature the matchless singing actor in the first episode of Season Five. In the meantime, we have another momentous occasion (and artist) to acknowledge: the 90th birthday of the English Rose: the phenomenal Janet Baker. Given that I could probably devote an entire podcast to Dame Janet, and given the wealth of material in my personal collection featuring this artist, much of it rare and unusual, I have chosen to feature this beloved artist in her third full Countermelody episode. There are few vocal artists in the history of classical music who have exhibited greater versatility than Janet Baker; this episode features many rare performances across the entirety of her long career of repertoire in which she had virtually no equal, as well as music in which she also excels but which might prove surprising. Thus we hear the expected mélodie, Lied, British song and Bach aria alongside Purcell's Dido and pants roles by both Mozart and Richard Strauss. But we also hear such surprises as Monteverdi's Poppea (sinuously and surprisingly sexy), Bellini's Romeo (opposite Beverly Sills), William Walton's Cressida (in the 1976 version of his opera Troilus and Cressida refashioned expressly for Baker), and a sublime extended orchestral song by Respighi, as well as the ultimate jaw-dropper, Rossini's Cenerentola! We wish long life and continued health and vitality to one of the greatest mezzo-sopranos of the twentieth century! 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.
Claudio Monteverdis Oper "L'incoronazione di Poppea" trifft auf Queen-Songs im Müllerschen Volksbad. Geht doch gar nicht? Geht sehr wohl! Mit der Münchner Opera Incognita.
The sons of Andrea , "The Amati Brothers" took violas, violins and cellos to new heights with their incredible skill and innovation. Meet Antonio and Girolamo before things get complicated in this first episode. This is the story of the Amati brothers, Antonio, and Girolamo. Join me as we explore the remarkable craftsmanship, profound influence, and indelible mark left by these legendary violin makers. Discover the distinctive characteristics of their creations, renowned for their elegance, exquisite sound, and unparalleled craftsmanship. Delve into the secrets of the Amati brothers' workshop, uncovering their innovative techniques, meticulous attention to detail, and the artistry that made their instruments treasures coveted by musicians and collectors worldwide. In this episode I speak to Cellist James Beck and Violin maker and Expert Carlo Chiesa. Transcript of Episode Welcome back to Cremona, a city where you can find almost anything your everyday Renaissance citizen could desire. Located on a bend of the impressively long Po River, bursting with artisans and commerce, we find ourselves in the mid-1500s, and more precisely in the home of Girolamo Amati and Antonio Amati, otherwise known as the Amati brothers or the brothers Amati. In these episodes, I'll be talking about Andrea Amati's two sons, Antonio Amati and Girolamo Amati. Sometimes Girolamo Amati is also referred to as Hieronymus, the Latin version of his name. Because I'm doing these podcasts chronologically, we heard about the early childhood of the brothers, in the Andrea Amati episodes. As we heard in the previous episode, Antonio Amati, the elder brother, by quite some years, perhaps even 14 years older than Girolamo Amati, inherited his father's workshop with his little bro when their father died. They grew up in Cremona during the mid-1500s, in a time that was relatively more peaceful than their father's childhood and would have attended the local school. The local school was attended mainly by children of merchants and nobles. They would learn, in addition to the traditional subjects of geometry, arithmetic, and even astrology, subjects such as geography, architecture, algebra, and mechanics, both theoretical and applied. This created quite a well-educated middle class that the brothers would have been part of. Like their father, they would go on to be quite successful in their business, adapting their products to the demands of the time. The brothers were growing up in post Reformation Cremona, and the instrumental music was bounding forward. Renaissance composers were fitting words and music together in an increasingly dramatic fashion. Humanists were studying the ancient Greek treaties on music and the relationships between music and poetry and how it could. This was displayed in Madrigals and later in opera and all the while the Amati workshop along with other instrument makers of course were toiling away making instruments so that all this could happen. Now the eldest brother Antonio Amati never appears to marry or have a family but the younger brother Girolamo Amati apparently a ladies man, does and as you would have heard in the previous episodes, when he was 23, he married Lucrencia Cronetti, a local girl, and she comes to live in the Amati house, handing over her dowry to her new husband (Girolamo Amati) and father in law (Andrea Amati). A few years later, Girolamo Amati's father saved up enough money to buy the family home so that when he passes away in 1576. Girolamo Amati is in his mid-twenties and his older brother (Antonio Amati) is probably around his late thirties. They inherited a wealthy business, a house, and a workshop. So here we find the Amati brothers living and working together in the house and workshop in San Faustino (Cremona). Antonio Amati, the head of the household and Girolamo Amati with his young bride. Business is looking good, and life looks promising. Antonio and Girolamo may have been some of the only violin makers in Cremona, but they were by far not lone artisans in the city. They were surrounded by merchants and tradespeople busy in industry. There were belt makers, embroiderers, blacksmiths, carpenters, boat builders, masons, terracotta artisans, weavers, textile merchants, and printers, just to name a few of the 400 trades listed in the city at this period. Business was going well for our violin makers. There was a boom in the city. Many noble houses were being built amongst which the grand residences of merchants stood out, sanctioning their social ascent. Charitable houses, monasteries and convents were popping up like mushrooms around town. Ever since the Counter Reformation, the local impetus to help the poor and unfortunate had flourished. Wondering what the Counter Reformation is? Then go back and listen to episode two of the Andrea Amati series. Where we talk about what the Reformation was, what the Counter Reformation was, and what its effects were on artisans in Cremona. But nowhere said organized religion like the Cathedral. And entering the vast, echoey structure was something to behold, with its mysterious, awe-inspiring grandeur, the towering heights of the ceilings inspiring a sense of reverence and humility. The vaulted arches and frescoed domes drawing the eye upwards, the kaleidoscope of colors entering the windows, and the glittering of precious metals illuminated by flickering candles, ornate furnishings, intricate artworks, sculptures, and base reliefs with depictions of saints, biblical stories, and the scenes from the life of Christ covering the walls, all created an otherworldly feeling and a sense of the divine. And what would the Cathedral be without music? The glittering of gold, the fragrant smell of incense, and the heavenly sounds of music were an all-in-one package for the regular church attender in the Amati Brothers Day. The Chapel House School of the Cathedral produced many talented composers, yet the church would only sponsor and permit sacred music. And even then, this music had to be in full compliance with the Council of Trent. This meant following a whole bunch of rules in composition. Wing clipping of aspiring young composers led to many of them moving away to other courts and cities who were looking for fresh, raw talent. This may or may not have been the case for a musician and composer called Claudio Monteverdi. But what we do know is that he left Cremona to join the employ of the Mantuan court at the age of 23. I spoke to cellist James Beck about Monteverdi, who was a Cremonese composer who left the city to work at the Gonzaga court during the Amati brother's lifetime. And so Monteverdi, for example, to take him as an example, he was employed in the court, in the Manchurian court, and he was just one of many musicians and composers. And also I'm wondering about just, the everyday life, would they also, were musicians expected to, to wear certain. Clothes, like they were just told, look, this is what you're wearing. James Beck Livery is the term for the, the uniform of the house. And we know about that kind of stuff from, you know, Downton Abbey and all that kind of stuff so musicians were very much part of the servant class, a very intellectual servant class and a very trusted servant class, but Monteverdi arrived at that Gonzaga court in Mantua as a string instrument player of some kind. We don't really know if it was a gamba, you know, between the legs or brachio held like a violin. He was at the court for about, I think, 10 or 15 years as a string player before he became The Maestro de Capelle and of course that was a very trusted employee because he accompanied his employer, the Duke, on various war campaigns or social outings to other countries, as a musician and maybe as some kind of trusted part of the entourage. So, Monteverdi was picking up lots of ideas about things that could go on in music because he was witnessing different practices, he was in Flanders. He was in Hungary. He was in other parts of Italy seeing how they did music over there on the other side of the fence and I think that is what can never be underestimated, that communication was haphazard and accidental in previous times and there was no such thing as uniformity. So, to go to another country and to go to another court and to see musicians who had different training or had come into different spheres of influence to yourself would have been hugely, hugely exciting and influential and we think that Monteverdi picked up some of the ideas of what might be opera from these kind of trips. Linda Lespets It makes me think of when I was a student and I would do work experience in different workshops and they would, I had been taught in French school, it was a very specific way of doing things and I'd go to another workshop and I'd just be like, wow, it's like, what are you, what are you doing? How could this possibly work? And it does. And you're like, oh, and now I feel like I, the way I work, it's a mixture of all these different techniques. What works best for me. And it must've been magnified so much, to such a greater level for in that period for music and competition. Because of the, because of the social isolation and the geographic isolation of previous times. James Beck And I mean, just if we just talk about pitch, whole idea of what is An A was different in each town, and it might have sounded better on some instruments than not so good on others, and those instruments would have been, you know, crafted to sound good at those different pitches. And now we all play the same pitch, and we want every instrument to be the same. What were some of the, if you could generalize, what were some of the differences for you? In the different Lutherie schools. Linda Lespets So, in the French method, you basically hold everything in your hands or it's like wedged between you and the workbench and you don't use really, uh, vices. And I have quite small hands and I did one work experience and the guy was like, just put it in a vice. And I was like, Ohhh, and I was getting a lot of RSI and sore wrists and it kind of just, it was sort of practical as well. James Beck Wow. And is that for crafting? Individual elements or is that for working on complete instruments? Linda Lespets Like in general, like you just, you can make a violin without using a vice and they, they won't use sandpaper or it's all done with, scrapers. So it's good. I know all the different techniques and I can, when there is a blackout or an electricity failure, we can just keep on going. Like, we can keep rolling, it doesn't stop us. There was a thing with Monteverdi that, that you seem to know about how madrigals. James Beck I know about madrigals. I hope I do. Linda Lespets In Mantua and the, this kind of trapezoidal room. James Beck There's a very special room in the ducal court. Ducal castle or Ducal palace in Mantua, and they call it the wedding room and it's a room that was, had existed for some time. I mean, it's a huge, huge palace, I think it's the sixth largest palace in Europe. So, it's 34, 000 square meters, 500 rooms. And this is not, I mean, Mantua was not a big state. You never know when you need 500 rooms. It wasn't a big state, but it was a very aspirational state. And they really wanted to kind of prove themselves amongst these, the cultural elite of Northern Italy, because there were extraordinary things going on in Florence and Venice. So, you know, they were really, the Gonzaga's were really trying to hold their own. So, they had one of these 500 rooms slightly remodelled. So it was of cube proportions. Right. So, you walk into a cube. You walk into a cube and then, they commissioned, a very, uh, distinguished painter to cover, everything within that room in very realistic, uh, lifelike portraits of, of the Gonzaga's going about their life. And this was the highest status room in the palace, and it was used for various purposes to impress. So, it could be used for ceremonies, or it could be used for, as a bedchamber for the Duke if he wanted to receive a guest of high status, and show that guest that he slept in this incredible room. Linda Lespets Slightly creepy. All these people looking at you. James Beck I know, and they're really, there's a lot of eyeballing in those portraits. So it's like, you're outnumbered. Like when you go in there, like you're surrounded by people. You're surrounded by the Gonzaga's. We're here. That was not a very, uh, fertile or, healthy line. So, they were dying out fast, but there were lots of them painted on the walls. Linda Lespets Wasn't there one with mirrors? James Beck There was a hidden room, that they discovered in, I think 1998. ., which had mirrors. Linda Lespets and I was wondering what the, maybe it was polished metal, the mirrors. James Beck I'm not sure where they would, where they would sing madrigals. Well, they think it was specifically for, for performances of Monteverde, but I don't know. . Why a hidden room is needed. Yes. And how, how do you hide a room for 500, or, sorry, for 200 years, maybe it was walled up. Linda Lespets Well, I mean, if you're in a palace with 500 rooms, you might miss one, you know, if it's walled up. James Beck And also there was a big, there were quite a lot of, traumatic experiences in the Mantuan court. Not long after Monteverde left there, there was a siege and a war and then a lot of plague. So you can see how knowledge could dissipate and everyone could die that knew about it , exactly absolutely. When the Gonzagas were running out of heirs, their neighbours and, and particularly the Hapsburgs, were like, Hmm, we might take that little gem of a dutchie. So they, they laid siege to it for two summers. War was a summer sport at those days. 