Podcasts about puccini

Ayako Ohtake, a Sydney-based Japanese soprano singer, hosts monthly music segment called VIVA! Opera for SBS Japanese. For this episode, Ms Ohtake picked 'Nessun dorma' from 'Tosca' composed by G. Puccini. - 開催中のミラノ・コルティナ冬季五輪。オペラ音楽とスポーツ、といえば相性が良いのがフィギュアスケートです。冬季五輪といえば、そしてイタリアオペラといえばこれ、という一曲「誰も寝てはならぬ」を取り上げました。

Un percorso tra palcoscenico, studio e insegnamento racconta come l'opera possa ancora parlare al presente, tra disciplina vocale, esperienza corale e una visione contemporanea della formazione artistica Laura Delogu incarna un'idea di canto lirico che supera l'immagine statica dell'opera e la restituisce come esperienza teatrale viva, fatta di studio, corpo, emozione e racconto. Il suo percorso attraversa formazione accademica, palcoscenico e didattica, mantenendo al centro una visione umana e concreta del lavoro artistico. Formazione e consapevolezza stilistica Dopo il diploma in Conservatorio, Laura Delogu ha consolidato la propria identità artistica attraverso l'Accademia Verdiana, corso di avvio alla carriera per giovani cantanti lirici promosso dal Teatro Regio di Parma. Un'esperienza intensa, selettiva e strutturata, che ha unito perfezionamento tecnico e pratica scenica. Il lavoro sul repertorio verdiano ha rafforzato una consapevolezza filologica fondamentale, permettendo di interpretare la musica nel rispetto del contesto storico e delle intenzioni compositive. Questa attenzione allo stile diventa, sul palco, sicurezza interpretativa e precisione narrativa. Opera come teatro totale Nel percorso di Laura Delogu, l'opera non è mai solo canto. È teatro, costruzione del personaggio, analisi del libretto e immersione emotiva. Ogni ruolo richiede uno studio minuzioso che coinvolge musica, parola e gesto scenico. Cambiare registro e adattarsi a linguaggi diversi non è un esercizio di versatilità fine a sé stesso, ma una necessità drammaturgica. L'opera diventa così un “film interiore” che prende forma attraverso la voce e il corpo, sempre in dialogo con la regia e l'ensemble. Il lavoro corale e la dimensione collettiva Accanto all'attività solistica, Laura Delogu ha maturato una lunga esperienza come corista in svariate stagioni liriche. Il coro, spesso percepito come un blocco unico, è in realtà un organismo complesso che richiede ascolto costante, rispetto reciproco e disciplina. Qui si impara il valore del lavoro di squadra e della responsabilità individuale all'interno di un progetto collettivo. Competenze che restano centrali anche nel lavoro solistico, perché l'opera è sempre un'arte condivisa. Dal palcoscenico all'insegnamento L'attività didattica rappresenta per Laura Delogu una naturale estensione del percorso artistico. Insegnare canto significa trasmettere tecnica, ma anche consapevolezza corporea e benessere mentale. Il canto coinvolge l'intero corpo e richiede equilibrio fisico ed emotivo. La lezione diventa uno spazio serio ma non giudicante, dove l'errore è parte del processo e la crescita nasce dalla fiducia. L'obiettivo non è promettere scorciatoie, ma costruire basi solide attraverso lavoro personale e costanza. Opera e presente: un dialogo possibile L'idea che l'opera sia distante dal presente viene spesso smentita dalla sua stessa materia narrativa. Le storie liriche parlano di passioni, conflitti e desideri archetipici, gli stessi che animano cinema e serie contemporanee. Per Laura il nodo non è l'attualità dell'opera, ma l'educazione all'ascolto. Avvicinarsi gradualmente, partendo dai titoli più noti come Turandot di Puccini, aiuta a riconoscere temi e motivi familiari. Una vocazione costruita nel tempo Il percorso di Laura Delogu dimostra come la vocazione artistica possa maturare anche fuori dai tempi canonici. La scelta di dedicarsi pienamente al canto è arrivata dopo altre strade, ma non per questo è stata meno radicale. Tra sacrifici, studio e palco, l'opera resta un luogo di trasformazione, capace di donare emozioni autentiche a chi ascolta. Un'arte viva, che continua a parlare al presente.

A cura di Paolo PellegriniGiacomo Puccini, ToscaFloria Tosca, Maria CallasMario Cavaradossi, Renato CioniIl Barone Scarpia, Tito GobbiCesare Angelotti, Victor GodfreyIl Sagrestano, Eric GarrettSpoletta, Robert BowmanSciarrone, Dennis WicksUn carceriere, Edgar BonifaceUn pastorello, David SellarCoro e Orchestra del Royal Opera House, Covent GardenCarlo Felice Cillario, direttore

Tune in as Barra unpacks all things Superbowl - what colour Gatorade will be poured over the winning coach. Plus - the latest on the Winter Olympics. Barra has all the goss. See omnystudio.com/listener for privacy information.