'cause you know, no one wanted to do it in winter 'cause it was just too much. And Mantua is at that stage was completely surrounded by water. It was very cleverly conceived and beautifully conceived too because the water reflects the beautiful buildings. And so they, the Mantuan's stockpiled food and drew up the bridges. And, and for two years they were, no one came in or out of the city whilst the Habsburgs laid siege. And actually the Habsburgs didn't really get through those defences, but at the, in the second summer, in the second siege, a cannonball did get through and then the whole, the cannonball made some rats got through and those dirty soldiers who'd been on campaign for two summers were riddled with plague and the plague got into the town and that was actually undoing of the Gonzaga dynasty. Linda Lespets A rat brought them down. James Beck A rat brought them down. And so, the plague weakened the city. The city fell. And then that plague was taken by those refugees from Antwerp down into Venice. And Venice was absolutely devastated by plague for something like 10 years. And the city's population plummeted to its lowest in 150 years. Linda Lespets Wow. . And it's true that war was like a summer sport. And I'm wondering if nowadays, we, you know... That's, we play sport instead. Well, I hope, I think that's why we do play organized sport. I think that's, you know, it's... Take the World Cup or something. Well although that's, not... To get that aggression, to get all that aggression out of our system in a nicely controlled manner. James Beck It is like countries like against each other. Totally is. Linda Lespets The Cremona City Municipality had at its disposal a group of wind players, mostly made up of brass instruments, trombones, bombards, bagpipes, and sometimes a cornet. This ensemble was particularly suited for outdoor performances. Or at least I hope it was. I don't know if you've ever heard a bombard being played inside. I have. Anyway, the viola da braccia players and viola or violin players were also employed by the town hall and given a uniform made of red and white cloth. This was the instrumental group in the church, and it doubled up for civic occasions as well. I speak to Carlo Chiesa, violin maker and expert in Milan. Carlo Chiesa And the other way by which Cremonese makers got their success is musicians, because in the 16th century, there are a few important Cremonese musicians moving from Cremona and going to northern cities to play for the emperor, for the king, or to Venice. I think the most important supplier of instruments at some point out of Cremona was the Monteverdi Circle. Linda Lespets This orchestra employed by the city of Cremona played both for the council and in the church on all public holidays and in processions. One of their members, a cornet player called Ariodante Radiani, who was paid the considerable sum of 100 lira. When the maestro di cappella was paid 124 lira, ended up having to be let go. It turned out he was a little bit laissez faire with his responsibilities as a musician, and a lawsuit was brought against him for neglecting his duties as a musician. To add to this, he was also found guilty of murder. So, in the end, their homicidal cornet player was replaced. Linda Lespets You know, you've got the scientists and human thought and philosophy and looking back to Greek and Roman antiquity. So, I feel like that's, that's like the idea in art, in literature. And what do you, how do you see that happening? in music. James Beck We as musicians had really practical roles to fulfill as well and sometimes that was expressing the will of the church through music and of course you know that's kind of self-explanatory and then we've got this really practical role to entertain and how we go about doing that with the materials we have. So the renaissance as an idealistic expression, I think, you know, as a practical musician, we were always doing others bidding out unless we were church musicians, we were there to entertain and to, excite and to distract and act as an instrument of sometimes of state policy or, or, you know, kind of showing off the power or opulence of a state. Maybe it was through, opera. Where are you? You're getting like human emotion. Yes, absolutely, absolutely. But also, the subject of all those early operas is usually, ancient material from ancient Greece or Rome, so, you know, clearly Renaissance in its ideals of looking back. Othello. Of course. Poppea, Ulysses. I mean, the operas were definitely, drawing into ancient literature and myth, which was bypassing Christianity in many ways. Linda Lespets It's strange because it was an era where it didn't really contradict the other. People were cool with it. Like they were very devoted churchgoers and at the same time they were very into all this Greek and Roman mythology. It was interesting. And then all this humanist thinking and invention I mean, Monteverde was a priest as well, right? James Beck Towards the end of his life. Linda Lespets Instruments are starting to play a bigger role in the music, in the church in Cremona. In 1573, the Maestro de Capella, the Chapel Master at the cathedral, wrote a piece of music for five voices, consorted with all sorts of musical instruments. The words and text are completely clear in accordance with the Council of Trent, he points out. The Amati brothers' father, Andrea Amati, would have witnessed this musical tradition in his lifetime as he attended church, where the music sung would have gone from something that had been unrecognizable in, or in any case very difficult to understand, to music that had identifiable text that could possibly be understood and sung with. They were not hymns like the Lutherans were singing in a congregational style, but there was a marked change in the music being played in the churches. And these were the effects of the counter reformation trickling into everyday life of the people. The workshop continued to be a success. Both the brothers Amati were able to earn a living and to provide a generous dowry for their sister, who had just recently married a man from Casal Maggiore. In town, the cathedral looked like it was finally going to have the interior finished. This had been going on ever since their father was a little boy. And now it looked like all the frescoes and paintings were to be completed. And most amazing of all was an enormous astronomical clock that was being mounted on the terrazzo, the giant bell tower next to the cathedral. Sadly, Girolamo Amati's pregnant wife would never see the clock that would amaze the citizens of Cremona, as shortly after giving birth to their daughter, Elizabeth, Lucrenzia ( Girolamo Amati's wife) died. The fragility of life and uncertainty that Girolamo Amati had to deal with is quite removed from our lives today, and a man in his situation would certainly be looking to marry again, if for nothing else than to have a mother for his young daughter. And as he was contemplating remarrying, finding a new wife and mother for his child, over in Paris, one of the biggest celebrity weddings of the decade was taking place. And the music for the closing spectacle was being played in part on the instruments his father (Andrea Amati) and brother (Antonio Amati) had made for the Valois royal family all those years ago.
This is the podcast in which we ask a special guest the big, BIG question that nobody ever needed to ask. If there was a huge asteroid hurtling toward Earth threatening to destroy life as we know it and you could see one more show before you die, what would it be? It can be anything you want - a show you've seen before, one that you wish you'd seen, or something you've made up entirely. What would be YOUR Last Show on Earth?Our guest this episode is Rebecca CaineRebecca Caine was born in Toronto and studied at the Guildhall School of Music, London.Uniquely, her career has been divided between Opera and Musical Theatre, making her West End debut at 19 in the role of Laurey in Oklahoma! She then sang the role of Eliza in My Fair Lady on the National tour. While making her debut at Glyndebourne as Amor in L'incoronazione di Poppea, she was asked to join the Royal Shakespeare Company where she created the role of Cosette in Les Miserables. After a successful West End run she joined the original cast of Phantom of the Opera to play Christine opposite Michael Crawford. She then returned to Toronto to repeat the role in the Canadian premiere of Phantom of the Opera. During her run in Toronto she joined the Canadian Opera Company to make her highly praised North American debut in the title role of Lulu. She has performed in may different shows ever since, brilliantly switching between musical theatre and opera genres, thrilling people worldwide with her extraordinary voice. This episode was recorded in the winter of 2022.Links:Official Website https://www.rebeccacaine.com/index.htmAbomination tickets https://www.southbankcentre.co.uk/whats-on/classical-music/abomination-dup-operaConor Mitchell https://en.wikipedia.org/wiki/Conor_MitchellThe Rite of Spring information https://en.wikipedia.org/wiki/The_Rite_of_SpringThe Rite of Spring full performance https://www.youtube.com/watch?v=YOZmlYgYzG4Rebecca performing in Phantom https://www.youtube.com/watch?v=zkJxMly5Wm4Rebecca performing in Les Miserables ://www.youtube.com/watch?v=4aW1ToWOTCEArticle about Garth Drabinsky https://www.onstageblog.com/editorials/2021/10/28/the-tyrannical-and-abusive-garth-drabinsky-and-his-attempted-return-to-broadway-with-paradise-square-part-1Hosted by John Owen-Jones and Alistair BrammerMusic written by John Owen-Jones and Alistair BrammerMusic performed by John Owen-Jones, Alistair Brammer and John QuirkRecorded & edited by John Owen-Jones and Alistair BrammerA 2023 John Owen-Jones Associates Productionwww.johnowenjones.com/podcast Hosted on Acast. See acast.com/privacy for more information.
“Quo vadis” jest powieścią historyczną autorstwa Henryka Sienkiewicza, a przy tym jednym z jego najsłynniejszych i najwybitniejszych dzieł. Należy też rzecz jasna do kanonu lektur, zatem jej znajomość wymagana jest od wszystkich uczniów. Przygotowaliśmy streszczenie i opis bohaterów, czasu oraz miejsca akcji, które pomogą wam lepiej zrozumieć, co Sienkiewicz miał na myśli. Posłuchaj! Całość streszczenia oraz wiele innych streszczeń o opracowań znajdziesz w zakładce podcasty na www.eska.pl.
[@ 5 min] Season Eight of the OBS kicks off with the return of Aryeh Nussbaum Cohen, our first three-peat ‘Inside the Huddle' champ… [@ 33 min] Then, Baylor Bear countertenor Michael Skarke takes a few ‘Free Throws' on Monteverdi, “The Coronation of Poppea”, and the sad sack role of Ottone, which he sings with Haymarket Opera later this month… [@ 47 min] Plus, in the ‘Two Minute Drill'… Just when you thought a certain yoga sex cult client was out of the news cycle, Plácido Domingo makes a fool of himself in Verona… And we're back on September 22 as we preview Opera Philadelphia's Festival O22… Join us! operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore
Donald explores composer Claudio Monteverdi, one of the most important figures in the development of Western music. As a composer of both secular and sacred music, over the course of his career he worked for court, church and was one of the key figures in the development of opera. Across this week of programmes, Donald Macleod tracks Monteverdi's career across three cities, from promising child prodigy, through poverty and plague, to his final years in the priesthood, with huge artistic successes along the way. Music Featured: Toccata (Orfeo) Surge propera amica mea (Sacrae cantiunculae) O bone Iesu, illumine oculos meus (Sacrae cantiunculae) Surgens Iesu (Sacrae cantiunculae) Iusti tulerunt spolia impioru (Sacrae cantiunculae) Non si levav'ancor l'alba novella (2nd book of Madrigals) E dicea l'una sospirand'all'hora (2nd book of Madrigals) O come e gran martire (3rd book of Madrigals) O primavera (3rd book of Madrigals) Occhi, un tempo (3rd book of Madrigals) Rimanti in pace (3rd book of Madrigals) Questi vaghi concenti Vespro della Beata Vergine (Ave maris stella a 8) Zefiro torna e di soavi accenti Il Combattimento di Tancredi e Clorinda De la Bellezza le dovute lodi, SV 245 Anima mia, perdona (4th book of madrigals) Che se tu se il cor mio (4th book of madrigals) Cruda Amarilli (5th book of madrigals) Ah, dolente partita! (4th book of madrigals) Quel augellin che canta (4th book of madrigals) Pur ti miro (L'incoronazione di Poppea, Act 3 Sc 8) Orfeo (Act 5 : Final ritornello and Moresca) Orfeo (Act 3: excerpt) Lamento d'Arianna Missa da capella a sei voci “In illo tempore” (Kyrie and Gloria Il Ballo della Ingrate (Overture) Misero alceo, SV 114 (6th book of Madrigals) Zefiro torna, SV 108 (6th book of Madrigals) Presso un fiume tranquillo, SV 116 (6th book of Madrigals) Dixit Dominus (Vespers, 1610) Tirsi e Clori (7th book of Madrigals) Litanie della Beata Virgine, SV 204 Oblivion soave (L'incoronazione di Poppea, Act 2) Gloria a 7 (Selve morale e spirituale) Ardo avvampo, mi struggo, ardo, accorrete, Madrigali guerrieri, No 7 (8th book of Madrigals) Lamento della ninfa, Madrigali amorosi, No 9 (8th book of Madrigals) Torna, torna, deh torna Ulisse (Il ritorno d'Ulisse, Act 1 Sc 1) Beatus Vir Presented by Donald Macleod Produced by Sam Phillips For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Claudio Monteverdi (1567-1643) https://www.bbc.co.uk/programmes/m0019knl And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