Nanine Linning is choreograaf. Ze combineert dans, opera, muziek en andere kunstdisciplines in visueel rijke voorstellingen. In 2010 maakte ze haar debuut als operaregisseur met Puccini's ‘Madama Butterfly'. Ook regisseerde ze ‘Requiem', waarvoor ze in 2015 een Swiss Dance Award in ontvangst mocht nemen. Sinds vorig jaar is ze artistiek directeur van Scapino Ballet Rotterdam. Nu tourt ze met ‘Anima Obscura', haar eerste productie voor Scapino. De multimediale performance gaat over het verlangen naar onsterfelijkheid. Linning neemt ons mee op een emotionele reis, van de mysterieuze praktijken van alchemisten tot hedendaagse experimenten van biohackers. Femke van der Laan gaat met Nanine Linning in gesprek

Je vous propose aujourd'hui la deuxième partie de mon entretien avec le pianiste François René Duchable, enregistrée en septembre dernier. Je vous conseille vivement d'écouter la première partie avant celle-ci, mais c'est aussi possible de commencer directement ici. Au moment où nous reprenons le cours de cette conversation, je viens de lui poser la question  du métier qu'il aurait aimé exercer s'il n'avait pas été musicien professionnel. Sa réponse, fuse aussitôt: Garde forestier! La suite, juste après. Bonne écoute! Vous avez entendu successivement l'air de mimi, extrait de la Bohème de Puccini et Georges Brassens, dans sa chanson intitulée “ les passantes”. Les musiques illustrant ces deux épisodes ont été choisies par mon invité, comme à l'accoutumée. ⏩Si cet épisode vous a plu:

durée : 01:29:05 - Julia Varady, une présence et un timbre inoubliables - par : Aurélie Moreau - Acclamée dès ses débuts à l'opéra en 1962, Julia Varady a chanté les rôles principaux du répertoire pour soprano, de Mozart à Verdi et Puccini, de Gounod à Bartók… Elle s'est aussi produite en concert et récital, et s'est consacrée à l'enseignement. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

A cura di Paolo PellegriniGiacomo Puccini,Madama ButterflyCio Cio San, Victoria de los ÁngelesPinkerton, John LaniganSharpless, Geraint EvansSuzuki, Barbara HowittKate Pinkerton, Joyce LivingstonGoro, David TreeIl principe Yamadori, David AllenLo zio Bonzo, Michael LangdonIl commissario imperiale, Ronald FirmagerL'ufficiale del Registro, Harry GawlerCoro e Orchestra del Covent GardenRudolf Kempe, direttore1957(LI)

The British Prime Minister Sir Keir Starmer says "good progress" was made in his meeting with Chinese President Xi Jinping of China. Our China correspondent will give us her assessment. Also on the programme: as President Trump steps up the rhetoric on Iran, what could happen if the US strikes it? And the musical director who stood in for Puccini's challenging Turandot when the star tenor suddenly fell ill. (Photo: UK Prime Minister Sir Keir Starmer shakes hands with President Xi Jinping of China ahead of a bilateral meeting at the Great Hall of the People in Beijing during his visit to China. Credit: PA)

Nell'estate del 1970, in un elegante attico nel cuore di Roma, si consuma una vicenda che scuote l'aristocrazia italiana. I protagonisti sono figure di spicco della nobiltà, immersi in un mondo di bellezza, privilegio e desideri che sfuggono al controllo.Quella sera, dietro le tende chiuse di via Puccini, qualcosa si incrina. Un equilibrio fatto di rituali privati, di passione e potere, si spezza in modo irreversibile. La stampa ne parlerà a lungo, ma ciò che resta è un silenzio sconcertante e un diario aperto su una pagina che non si potrà più chiudere.Accesso esclusivo Patreonhttps://bit.ly/3C1LnZ7Seguici su Instagram https://bit.ly/3C4megwIscriviti al canale WhatsApphttps://bit.ly/4h8B6JtQuesta è un'opera di fantasia ispirata da una storia vera. Ogni riferimento a luoghi reali, eventi o personaggi realmente esistiti è rielaborato dall'immaginazione. Gli eventi narrati sono il frutto della creatività dell'autore e qualsiasi somiglianza o discordanza con persone reali, luoghi e eventi accaduti è puramente casuale.