Lorenzo Braccesi"Dissolute e maledette"Donne straordinarie del mondo anticoSalerno Editricehttps://www.salernoeditrice.it/Combattenti e condottiere, regine e influenti consigliere, alle donne che raggiungono le vette del potere nelle società antiche non sono perdonati forza, carattere e talento. Quando una donna esercita funzioni che, per millenni, sono state di esclusivo appannaggio maschile, la macchina della diffamazione la colpisce, perché il successo femminile suscita diffidenza e invidia. Dotate di fascino, carisma e di prorompente vitalità, queste figure fuori dall'ordinario ci appaiono come protagoniste indiscusse in un mondo che fu loro ostile. Un mondo di cui conquistarono la ribalta, muovendosi impunemente nello spazio pubblico al di là di angusti stereotipi di genere. Ma la condanna della storiografia maschilista fu senza appello: hanno le mani lorde di sangue, praticano l'adulterio e l'incesto, esercitano le arti delle cortigiane o, addirittura, delle professioniste da strada. Diffamate e denigrate, queste donne dell'età antica rappresentano un esempio di coraggio, tenacia e intelligenza dall'immenso valore umano.Lorenzo Braccesi, storico e saggista, è stato professore ordinario di Storia greca nelle Università di Torino, Venezia e Padova.Per la Salerno Editrice ha pubblicato Livia (2016), Zenobia l'ultima regina d'Oriente. L'assedio di Palmira e lo scontro con Roma (2017), e Olimpiade regina di Macedonia. La madre di Alessandro Magno (2019). Il suo ultimo libro è Arrivano i barbari. Le guerre persiane tra poesia e memoria (Roma-Bari 2020).IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/
Synopsis The reign of the Roman emperor Nero, notorious for his horrific deeds, was chronicled by the historian Tacitus. His account of the rise of the courtesan Poppea from Nero's mistress to his empress, provides the plot of one of the operas written by the 17th century Italian composer Claudio Monteverdi. Monteverdi's “The Coronation of Poppea” was first performed in Venice at the Teatro Sanctae Giovanni e Paolo in the autumn of 1643. The first performance of Monteverdi's “Poppea” in modern times had to wait until 1913, when the French composer Vincent d'Indy presented his arrangement of “Poppea” in Paris. In America and Britain, “Poppea” was first staged in 1927, at Smith College in Northampton, Massachusetts and at Oxford University in England. It wasn't until today's date in 1962 that a full professional staging of “Poppea” occurred at the Glyndebourne Festival in England, in a version prepared and conducted by Raymond Leppard. Monteverdi did not prescribe specific vocal ranges for the characters, and since there was no standardized orchestra in the 17th century, it was customary back then to simply give a list of some suggested instruments and leave it to the performers to decide who played what and when. Therefore, any MODERN performance of a Monteverdi opera is always somebody's “version” of the surviving notes, based on educated guesswork and the available performers. Music Played in Today's Program Claudio Monteverdi (1567 – 1643) –L'incoronazione di Poppea (soloists; Vienna Concentus Music Vienna; Nikolaus Harnoncourt, cond.) Teldec 42547
The Apocalypse Players — a Call of Cthulhu actual play podcast
In which a storm at sea leaves our investigators in the dark. A Call of Cthulhu Scenario by Leigh Carr with Lynne Hardy. Episodes released weekly. PATREON NOW LIVE! Visit www.patreon.com/apocalypseplayers to help us continue making the podcast, and receive exclusive horrors in return. The Apocalypse Players are: Dominic Allen @DomJAllen Joseph Chance @JosephChance2 Danann McAleer @DanannMcAleer Dan Wheeler @DanWheelerUK With their special guest Jessica Temple @JessicaMTemple For more information and to get in touch, visit www.apocalypseplayers.com CW: This podcast contains mature themes and strong language. Music: Drowning Monas by Tim Kulig Link: https://filmmusic.io/song/9331-drowning-monas License: https://filmmusic.io/standard-license Parsemoth by Dave Deville Link: https://filmmusic.io/song/8230-parsemoth License: https://filmmusic.io/standard-license L'incoronazione di Poppea, Pur Ti Miro (Monteverdi) by MIT Symphony Orchestra is licensed under an Attribution-NonCommercial License. Stranded by Brian Holtz Music Link: https://filmmusic.io/song/7247-stranded License: https://filmmusic.io/standard-license Dissonance by Tim Kulig Link: https://filmmusic.io/song/9321-dissonance License: https://filmmusic.io/standard-license The Fog Of War by Tim Kulig Link: https://filmmusic.io/song/9381-the-fog-of-war License: https://filmmusic.io/standard-license Alone Ambience by Tim Kulig Link: https://filmmusic.io/song/8571-alone-ambience License: https://filmmusic.io/standard-license Lost Place Atmospheres 003 by Sascha Ende® Link: https://filmmusic.io/song/7675-lost-place-atmospheres-003 License: https://filmmusic.io/standard-license Additional sound and music from zapsplat.com
Liz Kiger is our guest for a deep discussion of Art, Philosophy, film, photography, teaching, trauma and resiliency, LGBTQIA+Opera, and their new filmed opera - a gorgeous, modern presentation (shot in Red - Komodo - 6K) of ORFEO. ORFEO is a dazzling, energetic, sensitive story that will amaze you visually and sonically. Its release is simultaneous to this podcast episode. Find ORFEO here https://youtu.be/rOeT_PFyEtA Liz Kiger is a Turkish-American non-binary soprano vocalist, violinist, and opera director specializing in Baroque performance practice. They are the founder and director of the Brooklyn Telemann Chamber Society. They hold their MM in Classical Vocal Performance and a post graduate degree in Vocal Pedagogy from NYU. They have most recently performed as the title role in Monteverdi's Poppea, Papagena (Mozart's Die Zauberflöte), Ottavia (Monteverdi: L'incoronazione di Poppea) at Scorca Hall (National Opera Center), & Susanna (Mozart: Le Nozze di Figaro) at Carnegie Hall's Weill Recital Hall. Liz is a proud advocate for singers with incurable vocal pathologies like themself. Mentions: @sydneysheaphotography @alexandrapawlus @alexandrapaw_ @matthewkylelevine
In this episode of Opera Uprising we talk about: * Libretto Creation * The Priestess of Morphine * Voice type inclusivity * Writing for Trans Voices * Including LGBTQIA+ Stories Find out more about Aiden Feltkamp Anthology of New Music: Trans & Nonbinary Voices, Vol. 1 Website: aidenkimfeltkamp.com Twitter: @TransCherubino Bio: Aiden K. Feltkamp (they/he) began their artistic life at the age of 5 playing a quarter-size cello and now they're "upending preconceptions about voice and gender" (New York Times) as a trans nonbinary writer. Aiden's written work spans the serious and the ridiculous, the real and the surreal. Some of their favorite projects include: an opera with Dana Kaufman about Emily Dickinson's queerness, an interactive fiction experience about alien communication coded in Javascript (“Hello, Aria”), new English translations of Jewish lesbian erotic poet Marie-Madeleine's work (The Priestess of Morphine with Rosśa Crean), and a four-part series decoupling gender and voice types. Most recently, their work has been commissioned by Cantus, Amherst College, and the International Museum of Surgical Sciences, and has been published in Crêpe & Penn, Bait/Switch, and NewMusicBox. Before pursuing their medical transition, Aiden performed opera professionally, specializing in Baroque opera and new music. Their most fulfilling roles include Hansel, Prince Orlofsky, Cherubino, Ottavia in L'incoronazione di Poppea (especially in a Baroque gesture production with director Drew Minter), and Elizabeth in the World and NY premieres of Griffin Candey's Sweets by Kate. They continue to train their new voice and have recently performed as Figaro in ChamberQUEER's abridged Le Nozze di Figaro. As an equity and inclusion specialist, they consult for performing arts organizations, funders, universities, and businesses. Aiden has worked with Johnson & Johnson, Yelp, the Detroit Symphony Orchestra, OPERA America, the League of American Orchestras, and the LA Phil. Currently, they wrangle composers and arts administrators as the first-ever Director of Emerging Composers and Diversity for the American Composers Orchestra. Aiden is a Turn the Spotlight fellow (20/21 cohort), mentoring with Kathleen Kelly. As part of the fellowship, they curated New Music Shelf's Anthology of New Music: Trans & Nonbinary Voices, Vol. 1. They graduated from Bard College Conservatory's Graduate Vocal Arts Program (under the direction of Dawn Upshaw) with a Masters of Music, and received their B.S. in Vocal Performance from Hofstra University. They hold certifications in Diversity, Equity, and Inclusion (Cornell University) and Data Science (BrainStation). They currently live in Jersey City with their partner, cat, parrots, and robot dog.
Biografía de compositores para niños. El “influencer” de la música del siglo XV, Claudio Monteverdi fue uno de los primeros en componer ópera en la historia musical así como ayudar en la transición del Renacimiento al Barroco musical. Y en este episodio conocemos un poco de su vida en aquella Italia del norte dividida en Ducados. Ideal para que los niños conozcan más sobre cómo era la vida en aquel entonces. La Música de Monteverdi que vas a escuchar en este episodio Toda la música es de Claudio Monteverdi excepto si especifica lo contrario. 00:44 L'Orfeo, SV 318: Toccata. Interpretado por English Baroque Soloists & John Eliot Gardiner. 01:45 Vespro della Beata Vergine, SV 206: VIII. Nisi Dominus (Live At Basiliek San Marco, Venice / 1989). Interpretado por English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner & Monteverdi Choir. 06:23 Non voglio amare, SV 172. Interpretado por Ian Partridge, Nigel Rogers, Christopher Keyte, Colin Tilney, Werner Kauffmann, Jürgen Jürgens & Monteverdi Choir. 07:29 L'incoronazione di Poppea, SV 308: Pur ti miro. Interpretado por Magdalena Kožená, Anna Prohaska, La Cetra Barockorchester Basel & Andrea Marcon. 10:05 Amor Vittorioso por Giovanni Giacomo Gastoldi. Interpretado por Musica Fresca. 10:15 Zefiro torna, SV 251. Interpretado por Magdalena Kožená, Anna Prohaska, La Cetra Barockorchester Basel & Andrea Marcon. 11:02 L'incoronazione di Poppea, SV 308 (Excerpts): Sento un certo non so che (Valletto, Damigella). Interpretado por Constanze Backes, Marinella Pennicchi, English Baroque Soloists & John Eliot Gardiner. 11:42 Vespro della Beata Vergine, SV 206: X. Lauda Jerusalem (Live At Basiliek San Marco, Venice / 1989). Interpretado por English Baroque Soloists, His Majesties Sagbutts and Cornetts, John Eliot Gardiner & Monteverdi Choir. Si te gusta el episodio, califícalo en tu app favorita (Podcasts iTunes, iVoox, Spotify) o puedes dejar tu review. :) No te pierdas ningún episodio. Súscríbete al newsletter en allegromagico.com/suscribirme. Síguenos en: Facebook, Twitter, Instagram y Pinterest.
Repassem una de les obres mestres indiscutibles de la hist
David Sabella is known for originating the co-starring role "Mary Sunshine" in the 1996 Broadway revival of Chicago The Musical, which is Broadway's longest running American Musical. Celebrating its 25th anniversary, David brings his show David Sabella Sings Kander & Ebb: 25Chicago25 to Feinstein's/54 Below on November 17 at 7pm. In this short form interview, David Sabella is Baring It Slightly. David's Feinstein's/54 Below show will in-person & also live streamed via BroadwayWorld. In-Person Tickets Live Stream Tickets Connect with David: Website Facebook Twitter Instagram Connect with Feinstein's 54 Below: Website Facebook Twitter Instagram Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Adam Rothenberg Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on David: David Sabella has enjoyed a long & varied career in performance. In 1996 he originated the starring role of “Mary Sunshine” in the 1996 revival of CHICAGO, with Bebe Neuwirth, Ann Reinking & Joel Grey. He returned to the Broadway company, to appear with Melanie Griffith as "Roxie Hart" & continued to return, as needed for the Broadway & National Touring Companies, until 2006. He is also appeared in workshops of Kander & Ebb's last collaboration, The Visit, with both Angela Landsbury & Chita Rivera. Off-Broadway, David performed leading roles in The Phillie Trilogy (Winner – Outstanding Lead Actor in a Play, Fresh Fruit Festival 2017); Jules – (the life of Julian Eltinge) Laurie Beechman Theater, October, 2012 & La Tea Theater 2014; Kiss and Make Up at the Lucile Lortel Theater, (New York International Fringe Festival); The Green Room (HBO Prods), as well as Hexed in The City, Foxy, Watch Your Step, So Long 174th Street (Musicals Tonight!), and O'Henry's Lovers (New York Musical Theater Festival). His regional theater credits include: A Little Night Music, Seesaw, Godspell, Merrily We Roll Along, The Gingerbread Lady & The Lisbon Traviata. As a voice-over artist David worked on several network television cartoon series, including Peter Pan and the Pirates for FOX &Teacher's Pet for Disney. In classical music, David won several prestigious voice competitions including The Luciano Pavarotti International Voice Competition, The Metropolitan Opera Eastern Regional Auditions & The New York Oratorio Society Competition at Carnegie Hall. He starred in the title role of Giulio Cesare with Virginia Opera (available on Koch International Label), L' incoronazione di Poppea (Utah opera) & Die Fledermaus (Lincoln Center). He has appeared numerous times at both Carnegie Hall & Lincoln Center as a principal soloist in such works as the Bach B-Minor Mass, Handel's Messiah & Peter Schickele's comical Three Bargain-Counter Tenors. He toured internationally with the now legendary La Gran Scena Opera Company. David appeared twice on the Rosie O'Donnell Show & has been featured in national magazines such as Opera News, In Theater, Entertainment Weekly, A&U (Cover), OUT, and Next. After the phenomenal success of CHICAGO, David's personal caricature was unveiled (June 1998) and hangs in the world-famous theater restaurant, Sardi's. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, we discuss the upcoming Indiana University Opera production, The Coronation of Poppea, composed by Claudio Monteverdi for the Venetian premiere in 1643. Today, we have three guests who will help us to get closer to Monteverdi's final opera. First, we have IU doctoral musicology student, Jackie Westerduin, who will be giving pre-opera lectures later this week. Next, we have internationally renowned director and choreographer Candace Evans, who is working with the IU Opera on this brand new production. And finally, we have Deepa Johnny, a master's student in vocal performance who will be performing the role of Poppea on Friday, October 15th.
For her third album for Gramophone's current Label of the Year, Alpha Classics, the mezzo-soprano Kate Lindsey re-visits the Baroque for ‘Tiranno'. She offers five works by four composers – Alessandro Scarlatti, George Frederick Handel, Claudio Monteverdi and Bartolomeo Monari – that put Nero, his mother Agrippina and second wife Poppea centre stage. Lindsey's last stage role before the pandemic was as Nero in Sir David McVicar's acclaimed production of Handel's Agrippina at New York's Metropolitan Opera and her first role before an audience as the Staatsoper in Vienna recently re-opened its doors to the public was as Nero in Monteverdi's L'incoronazione di Poppea. James Jolly spoke to Kate Lindsey the day before L'incoronazione di Poppea opened and they discussed the new album and its themes of power and corruption, her experience of playing Nero and her plans for the future. Gramophone Podcasts are presented in association with Wigmore Hall.
La Slovaquie en direct, Magazine en francais sur la Slovaquie
Slavka Zamecnikova membre de l'Opéra de Vienne chante dans L'Incoronovazione di Poppea de Claudio Monteverdi. 235 années depuis la mort du conte Benovsky. Les vers d'Ivan Krasko traduits en français.
Hendrik Storme stelt zijn plannen met DE SINGEL voor. Jan Lauwers werkt in de Wiener Staatsoper aan een nieuwe enscenering van L'Incoronazione de Poppea. En Bovenbouw Architectuuur vult dit jaar het Belgisch paviljoen in op de Biënnale van Venetië. De tentoonstelling Composite Presence toont de wrijving tussen stad en architectuur in Vlaanderen.
The Australian tenor, Gregory Dempsey, was born in Melbourne in1931. He originally trained as a baritone but made his debut as Don Ottavio in Don Giovanni in 1954 with National Opera of Victoria, also appearing as Turiddu in Cavalleria Rusticana and Pedro in d’Albert’s Tiefland. In 1955 he won the £1,000 Lever Award (a commercial radio award) and in 1956 was a grand finalist in the Mobil Quest.When the Elizabethan Trust Opera was formed in 1956 he took part in its season of four operas. The following season, he appeared in their productions of Tosca, La bohème and The Tales of Hoffmann, and in the 1958 season sang principal roles in Carmen, The Barber of Seville and Fidelio. He became a permanent member of the chorus for the Channel 9 television singers. 1960 found him singing Monostatos in The Magic Flute, the First Jew in Salome, Goro in Madama Butterfly and Rinuccio in Gianni Schicchi. During this season, Gregory Dempsey sang a matinee of Goro in Madama Butterfly, followed by Luigi in Il tabarro (replacing another tenor) followed by Rinuccio in Gianni Schicchi. Three roles, quite different roles, in one day!In Perth, he sang in both opera in a double-bill as Mundit – an aborigine – in the 1962 premiere of the Australian opera, Dalgerie and followed with Beppe in Pagliacci after interval. Gregory Dempsey joined Sadler’s Wells Opera in London in 1962 and this was his main UK base for the next fifteen years. His roles there and the Coliseum included Tom Rakewell, Peter Grimes, Jimmy Mahoney, Albert Gregor, Skuratov, Don José, Erik, David, Mime (Das Rhinegold and Siegfried) and the Shepherd in King Roger. He created the role of Boconnion in Richard Rodney Bennet’s The Mines of Sulphur after which one critic wrote “an heroic-villainous part of formidable challenge.” Dempsey appeared as Dionysus in the British premiere of Henze’s The Bassarids and the title role in the first British staging of The Adventures of Mr Brouček. Gregory Dempsey worked frequently with Scottish Opera, in roles including Britten’s Albert Herring, Quint and Lysander, as well as Florestan, Aeneas in The Trojans, David and Števa. Later, with Scottish Opera, he created the role of Bothwell in Musgrave’s Mary, Queen of Scots in 1977. He made his Covent Garden debut in 1972 as Števa, returning as the Drum Major in Wozzeck. In the USA he appeared in San Francisco from 1966, as Albert Gregor and Tom Rakewell.He returned to Sydney to become a member of Opera Australia singing David in Die Meistersinger von Nürnberg, Herman in Queen of Spades, Dimitri in Boris Godunov, Jimmy in The Rise and Fall of the City of Mahagonny, Mime in both Das Rheingold and Siegfried, Trin in La fanciulla del West, Valzacchi in Der Rosenkavalier and Bob Boles in Peter Grimes. With Victoria State Opera he sang Nero in L’incoronazione di Poppea, Il ritorno d’Ulisse in patria, The Magician in The Consul, Monostatos in The Magic Flute, Benoît and Alcindoro in La bohème, Incredible in Andrea Chenier, Prince Populescu in Countess Maritza, Ajax l in La belle Hélène, Jamie in My Fair Lady and Borsa in Rigoletto. With the Adelaide Festival, he was seen as Nero in L’incoronazione di Poppea, Mark in The Midsummer Marriage, Gregor in The Makropulos Case, Zinoviy Borisovich Izmailov in Lady Macbeth of Mtsensk and The Adventures of Mr. Brouček. His clear, perfectly tuned tenor voice was suited to a plethora of different repertoire and styles. From Monteverdi to the most difficult contemporary compositions, Gregory Dempsey made them relevant to every audience. His charm and ever-ready humour made him loved by every colleague.(Text: Brian Castles-Onion)The STAGES podcast is available from Apple podcast, Whooshkaa, Spotify and where you find your favourite podcasts. www.stagespodcast.com.au
Synopsis Few of us today really know–or care–very much about the War of Austrian Succession, a conflict that troubled Europe in the 18th century. For music lovers, it’s enough to know that to celebrate the end of that war, George Frideric Handel was commissioned to compose music for a fireworks concert in London’s Green Park, an event that took place on today’s date in the year 1749. Back then there were no such things as microphones and loudspeakers, so Handel’s score called for a huge military band of 24 oboes, 9 horns, 9 trumpets, 3 sets of timpani, 12 bassoons, 2 contrabassoons—and strings. When King George II was told about it, he balked a little at the expense: “Well, at least I hope there won’t be any fiddles,” he commented, and so Handel was informed the strings were definitely off. A public rehearsal was held at the Vauxhall Gardens and a London newspaper reported that 100 musicians performed for an audience of more than 12,000, causing a 3-hour traffic jam of carriages and pedestrians on London Bridge. The official event with fireworks went off with a bang–as well as a few fires breaking out. Music Played in Today's Program George Frederic Handel (1685 - 1759) — Music for the Royal Fireworks (Academy of St Martin in the Fields; Neville Marriner, cond.) Argo 414596 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass.
Synopsis On today’s date in 1965, the first complete performance of the Fourth Symphony of American composer Charles Ives took place in New York. 38 years earlier, in 1927, also in New York, the British conductor Eugene Goossens had performed the first two movements of Ives’ Fourth Symphony, after many a sleepless night trying to figure out how to perform certain sections of Ives’ score where the bar-lines didn’t jibe—parts where more than one rhythm pattern happened simultaneously. “I remember,” Goosens said, “that I wound up beating two with my stick, three with my left hand, something else with my head, and something else again with my coat tails.” For the 1965 premiere and first recording of Ives’ complete symphony, Leopold Stokowski solved this problem by enlisting the aid of two assistant conductors, David Katz and Jose Serebrier—all three men working simultaneously at times to cue the musicians in the trickiest passages of the score. One of conductors who assisted Stokowski in 1965, Jose Serebrier, went on to recorded Ives’ Fourth again—this time without the aid of assistant conductors, coat tails, or the surgical addition of another set of arms. Music Played in Today's Program Charles Ives (1874-1954) Symphony No. 4 Los Angeles Philharmonic; Gustavo Dudamel, cond. DG 4839505 Jose Serebrier (b. 1938) Partita (Symphony No. 2) London Philharmonic; José Serebrier, cond. Reference 90 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass. Links and Resources On Ives On Serebrier
Synopsis On today’s date in 1965, the first complete performance of the Fourth Symphony of American composer Charles Ives took place in New York. 38 years earlier, in 1927, also in New York, the British conductor Eugene Goossens had performed the first two movements of Ives’ Fourth Symphony, after many a sleepless night trying to figure out how to perform certain sections of Ives’ score where the bar-lines didn’t jibe—parts where more than one rhythm pattern happened simultaneously. “I remember,” Goosens said, “that I wound up beating two with my stick, three with my left hand, something else with my head, and something else again with my coat tails.” For the 1965 premiere and first recording of Ives’ complete symphony, Leopold Stokowski solved this problem by enlisting the aid of two assistant conductors, David Katz and Jose Serebrier—all three men working simultaneously at times to cue the musicians in the trickiest passages of the score. One of conductors who assisted Stokowski in 1965, Jose Serebrier, went on to recorded Ives’ Fourth again—this time without the aid of assistant conductors, coat tails, or the surgical addition of another set of arms. Music Played in Today's Program Charles Ives (1874-1954) Symphony No. 4 Los Angeles Philharmonic; Gustavo Dudamel, cond. DG 4839505 Jose Serebrier (b. 1938) Partita (Symphony No. 2) London Philharmonic; José Serebrier, cond. Reference 90 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass. Links and Resources On Ives On Serebrier
Vi ricordate cosa vi avevo raccontato nella Puntata 2, dedicata a Paestum?Che la visita al parco archeologico era solo una delle tappe legate al mio viaggio a Pompei e che quella era un'altra storia, di cui vi avrei parlato in seguito.Beh, in questa puntata c'è un'altra storia di quell'altra storia.Perché, quando dalla Toscana scesi in auto verso il Sud Italia, all'andata mi fermai a vedere Ostia Antica poi, oltre a Pompei e la Villa di Poppea a Torre Annunziata, feci anche un salto a all'Anfiteatro di Capua e, appunto, a Paestum; infine, sulla via del ritorno non più verso la Toscana, ma ancora più su, verso la Pianura Padana, non potevo che chiudere in bellezza questo mio intenso tour archeologico.Decisi di fermarmi a vedere Villa Adriana a Tivoli. Il sogno dell'Imperatore Adriano.Ed è della Villa che intendendo parlarvi.
Pamela Lloyd has performed on major stages throughout the United States and in Europe, initially as a musical theater singer/actress. She has performed at the historical Theatre an der Wien as part of Vienna's resident company of Cats, in the role of Jenny-any-Dots/Griddlebone; in Amsterdam's production of Cats at the illustrious Carré Theatre; and, in Zürich's resident production. She has sung this musical in German, Dutch and on occasion, English. Pamela has performed in Vienna's Schöne Neue Musik Festival with the Czech State Orchestra as Chemöse in the world-premiere of the opera Simä, which was broadcast on Radio Vienna. Other appearances include Jenny Diver in Three Penny Opera under the baton of Anton Coppola, Santuzza in Cavalleria Rusticana for Richmond County Orchestra, Senta in Der Fliegende Holländer, Fiordiligi in Così fan tutti and Mother in Amahl and The Night Visitors. Pamela has concertized as a soloist for, among others, Trinity Church at Wall Street and with the Ensamble America Chamber Orchestra for The New Jersey Music Society. She sang the National Anthem at a recent televised World Trade Center Memorial ceremony.Andrew Costello brings with him a wealth of performance experience, having sung more than twenty-five leading operatic roles in the United States and Europe. His accomplishments range from the baroque music of Monteverdi to the advanced tonalities of contemporary opera. Mr. Costello's career began with Glimmerglass Opera in L'Incoronazione di Poppea, directed by Jonathan Miller and conducted by Jane Glover. He has since appeared with, among others, the Atlanta Opera and Des Moines Metro Opera, where he made his debut as Jokanaan in Salomé. As a concert soloist, Mr. Costello made his debut at Carnegie Hall in the Mozart Requiem and was invited back to sing in Handel's Messiah. Mr. Costello returned to Des Moines Metro Opera as Scarpia in Tosca. Mr. Costello has sung with many important conductors such as Frédéric Chaslin, Ralf Weikert, Anton Coppola, Jérome Pillement, Jane Glover, and Dr. Robert Larsen. LEARN MOREOpera Dolce: http://www.operadolce.org/ Andrew Costello: www.andrewcostello.info
TESTO DELL'ARTICOLO ➜http://www.bastabugie.it/it/articoli.php?id=6325TENET, IL DELUDENTE FILM DI CHRISTOPHER NOLAN di Rino CammilleriTanto tuonò che alfine (non) piovve. Il filmone di Christopher Nolan, Tenet, ha avuto un battage galattico per mesi. Trailer segretissimo, poi pezzetti di esso che comparivano qua e là in rete, poi l'uscita slittata causa Covid (e anche la notizia dello slittamento è stata debitamente enfatizzata), infine interviste criptiche, indi recensioni alla cieca e, infine, voilà, eccolo. Due ore e mezza di film, costo stratosferico, si dice uno dei più costosi dopo Cleopatra con Liz Tayor. E in effetti, stando al botteghino, in tantissimi sono andati a vederlo: più che il disagio da mascherina e distanziamento poté la curiosità. Il sottoscritto era personalmente e particolarmente intrigato perché in una delle anticipazioni online aveva letto che il film era ispirato al Quadrato Magico pompeiano, sul quale chi scrive pubblicò un intero libro (Bur) ancora in commercio (anche perché sull'argomento non ce ne sono altri). [Per acquistare il libro "Il quadrato magico. Un enigma che dura da duemila anni" di Rino Cammilleri, clicca qui!]Per chi se lo fosse perso: Rotas Opera Tenet Arepo Sator, parole palindrome dislocate in quadrato il cui anagramma dà due Paternoster disposti a croce tra due Alfa e due Omega. Insomma, un enigma cristiano. Pompei, lo ricordiamo, fu distrutta dal Vesuvio nel 79 d.C. La cristianità del Quadrato è confermata dalla sua diffusione in tutta, appunto, la Cristianità. Perché l'indovinello? Perché Pompei era il buen retiro dei ricchi romani, lì aveva casa Poppea moglie di Nerone e quest'ultimo aveva appena inaugurato le persecuzioni contro i cristiani (uccisi anche san Pietro e san Paolo). Dunque, prudenza. Nulla di tutto questo nel film di Nolan.Gli unici riferimenti al Quadrato sono:a) il titolo, b) il cattivo che si chiama Sator, c) un anonimo falsario d'arte di nome Arepo e d) una ditta ambigua denominata Rotas. Tutto qui.Il resto è un mix tra spionaggio e fantascienza, imperniato su mini-viaggi nel tempo, con un concitato andirivieni tra passato, presente e futuro che ottiene solo di disorientare lo spettatore (o almeno ha disorientato me: se qualcuno è stato più fortunato mi fa un favore a illuminarmi). Forse è un espediente per costringere chi non ci ha capito molto a rivedere il film, ovviamente acquistando altro biglietto. Spesso quando ci sono effetti speciali mirabolanti e locations in mezzo mondo, alla 007, il kolossal fa acqua proprio nella trama, paradossalmente la cosa che costa meno. Cast stellare, da Robert Pattinson (il vampiro Twilight amato dalle teenager) a Kenneth Branagh, a John David Washington (famoso per suo padre, Denzel), perfino un cameo di Michael Caine.Guardate ora questi: Ryan Masson, Highdee Kuan, Christian Prentice. Mai sentiti? Infatti, sono protagonisti di un b-movie americano uscito in quasi contemporanea: Proximity. Girato con quattro soldi, tratta di un tema già ampiamente sfruttato, l'abduction, cioè il rapimento da parte di alieni. Perché è più interessante? Perché finalmente si spiega che cosa vogliono gli alieni dai rapiti. Vogliono informazioni su - udite, udite - Gesù Cristo. Proprio così. Raggiunto il top del progresso tecnologico, hanno scoperto che quell'Umano ha qualcosa a che fare con la creazione dell'universo e vogliono saperne di più. Noi credenti sappiamo che Lui è il Logos, «per mezzo del quale tutte le cose sono state create». Gli alieni ancora no e sono venuti per informarsi sul pianeta degli uomini. La scena dell'Ascensione, che gli alieni hanno filmato a suo tempo e mostrano, vale da sola il prezzo del biglietto. Ecco, dunque, un suggerimento per Nolan. Perché non sviluppa da par suo e coi suoi potenti mezzi questo tema? Certo, non è politicamente corretto e perciò suscettibile di polemiche senza fine. Ma, appunto per questo, quale miglior lancio?Nota di BastaBugie: nel seguente video (durata: 2 minuti e mezzo) si può vedere il trailer del film Proximity di cui ha parlato Rino Cammilleri in fondo all'articolo precedente.Per acquistare il dvd di "Proximity" in italiano, clicca qui!https://www.youtube.com/watch?whHt4_Vav_oPer acquistare il dvd di "Proximity" in italiano, clicca qui! Titolo originale: Tenet delude. Del Quadrato Magico ha solo il nomeFonte: La Nuova Bussola Quotidiana, 02-09-2020Pubblicato su BastaBugie n. 687
Monteverdi’s swan-song, L’incoronazione di Poppea (1643),is a high-water mark of the new genre of public opera, Shakespearean in its contrasts of high and low-life characters, political chicanery and outrageous theatricality. It coincides with the death of the last two in this constellation of genius - Galileo in 1642 and Monteverdi a year later - and marks the end of this extraordinary period of innovation that shaped the modern world. Their demise coincides with incipient European economic upheavals and warfare and, meteorologically, the start of a mini ice age. Pressures to re-establish moral order took hold, and the old hierarchy governed by reason was regaining ground in reaction to the cultivation of the individual artistic pursuit of creativity and originality.
Die Sopranistin Sonya Yoncheva weilt derzeit in Salzburg. Bei den Festspielen ist sie bestens in Erinnerung, seit sie 2018 die Titelpartie in Monteverdis "Poppea" sang und Publikum wie Presse begeistere. Wie eigentlich bei allem, was sie so macht - und das ist ziemlich breit gefächert. Mit einem speziellen Renaissance-Programm ist sie jetzt in Salzburg zu Gast. Darüber und über die lange Zwangspause hat Johann Jahn mit ihr gesprochen.
This year at the beginning of the Salzburg festival British conductor Ivor Bolton leads Mozarteumsorchester Salzburg performing a program of W. A. Mozart - Missa c-Moll, Adagio und Fuge für Streicher c-Moll, and Vesperae solennes de Confessore für Soli, gemischten Chor, Orchester und Orgel C-Dur. Ivor Bolton today is balancing his responsibilities as Chief Conductor of the Basel Sinfonieorchester, Artistic Director of the Teatro Real in Madrid, Chief Conductor of the Dresden Festival Orchestra and Conductor Laureat of the Mozarteumorchester Salzburg. In the UK he has been Music Director of English Touring Opera, Glyndebourne Touring Opera, and Chief Conductor of the Scottish Chamber Orchestra. His many recordings, apart from those with the Mozarteumorchester, include Monteverdi’s Poppea and Handel’s Xerces and Ariodante at the Bayerische Staatsoper. Shortly interviewed on the morning of festivals opening, conductor opens up about his 21 years of history in Salzburg festival and the situation this year that shook the classical music world as a whole.
In questo episodio ascolteremo “Pur ti miro”, il duetto conclusivo dell'opera “L'incoronazione di Poppea” di Claudio Monteverdi, opera straordinariamente moderna che andò in scena a Venezia nel 1643.Un percorso guidato e commentato da Diana Re, pianista e divulgatrice musicale, per diventare ascoltatori migliori perché come diceva Mozart “la vera musica è tra le note…”Esecuzione: Nuria Rial, Philippe Jaroussky - L'Arpeggiata, Dir. Christina PluharQuesto episodio è dedicato a: Aldo S., Andrea S., Rosangela G., Oscar F.Per lasciare un commento clicca qui: https://dianare.it/podcast/Ti aspetto all'interno della nostra Community musicale per restare aggiornato su tutte le novità e diventare anche tu un ascoltatore più consapevole.Per iscriverti clicca qui: http://dianare.substack.comSe vuoi seguirmi, mi trovi su:Sito web: https://www.dianare.itFacebook: https://www.facebook.com/dianare.pfYoutube: https://www.youtube.com/c/DianaRe-dmInstagram: https://instagram.com/dianare.pf
Opera has a bad rap: it's stuffy, long, convoluted, expensive, weird … and at the end of the day, who really understands sung Italian anyway? The barriers aren’t just financial: there are hundreds of years of musical history at work, along with dozens of arcane terms that defy pronunciation. But opera has been loved by ardent fans for centuries, and the experience of seeing it—once you know what to listen for—can be sublime. So we asked Vivien Schweitzer, a former classical music and opera critic for The New York Times, to teach us how to listen to opera. This episode originally aired in November 2018.Go beyond the episode:Read Vivien Schweitzer’s A Mad Love: An Introduction to OperaCatch a free nightly stream of a Metropolitan Opera productionListen to the accompanying Spotify playlistReady? Find an opera performance near you by searching the National Opera Center of America’s database of upcoming offeringsListen to the Metropolitan Opera’s Saturday Matinee Broadcasts or catch it live in a movie theater near youAt The Guardian, Imogen Tilde explains “How to find cheap opera tickets”Songs sampled during the episode:“Possente spirito,” the first famous aria in opera, from Monteverdi’s Orfeo“Pur te miro,” the first important duet in opera, from Monteverdi’s L’incoronazione di Poppea“Svegliatevi nel core,” an example of da capo aria and a rage aria, from Handel’s Giulio CesareThe Queen of the Night’s first-act aria, an example of very high soprano notes, from Mozart’s Die Zauberflöte“O Isis und Osiris,” an example of very low bass notes from the same opera“Ah! mes amis, quel jour de fête!” an example of very high tenor notes, from Donizetti’s La fille du régiment“Casta diva,” an example of bel canto style of singing, from Bellini’s Norma“Bella figlia dell’amore,” an example of ensemble singing from Verdi’s RigolettoThe... See acast.com/privacy for privacy and opt-out information.
In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Opera seria, traditional Italian serious opera, developed in the mid-1600s and lasted into the early 1800s. Handel’s Giulio Cesare (Julius Caesar), an opera from 1724, is a great masterpiece and an examplar of the genre; another is Gluck’s Orfeo ed Euridice (aka Orphée et Eurydice, aka Orpheus and Euridice, 1762/1774). Musical examples on the podcast drawn from recordings of Gluck’s Iphigénie en Tauride, Les Musiciens du Louvre conducted by Mark Minkowski (Archiv 1999); Monteverdi’s L’incoronazione di Poppea, Della Jones and Mark Tucker with the City of London Baroque Sinfonia conducted by Richard Hickox (Virgin Classics 1988); Gluck’s Alceste, Kirsten Flagstad and Geraint Jones Orchestra conducted by Geraint Jones (Decca 1956); Ercole sul Termodonte, Topi Lehtipuu and Rolando Villazón conducted by Fabio Biondi (Virgin Classics 2009); Giulio Cesare, Anne Sofie von Otter, Marijana Mijanović, Magdalena Kožená, and Les Musiciens du Louvre conducted by Mark Minkowski (Archiv 2002); also Giulio Cesare, Derek Lee Ragin and Concerto Köln conducted by René Jacobs (Harmonia Mundi 1991); Gluck’s Orphée et Eurydice, Maria Callas and Orchestre National de la Radiodiffusion Française, 1961; and Seattle Opera’s 2015 production of Semele conducted by Gary Thor Wedow.
Die Salzburger Festspiele haben Monteverdis letztes, zutiefst irritierendes Meisterwerk im August 2018 musikalisch wie szenisch fantastisch auf die Bühne gebracht. Diese Produktion hat Harmonia Mundi nun in einer schönen Edition auf CD und DVD veröffentlicht. Ein großer Genuss, nicht zuletzt dank der fantastischen Deutung von William Christie, diesem Altmeister der historisch informierten Aufführungspraxis.
durée : 01:59:13 - Musique matin du mardi 10 septembre 2019 - par : Jean-Baptiste Urbain - Mezzo-soprano exceptionnelle aux multiples premiers rôles d'opéras à succès, Stéphanie d'Oustrac nous fait l'honneur d'être avec nous ce matin pour nous parler de son nouveau CD "L’incoronazione di Poppea" de Monteverdi et de son concert prochain au Festival d'Ambronay - réalisé par : Yassine Bouzar
We love it when Classroom alums get recognized for their awesomeness. Such is the case for soprano Sonya Yoncheva. In addition to receiving the Opera Award by the Chilean Art Critics Circle, Sonya is on the cover of the Metropolitan Opera's wall calendar this year. We thought this was a great occasion to rerun her episode of Classical Classroom and to say, "You go, gworl." -------------------- In our first MusicWorks episode (that's our storytelling-centered subseries), soprano Sonya Yoncheva tells the story of how she happened upon her passion – singing opera – by being true to herself (and listening to her mother) and by practicing her buns off. This put her in a position to be ready when she got that call from the Met to fill in at the last moment. And the rest, as they say, is in the podcast. Audio production by Todd “Totally” Hulslander with awesomeness by Dacia Clay. Music in this episode: Giacomo Puccini: La Boheme – Donde lieta usci Charles Lecocq: Les Cent Vierges, Act III, No. 10 Je soupire et maudis le destin Giuseppe Verdi: La Traviata – Sempre libera Claudio Monteverdi: L’incoronazione di Poppea – “Pur ti Miro” (Sonya Yoncheva & Max Emanuel Cencic) W. A. Mozart: Il Re Pastore – “L’Amero saro costante” (Sonya Yoncheva & Marc Minkowski) Charles Gounod – Faust Final Trio – Anges Purs – Sonya Yoncheva, Joseph Calleja & Bryn Terfel Learn about composer George Heathco’s piece, “ReGifting Lions”, part of our MusicWorks intro, and oh-so-much more about him at www.georgeheathcomusic.com.
Opera has a bad rap: it's stuffy, long, convoluted, expensive, weird … and at the end of the day, who really understands sung Italian anyway? The barriers aren’t just financial: there are hundreds of years of musical history at work, along with dozens of arcane terms that defy pronunciation. But opera has been loved by ardent fans for centuries, and the experience of seeing it—once you know what to listen for—can be sublime. So we asked Vivien Schweitzer, a former classical music and opera critic for The New York Times, to teach us how to listen to opera.Go beyond the episode:Read Vivien Schweitzer’s A Mad Love: An Introduction to OperaListen to the accompanying Spotify playlistReady? Find an opera performance near you by searching the National Opera Center of America’s database of upcoming offeringsListen to the Metropolitan Opera’s Saturday Matinee Broadcasts or catch it live in a movie theater near youAt The Guardian, Imogen Tilde explains “How to find cheap opera tickets”Songs sampled during the episode:“Possente spirito,” the first famous aria in opera, from Monteverdi’s Orfeo“Pur te miro,” the first important duet in opera, from Monteverdi’s L’incoronazione di Poppea“Svegliatevi nel core,” an example of da capo aria and a rage aria, from Handel’s Giulio CesareThe Queen of the Night’s first-act aria, an example of very high soprano notes, from Mozart’s Die Zauberflöte“O Isis und Osiris,” an example of very low bass notes from the same opera“Ah! mes amis, quel jour de fête!” an example of very high tenor notes, from Donizetti’s La fille du régiment“Casta diva,” an example of bel canto style of singing, from Bellini’s Norma“Bella figlia dell’amore,” an example of ensemble singing from Verdi’s RigolettoThe infamous Tristan chord from the prelude to Wagner’s Tristan and Isolde (and here is the resolution of the chord, hours later)For a taste of contemporary opera's eclecticism, here are three examples:
This week we have soprano Maria Lacey on the podcast for our second installment of Bare Opera Week! Maria is a wonderful musician and a delightful human being. We talk Bare Opera’s Poppea, balancing the line between student and professional, and our mutual love for musical theater. Come see Maria rock the stage as … Continue reading Episode #104: Doing the Work with Maria Lacey →
Doing the Work is back! This week we have Laetitia Ruccolo on the podcast! Laetitia is the Music Director of Bare Opera and is currently working on their production of Montiverdi’s L’incoronazione di Poppea that opens this weekend at The Blue Building in Manhattan. You have to see this show! Politics, violence, and gratuitous … Continue reading Episode #103: Doing the Work with Laetitia Ruccolo →
Het openbare operatheater ontstond in Venetië. Marco Rosa Silva leidt Chazia Mourali en Willem Bruls rond door een van de eerste operahuizen, het Palazzo Grimani, dat gebouwd is in de 15e eeuw. Il Coronazione di Poppea van Claudio Monteverdi ging er in premie?re. Was de opera voorheen alleen toegankelijk voor de hoogste sociale klasse, nu kon iedereen een kaartje kopen. Ook bewerkingen voor o.a. blokfluit van partituren van succesvolle aria’s waren er te koop. Zo hield je thuis de herinnering aan je operabezoek levend. Regie: Aletta Becker | Sound-design: Huibert Boon
Es war keine gewöhnliche Operninszenierung, die am 12. August in Salzburg Premiere hatte: In Monteverdis "L'incoronazione di Poppea" ließ der Regisseur Jan Lauwers nicht nur Sänger, sondern auch Tänzer auf der Bühne agieren - in einer Art Körper-Kommentar zum musikalischen Geschehen. Annika Täuschel hat den Abend erlebt.
Machtgier, Wollust, ein erzwungener Selbstmord - in Claudio Monteverdis "Krönung der Poppea" geht es düster zu. Für die Neuinszenierung bei den Salzburger Festspielen arbeitet Regisseur Jan Lauwers eng mit Tänzern zusammen. Warum, und wie die Sänger damit zurecht kommen, erfahren Sie im Vorbericht von Peter Arp.
Bernhard Neuhoff berichtet vom Konzert des Pianisten Grigori Sokolov, das von enormen Regenmassen beeinträchtigt wurde. Außerdem zu Gast im Studio: die Mezzosopranistin Sonya Yoncheva. Sie ist bei den diesjährigen Salzburger Festspielen in der Titelpartie von Monteverdis Opera musicale "L'incoronazione di Poppea" zu erleben.
Annalisa mentions Suzuki training for string players.Interlochen Center for the Arts is an arts education organization in northwest Michigan. www.interlochen.orgThe viola da gamba is the instrument Annalisa plays.Annalisa’s ensemble is the Catacoustic Consort.The OED is the Oxford English Dictionary.Catacoustic Consort includes Elizabeth Motter (baroque harp), Melissa Harvey (soprano), Joanna Blendulf (viola da gamba), David Walker (theorbo), and Michael Leopold (theorbo).The term Early Music refers roughly to art music of the 16th to 18th centuries.Catacoustic premiered the opera “La Fete du Ruel” by Marc-Antoine Charpentier on June 4, 2016.Cincinnati Opera presented “La Calisto” as part of its 2014 season and will present Monteverdi’s “The Coronation of Poppea” in 2018.Annalisa mentioned two composers whose operas she’d like to produce: Jean-Philippe Rameau and Francesca Caccini.Evans mentioned two others: Lully and Grétry.The recording Annalisa mentions is titled Lamentarium; it’s by the group Atalante. http://www.atalante.co.uk/lamentarium.htmThe video associated with the album is available here.The book by Alison Crum that Annalisa refers to is titled The Viol Rules. Here’s a link: https://www.amazon.com/Viol-Rules-Alison-Crum/dp/0952822040The restaurant O Pie O is located on Madison Road in Cincinnati. www.opieo.comCory Henry is a jazz and gospel organist. Learn more at www.coryhenry.com.Annalisa mentions the instruments pardessus de viole and lirone.
Special guest Jessica Kerr asks: What if we could understand the words? Learn More Jessica on Twitter and LinkedIn The Origins of Opera and the Future of Programming Florentine Camerata Sanctus - Benedictus - Osanna II from Palestrina’s Missa Tu es Petrus Pur ti miro, pur ti godo from Monteverdi’s L’incoronazione di Poppea ExpertInEarshot More Agile in 3 Minutes Episode List | The Book Discuss Twitter | Facebook | agilein3minut.es Subscribe iTunes | Stitcher | Spotify | YouTube | RSS | Email Support Patreon | PayPal
Join highly acclaimed mezzo soprano and new ENO Board Member, Sally Burges, as she shares the highlights of her career. Hosted by Opera Critic & Journalist, George Hall. Please note musical extracts have been removed from this recording. Habanera. Carmen, Bizet https://www.youtube.com/watch?v=kBBxAWxIaUM How Long Has This, Gershwin https://www.youtube.com/watch?v=WwlX5krZpSQ Addio Roma. Coronation of Poppea, Monteverdi https://www.youtube.com/watch?v=0y-etj4isq4 “An Evening with…” is one of a number of events available exclusively to ENO Friends. To find out more about Friends events, please visit www.eno.org/eno-supporters-events.
Regisseurin Eva-Maria Höckmayr bringt mit ihrer "Incoronazione di Poppea" ein Spiel um Macht, Ego und Sex auf die Bühne. Kritikerin Annika Täuschel erlebte bei der Premierenvorstellung am 9. Dezember an der Berliner Staatsoper einen Opernabend von Weltklasse.
Some of our episodes talk about a conductor’s journey as a musician, or their philosophical understanding of the nature of choral music. Some episodes are pure toolkits: here’s what you need to solve your problems. This episode has the rare distinction of being both. Dr. Kronauer and Ryan cover the “hows” of directing teenage male voices, as well as the “whys” behind them. You’re going to want to listen to this one twice. Listen: Highlight to Tweet: “Living rigidly is not the game. The game is finding elasticity.” - Steven Kronauer Show Notes: Try thinking less in terms of “blend,” and more in terms of “agreement.” For the teenage male singer, it’s important to reassure them that change is a part of life. Whatever they are working with (or through) will be fine. When dealing with limited range, you need to offer patience and guidance. Provide a model. Avoiding “compensation,” or reaching for a pitch. (“that giraffe thing” - Ryan Guth) Posture and alignment are always important, but especially so for teenage boys. Accept and love this period of life where you’re going through change! Falsetto is huge. HUGE. Sing into a straw in a cup of water, so that the sound is focused at the front of the bubbles. It helps practice constant airflow. Hum with the tongue between the lips, concentrating on the vibration of the vocal folds while letting go of tensions. “You learn to sing by singing.” Place your singers according to what will be healthy for them. Bio: DR. STEVEN KRONAUER, a highly experienced voice teacher, tenor, and conductor, is the conductor of Los Angeles Children’s Chorus’ Young Men’s Ensemble, comprised of young men with changing voices. After completing two Master’s degrees at the University of Michigan, one in Voice Performance and the other in Choral Conducting, Dr. Kronauer began his professional career in the chorus of the Bavarian State Opera in Munich, Germany, as its youngest member ever. During his ten-year engagement, he had the privilege of meeting and studying with many noted singers of the highest echelon, including world famous Verdi tenor Dennis O’Neill and Wagnerian baritone Donald MacIntyre. Dr. Kronauer was employed as a soloist with the Bavarian State Opera for television broadcasts, CD recordings, and live radio performances, appearing with Renee Fleming, Kurt Moll, and many others, in secondary tenor roles. Dr. Kronauer performed the role of Smy in a world premiere of the German opera Peter Pan, by Willfried Hiller, directed by the world famous stage director August Everding. This performance was recorded at the Prinz-Regenten Theatre in Munich, Germany, and distributed by Deutche Gramaphone. Dr. Kronauer has studied oratorio with the finest of the field, including Ernst Haefliger and Peter Schreier, in Germany (while being a guest observer as a conductor at the Deutche Stats Oper in Berlin, Germany). He also studied with tenor John McCollum in the United States. Since then, he established a career in Europe singing oratorio under such noted conductors as Karl Anton Richenbacher and Peter Schneider. Additionally, Dr. Kronauer has sung as a soloist at the Cologne Philharmonic, and with the Munich Philharmonic in Germany. He has sung more than 100 performances of Carmina Burana, internationally. Dr. Kronauer’s interest in opera conducting was enhanced upon becoming acquainted with Zubin Mehta and Wolfgang Sawalisch at the Munich Opera. Dr. Kronauer is a soloist with many organizations since his return from Europe, including a frequent guest with the Angeles Chorale and the National Children’s Chorus, here in Los Angeles. Dr. Kronauer completed his doctorate degree at the University of California, Los Angeles in choral conducting and operatic conducting under the direction of Donald Neuen and William Vendice, respectively. He has worked with Donald Neuen as an assistant conductor with the UCLA Chorale and with Maestro Vendice as the assistant conductor of the UCLA Opera. Previously, The University of Michigan offered Dr. Kronauer the opportunity of completing two Masters Degrees in Vocal Performance (under Lorna Haywood and John McCollum) and Choral Conducting (under Theodore Morrison). There, he was the Assistant Conductor for Jerry Blackstone and the University of Michigan Men’s Glee Club. He has also led a choral workshop at the University of Munich. Dr. Kronauer’s expertise focused on performance practice of American and British chorale music. While in Munich he formed The Munich Opera Chamber Chorus, which sang some of the great chamber music of the Germanic tradition, including the complete Liebeslieder waltzes. Dr. Kronauer has taught on the voice faculty of the Interlochen Arts Camp and at the University of California, Irvine. He also had the honor of presenting a lecture to the National Association of Teacher’s of Singing on the “Dos and Don’ts of Starting a Singing Career in Germany.” Dr. Kronauer taught for three years as a member of the voice faculty, and the music director of the opera program at California State University, Los Angeles, conducting fully staged performances of Hansel and Gretel by Humperdinck and L’incornatione di Poppea, by Monteverdi. Dr. Kronauer was the Acting Chair of the voice department of the University of California, Santa Barbara for two years and the director of opera activities producing. Currently Dr. Kronauer has a busy private voice studio and is on the faculty of California State University, Long Beach at the Bob Cole Conservatory of Music teaching voice and German diction. Resources/links Mentioned: LA Children’s Chorus Vocal Wisdom Choir Nation group on Facebook Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)
Christina and Thierry chat to Tyran Parke about directing Lyric Opera’s production of The Coronation of Poppea, on from July 15-22 at Chapel off Chapel (12 Little Chapel St, Prahran).See omnystudio.com/listener for privacy information.
Die Stimme für Erfolg - Der stimmige Podcast mit Beatrice Fischer-Stracke
Mezzosopran/Alt, Lied, Konzert, Oper: barocke und zeitgenössische Musik; experimentelles Musiktheater (Mathis Nitschke). Eigene Konzertreihe: kunst.salon auf wanderschaft (zusammen mit Monika Lichtenegger und Michel Watzinger): Musik und Literatur verbinden, neue Interpretationen und Kompositionen anregen. Mitglied der Gruppe 3Gesang (mit Ruth Geiersberger, Performance, und Georg Glasl, Zither): Verbindung von zeitgenössischer und bayr. Volksmusik Dozentin für Ariengestaltung am Masterstudiengang Musiktheater an der August -Everding-Akademie, München. Stimmbildnerin beim Münchner Mädchenchor Nach der Musikhochschule München nahm sie Engagements an verschiedenen Opernhäusern an, widmete sich aber auch gleichermaßen dem Konzert- und Liedgesang. Die Mezzosopranistin arbeitete mit Dirigenten wie Enoch zu Guttenberg, Helmuth Rilling, Armin Jordan, Alicja Mounk, Paul Goodwin und Constantinos Carydis und war Gast u.a. beim Rheingau-Musikfestival, den Internationalen Festwochen in Stuttgart, dem Osterklang Wien und dem International Festival of Music in Bath/England. Martina Koppelstetter ist eine gefragte Interpretin für zeitgenössische Musik. Sie war wiederholt Gast bei der Münchener Biennale für modernes Musiktheater und trat bei Konzerten der Reihe „das neue werk“ des NDR in Hamburg, beim A.Devantgart-Festival und bei „musica viva“ des BR in München auf, sowie bei den Tagen für Neue Musik in Darmstadt und Witten. Sie gastierte am Stadttheater Klagenfurt, Theater Ulm, Tiroler Landestheater und am Staatstheater am Gärtnerplatz, München, dem Sie von 2003 bis 2007 als Ensemblemitglied angehörte. Dort war sie u.a. als Dorabella, Hänsel, Suzuki, Orlofsky, Nancy und Frau Reich zu hören und arbeitete mit Regisseuren wie Claus Guth, Doris Dörrie und Katharina Wagner. In der Saison 2012/13 debutierte Martina Koppelstetter an der Opéra National de Montpellier mit „What next?“ von E. Carter und „Jetzt“ von Mathis Nitschke, sowie als „Fili“ in Händels „Acis and Galatea“ am Théâtre des Champs-Élysées, Paris, und dem Theater an der Wien. Im Sommer 2015 u.a. erarbeitete sie mit Mathis Nitschke dessen interaktive Kurzoper im öffentlichen Raum „Viola“ in der Titelrolle, im Rahmen des Festivals „pasing by“ in München. Eine Fortsetzung dieses Aufsehen erregenden Konzeptes bildete „Katharina“ im September 2016 im Rahmen von „München dezentral“. (katharina.mathis-nitschke.com). 2017 wird sie in nun die „Maya“ im gleichnamigen Werk des Komponisten verkörpern. Eine enge Zusammenarbeit verbindet die Künstlerin auch mit dem Ensemble für Alte und Neue Musik Così facciamo. Hier war sie als Herzog Polinesso in Händels „Ariodante“ und als Sorceress in „Dido & Aeneas“ von H. Purcell zu hören sowie als Messagiera und Proserpina in „L'Orfeo“ und als Ottavia in „L'incoronazione di Poppea“ von C. Monteverdi. Mit dieser Partie war sie zuletzt 2016 u.a. im Münchener Cuvilliéstheater zu erleben. Zu ihren Einspielungen zählen die „Petite Messe Solennelle“ von Gioacchino Rossini, die „h-moll-Messe“ von Bach, „Der kleine blaue Bergsee“ und „Peter Pan“ von Wilfried Hiller (Deutsche Grammophon) und eine Reihe von Liedaufnahmen mit Werken von R. Schumann, B. Britten, R. Spring und J. Sibelius beim HR und BR. Martina Koppelstetter arbeitet als Gesangspädagogin u.a. beim Münchner Mädchenchor und hat eine Dozentur für Ariengestaltung im Masterstudiengang Musiktheater an der Bayerischen Theaterakademie inne. Buchempfehlung: „Strudlhofstiege“ von Heimito von Dodoerer „Alles hat seine Zeit“ Ole Knausgard „Warum ich fühle, was du fühlst“ Joachim Bauer Kontakt: www.koppelstetter.com
Mit "L'incoronazione di Poppea" um Kaiser Nero und seine Geliebte schuf Monteverdi den Prototyp aller späteren Opern: Machtgier, Eifersucht, Intrige und Mord - und über allem schwebt die Sehnsucht nach Liebe. Das Münchner Ensemble cosi facciamo hat das Werk erarbeitet und stellt es im Münchner Cuvilliés Theater vor.
We’re excited to share our new subseries, MusicWorks! It’s a show where you’ll learn about what classical music is doing in the world right now. You’ll hear inspiring artist stories, plus we’ll go into the sometimes unexpected places we’ve discovered classical music thriving while we’ve been learning about it on the Classical Classroom. We hope you dig it! In our first MusicWorks episode, soprano Sonya Yoncheva tells the story of how she happened upon her passion – singing opera – by being true to herself (and listening to her mother) and by practicing her buns off. This put her in a position to be ready when she got that call from the Met to fill in at the last moment. And the rest, as they say, is in the podcast. Soprano Sonya Yoncheva. Photo © Ruven Afanador. Courtesy of Ms. Yoncheva’s website. Audio production by Todd “Totally” Hulslander with awesomeness by Dacia Clay. Music in this episode: Giacomo Puccini: La Boheme – Donde lieta usci Charles Lecocq: Les Cent Vierges, Act III, No. 10 Je soupire et maudis le destin Giuseppe Verdi: La Traviata – Sempre libera Claudio Monteverdi: L’incoronazione di Poppea – “Pur ti Miro” (Sonya Yoncheva & Max Emanuel Cencic) W. A. Mozart: Il Re Pastore – “L’Amero saro costante” (Sonya Yoncheva & Marc Minkowski) Charles Gounod – Faust Final Trio – Anges Purs – Sonya Yoncheva, Joseph Calleja & Bryn Terfel For more about Sonya Yoncheva and her new CD, Paris, mon amour www.sonyayoncheva.com Learn about composer George Heathco’s piece, “ReGifting Lions”, part of our MusicWorks intro, and oh-so-much more about him at www.georgeheathcomusic.com.
In this episode of Music For Life, Music From DePauw...Click to visit 21cm.orgwith this year's opera production right around the corner, we hear from associate director Kerry Jennings and music director Orcenith Smith about producing Monteverdi's "The Coronation of Poppea," and Anna Gatdula chats with some of the cast members about the story of the opera...Hannah Gauthier interviews sophomore music student Drew Casey about his Winter Term experience conducting in London...and I talk with Elleka Okerstrom and Steven Linville about the unveiling of exciting new web site, 21cm.org, that we've developed to bring the 21st Century Musician ideas to the rest of the world! SOURCES From the 1996 Archiv Produktion CD of John Eliot Gardiner's realization of Monteverdi's L'incoronazione di Poppea, here's the beginning of the opera, the Sinfonia and Prologue.Also from the Gardiner Monteverdi CD, here is Scene 1 of the opera, the Ritornello "E pur'io torno qui, qual linea al centro."From the string chamber music recital of December 10th, 2014, here are violinists Lindsey Sullivan and Allison Emata, violist Tyler Huff, and cellist Peter Lockman performing the first movement, Un poco andante - Allegro molto ed agitato, from String Quartet No. 1 in G minor, Op. 27, by Edvard Grieg.From the Student Recital Hour of Wednesday, December 10, 2014,pianist Shiyu Su performs the third movement, Allegro ma non troppo, from the Piano Sonata no. 23, op. 57, by Ludwig van Beethoven.
Dr Anthony Pryer (Goldsmiths College, London) introduces Monteverdi's operatic masterpiece, L'incoronazione di Poppea.Recorded live at the Barbican Centre, London.
Lammermuir Festival presents opera for the first time this year in collaboration with Ryedale Festival Opera. We talk to Christopher Glynn, Artistic Director of the Ryedale Festival about this new production and new translation of Monteverdi's Coronation of Poppea: a gripping tale of lust, power, ambition and betrayal in imperial Rome. The opera will be performed at The Lammermuir Festival this year on Saturday 13 September at 7.00 pm at the Brunton Theatre in Musselburgh with the Ryedale Festival Opera, Eboracum Baroque and conductor Christopher Glynn. Visit www.lammermuirfestival.co.uk for more details and tickets. Music featured in this podcast: "Pur ti miro" with Sylvia McNair, Dana Hanchard, and English Baroque Solosit and John Eliot Gardiner "Prologue: Sinfonia" with City of London Baroque Sinfonia and Richard Hickox Coronation of Poppea photo from Ryedale Festival Opera: Emma Lambe
Tess Knighton with a personal recommendation from recordings of Monteverdi's opera L'incoronazione di Poppea
Join us as we air the 2012 August Musicales Recital of soprano Lisa Edwards-Burrs at Grace Covenant Presbyterian Church, Richmond, VA. She is accompanied by pianist Michael Simpson. Purcell-Music for A While, Hahn-A Chloris,Debussy-Fantoches, Bachelet-Chere Nuit, Richard Strauss-Zueignung, Schlagende Herzen and Befreit, Puccini-O mio babbino caro, Previn-I Can Smell the Sea Air, Charles Ingram-Weep No More You Sad Fountains, Dream Valley & Little Lamb, Dett-Ride On, King Jesus, Michael Simpson-Deep River, Charles Lloyd-Ain't A that-a Good News, Flanders/Swann-A Word on My Ear ENCORE: Work-This Little Light of Mine Lisa Edwards-Burrs, who has been described as “a soprano of crystalline beauty”,received degrees in Vocal Performance from Virginia Commonwealth University in Richmond, Virginia (B.M. and M.M.) and The Catholic University of America in Washington, D.C. (D.M.A.). An accomplished lyric-coloratura soprano, her performances in recital, oratorio and chamber music are extensive. Her operatic roles include:Athena in The Furies, Ola/Harriet Tubman in Vanqui, Blanche in Dialogues of the Carmelites, Monica in The Medium, Despina in Così fan tutti, Treemonisha in Treemonisha, Adina in L’elisir d’amore and Poppea in L’incoronazione di Poppea.
Synopsis With the TARDIS stuck at the bottom of a cliff, the four time travellers have ingratiated themselves into an unoccupied Roman villa. The owner, Flavius Giscard is away campaigning in Gaul. As the Doctor and Ian recline, Barbara and Vicki walk to the nearby Roman village. At the market they are spotted by two slave traders, Didius and Sevcheria. When they return to the villa the Doctor announces that he is off to Rome, some miles away, and will travel there with Vicki. Later that evening Barbara and Ian, now alone, are relaxing when the two slavers burst in upon them. They are soon overpowered and taken prisoner. Ian is sold to one slave owner, while Barbara is to be traded with another and sent to Rome. The Doctor and Vicki are en route for Rome when they find the murdered body of a lyre player named Maximus Pettulian. The Doctor is holding the man's lyre when a Centurion arrives and mistakes him for the dead man who is late for an engagement in Rome. The Centurion thus accompanies them to Assysium. Once stationed at an inn there, the Centurion makes contact with the mute assassin Ascaris, who killed the real Pettulian, and instructs him to kill the Doctor. The assassin draws his sword and heads off to the Doctor's chambers. The Doctor overpowers the assassin and, along with Vicki, drives him away through an open window. It seems the Centurion has fled, and the Doctor concludes the soldier was in league with the assassin. He decides to maintain his alias as Pettulian and head onward to the city of Rome. Barbara is meanwhile already in the city and is soon sold in open auction for 10,000 sesterces to a man named Tavius, who is highly placed in the court of the Emperor Nero. She is to be a handmaiden to Nero's wife, Poppaea. Tavius is a kindly man but warns that if she tries to escape her slavery that she will be killed. The Doctor and Vicki arrive at Nero's court too and encounter Tavius, who seems to imply to the Doctor that Pettulian is part of a secret network in which he is also a player. Further discussion is interrupted by the arrival of Nero himself, a laughable excuse for a leader who seems arrogant, vain and selfish. The Doctor cleverly avoids an extended lyre concert and then have the freedom of the court. On one walk around they find the body of the Centurion who imperilled them earlier. Ian has been confined to a galley in the Mediterranean but the craft soon runs into rough seas and is broken up. He is washed to the nearby shore and there is found by another survivor of the galley, Delos, who has saved his life and removes the last of his chains. They agree to head for Rome in search of Barbara. When they reach there, however, they are captured by some centurions. Taken to the arena they are set to be trained as gladiators – and their first opponents will be the lions. It becomes apparent to the Doctor that Tavius had the Centurion murdered and that he too is expected to fulfil some sort of action. Nero decides the Doctor must fulfil an obligation too, and organises a banquet in his honour at which he must play the lyre. He also takes a shine to Barbara and starts to pursue her romantically – and literally – much to the anger of Empress Poppea, who decides to have her poisoned at the Pettulian banquet. Barbara has just left the banquet chamber when the Doctor arrives there, warning the Emperor that he has learnt his wine could be poisoned. It has been, as part of Poppea's plan. The Doctor is soon put to perform centre stage and picks up his lyre with the warning that only those with the most sensitive and perceptive hearing will be able to discern its subtle melody. He then creates absolutely no sound but has created a climate in which no-one wishes to make themselves out to be philistines by not appreciating the music. Nero is not convinced, however, and in private fumes against the deception. He decides to have Pettulian fed to the lions. Meanwhile, at the arena itself Ian and Delos have been trained as gladiators and are set to fight each other. With Nero watching them they are told to battle to the death. Delos and Ian decide to fight their way out of the arena instead, and Ian is able to shout to the watching Barbara that he will be back to rescue her before he and Delos flee. The Emperor calls off his soldiers when it becomes clear they cannot be caught, planning to have him killed when he returns to rescue Barbara. A crowd of soldiers are arranged at the palace. The Doctor has meanwhile found the architectural plans for Nero's new Rome, and deduces that since the year is 64 AD that the Emperor is planning to destroy the city. Tavius arrives and warns the Doctor that the Emperor is planning to kill him too, advising him to fulfil his mission and kill Nero soon. It seems that Pettulian was an assassin all along. The Doctor and Vicki decide to leave quickly but before departing accidentally set fire to Nero's architectural plans. The Emperor notices this and decides to burn down the city, thanking the Doctor and deciding after all to spare his life. A rabble are bribed into starting the blaze and while anarchy rages Ian is helped into the palace by Tavius, who reunites him with Barbara. Under Tavius' eye the two are allowed to escape and make their way from Rome and back to the villa. Delos helps them get clear of the palace, parting from his friend Ian. The Doctor and Vicki also escape the city, watching it burn from a nearby hill. By the time the Doctor and Vicki return to the villa, Ian and Barbara have spruced themselves up, and the Doctor mistakenly assumes that they have not even left the villa. All four leave in the TARDIS but have barely begun to travel when a strange force starts dragging the ship to an unknown location.
Inleiding op L'incoronazione di Poppea door Chris Engeler. Ter gelegenheid van de Monteverdi-cyclus zijn twee boeken verschenen. Een met alle libretti van de drie opera’s van Monteverdi en de tekst van Madrigalen. Dit boek kost EUR 10,-. In het andere boek, met de titel ‘I dolci accenti’ (een citaat uit de proloog van L’Orfeo) staan aanvullende artikelen over Claudio Monteverdi en het onstaan van de kunstvorm opera, en over de vier producties. Dit boek kost EUR 14,-. De boeken zijn verkrijgbaar in Het Muziektheater en te bestellen via www.dno.nl.
asset title: Episode 2: Narrating in the past - passato remoto filename: ra_02.mp3 track number: 2/22 time: 11:58 size: 7.02 MB bitrate: 80 kbps Today's episode, 'Great Caesar's Ghost,' will help you understand the passato remoto: a simple, one-word, past tense that, just like the passato prossimo, is used to report completed actions or changes in states in the past. While the passato prossimo is used for the 'recent' past, the passato remoto is used to talk about actions that took place in a relatively distant, or 'remote' past. In contemporary Italian, the passato remoto has become a literary tense. You will find it in fairy tales, short stories, and novels -- and also describing historical events in non-fiction biographies, histories and encyclopedia articles. Let's listen as Arlecchina and Colombina talk to the coliseum cats, the ghosts of Roman emperors! DialogItalianArlecchina parla con il Gatto Giulio CesareArlecchina: È vero che tu conquistasti anche la Gallia?Gatto Giulio Cesare: Certamente, pochi anni dopo mi spinsi anche fino al Tamígi. Fui un generale valoroso ed il senato romano mi nominò prima console e dopo dittatore.Arlecchina: Mamma mia, che interessante! Come fu la tua vita privata?Gatto Giulio Cesare: Ebbi una moglie e mi legai anche a Cleopatra, la bellissima regina d'Egitto.Arlecchina: Beh, tu fosti un uomo molto fortunato.Gatto Giulio Cesare: Sinceramente no. Il mio figlio adottivo Bruto mi pugnalò a morte e mia moglie non pianse molto per la mia scomparsa. E io non ho mai imparato a camminare all'egiziana!Il Gatto Marco Aurelio rivolge la parola ad ArlecchinaGatto Marco Aurelio: Io fui l'imperatore Marco Aurelio. Non mi credi? In effetti, non ci credette neanche l'ultimo a cui ho parlato. Arlecchina: Beh, se un gatto può parlare può pure essere un imperatore. E se sei davvero Marco Aurelio, so che la tua statua di bronzo scampò alla distruzione perchè i papi pensavano che fosse Costantino, il primo imperatore cristiano.Gatto Marco Aurelio: Non posso dire che mi dispiacque. E fui molto orgoglioso quando Michelangelo decise di metterla in cima al Campidoglio. Arlecchina: Ma facesti anche dei film, non è vero? Ti vidi molto tempo fa in uno chiamato Il Gladiatore.Gatto Marco Aurelio: Ma quello non ero io, bensì un attore... io, io regnai per quasi vent'anni e morii nel 180 dopo Cristo. Mio figlio Commodo non mi uccise mica.Arlecchina: Oh, 'la morte sorride a tutti; un uomo non può far altro che sorriderle di rimando'.Gatto Marco Aurelio: Bella la tua frase... Non avrei potuto esprimermi meglio io stesso. Arlecchina: Lo disse una volta un mio amico filosofo...Colombina parla con il Gatto NeroneColombina: È vero che Lei fece cose orribili?Gatto Nerone: Tutte fandonie! Fui un grande artista incompreso.Colombina: Si dice che Lei uccise anche sua madre Agrippina.Gatto Nerone: Quella fu una idea della mia seconda moglie, Poppea. Io prima le dissi di si, per farla stare tranquilla, poi mi dimenticai di dare il contrordine...Colombina: Allora sua madre morì per sbaglio?Gatto Nerone: In un certo senso. Ero cosi occupato con la memorizzazione dei versi della mia nuova tragedia, che mi passò di mente ed il sicario scelto da Poppea, fece a pezzi la mia dolce mammina! Povera mamma! Senti, non avresti per caso un cerino?EnglishArlecchina speaks with Julius Caesar the catArlecchina: Is it true that you even conquered Gaul?Julius Caesar the Cat: Certainly, and a few years later I drove on as far as the Thames. I was a valiant general and the Roman senate named me first Consul and later Dictator.Arlecchina: Gracious, how interesting. What about your private life?Julius Caesar the Cat: I had a wife and I was also linked with Cleopatra, the incredibly beautiful queen of Egypt. Arlecchina: My, you were a very lucky man.Julius Caesar the Cat: Frankly, I wasn't, really. My adopted son Brutus stabbed me to death and my wife shed few tears over my death. And I have never learned to walk like an Egyptian!.Marcus Aurelius the Cat addresses ArlecchinaMarcus Aurelius the Cat: I was the emperor Marcus Aurelius. You don't believe me? In fact the last person I talked to didn't believe me either.Arlecchina: Well, if a cat can talk then what's to keep him from being an emperor? And if you are really Marcus Aurelius, I know that your bronze statue escaped destruction because the popes thought it was Constantine, the first Christian emperor.Marcus Aurelius the Cat: I cannot say that I was displeased. And I was quite proud when Michelangelo decided to place it at the top of the Capitoline.Arlecchina: Now you made some movies, too, didn't you? I saw you once a long time ago in one called The Gladiator.Marcus Aurelius the Cat: That wasn't me, but an actor... me, I reigned for almost twenty years and I died in 180 A.D. My son Commodus didn't really kill me.Arlecchina: Oh, 'Death smiles at everyone; all a man can do is smile back at her.'Marcus Aurelius the Cat: What a fine turn of phrase! I couldn't have said it better myself.Arlecchina: A good philosopher friend of mine said it.Colombina speaks with Nero the CatColombina: Is it true that you did horrible things?Nero the Cat: All fibs! I was a great misunderstood artist.Colombina: They say that you killed even your mother Agrippina.Nero the Cat: That was an idea of my second wife, Poppea. At first I told her yes, just to keep her satisfied, then I forgot to issue the countermand.Colombina: So your mother died by mistake?Nero the Cat: In a manner of speaking. I was so busy memorizing the verses of my new tragedy, that it slipped my mind and the killer Poppea had hired tore my sweet mummy to pieces. Poor mummy! Say, you wouldn't have a match on you, would you?
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