Jonathan Larson's Rent premiered at the New York Theatre Workshop on January 26, 1996. The modern rock-opera take on Puccini's La Boheme instantly captivated critics and audiences alike, bringing much-needed attention to the devastating AIDS crisis, inner-city class warfare, drug addition, and featuring bold and unabashed queer characters and storylines. While Larson tragically died the night before the show debuted, his masterpiece would go on to run on Broadway for 12 years, win the Pulitzer Prize for Drama and the Tony Award for Best Musical, gross hundreds of millions of dollars, and create a whole new crop of Broadway stars out of much of its original cast. This year marks the 30th anniversary of the ground-breaking show, so join the Great Pop Culture Debate as we attempt to name the Best Song from Rent. Songs discussed: “La Vie Boheme,” “Will I?” “Today 4 U,” “Out Tonight,” “Rent,” “One Song Glory,” “Goodbye Love” “What You Own,” “Take Me Or Leave Me,” “Santa Fe,” “Without You,” “Tango: Maureen,” “Seasons of Love,” “Another Day,” “Light My Candle,” “I'll Cover You”Join host Eric Rezsnyak and GPCD panelists Bob Erlenback, Curtis Creekmore, and Joelle Boedecker as they discuss and debate 16 of the most powerful songs from this modern Broadway classic.For the warm-up, in which the panel discusses every song from Rent that did NOT make the bracket, become a Patreon supporter of the podcast.To see a video version of the debate, subscribe to our page on YouTube.EPISODE CREDITS:Host: Eric RezsnyakPanelists: Bob Erlenback, Curtis Creekmore, Joelle BoedeckerEdtor: Bob ErlenbackIntro/Outro Music: "Dance to My Tune" by Marc Torch#rent #rentbroadway #rentmusical #musicals #broadway #broadwaymusicals #seasonsoflove #outtonight #lavieboheme #laboheme #idinamenzel #anthonyrapp #tayediggs #jesselmartin #adampascal #jonathanlarson #tonyaward #pulitzerprize #dramadeskSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nell'estate del 1970, in un elegante attico nel cuore di Roma, si consuma una vicenda che scuote l'aristocrazia italiana. I protagonisti sono figure di spicco della nobiltà, immersi in un mondo di bellezza, privilegio e desideri che sfuggono al controllo.Quella sera, dietro le tende chiuse di via Puccini, qualcosa si incrina. Un equilibrio fatto di rituali privati, di passione e potere, si spezza in modo irreversibile. La stampa ne parlerà a lungo, ma ciò che resta è un silenzio sconcertante e un diario aperto su una pagina che non si potrà più chiudere.Episodio completo Patreonhttps://bit.ly/3C1LnZ7Seguici su Instagram https://bit.ly/3C4megwIscriviti al canale WhatsApphttps://bit.ly/4h8B6JtQuesta è un'opera di fantasia ispirata da una storia vera. Ogni riferimento a luoghi reali, eventi o personaggi realmente esistiti è rielaborato dall'immaginazione. Gli eventi narrati sono il frutto della creatività dell'autore e qualsiasi somiglianza o discordanza con persone reali, luoghi e eventi accaduti è puramente casuale.

But plenty of plot twists, can Diane in Milton Keynes and Julia in Surrey keep calm?

Un sac à parole vient de faire son entrée ESM. Autrement dit un Kouyaté. Un sac à paroles, c'est-à-dire un griot, un diplomate, qui plus est fils de l'immense Sory Kandia Kouyaté, la voix d'or, celle de la Guinée indépendante. (Rediffusion) Le temps et les révolutions ont beau passé, Kandia (on l'appelle Kandia au village) est toujours là, son épopée mandingue toujours puissante, prête à distiller un message à nos conflits contemporains. L'héritier, le fils, Kaabi Kouyaté passe de case en case, de métropole en lieu-dit pour porter la bonne parole griotique. Il est armé pour ça : auteur, compositeur, joueur de ngoni, naviguant entre théâtre, musique traditionnelle et jazz mandingue, il vient déposer à vos pieds deux présents, Tribute to Kandia, son album hommage & le documentaire de Laurent Chevallier intitulé «La trace de Kandia». Une possibilité pour vous de suivre en son et lumière la trace du griot de Manta.   Programmation de notre invité : • Sory Kandia Kouyaté - Keme Bourema  • Kelitigui & ses tambourinis - Maderi • Enrico Macias - Enfant de tous pays • Puccini, Pavarotti - Nessim Dorma  • Kaabi Kouyate - Dari.

A cura di Paolo PellegriniGiacomo Puccini, Manon LescautManon, Licia Albanese  Des Grieux, Jussi Bjœrling  Lescaut, Robert Merrill Coro e Orchestra del Teatro dell'Opera di Roma  Jonel Perlea, direttore  

SynopsisOpera fanatics are a passionate lot. “It's an addiction,” they say. “Something to die for.” Now, if opera is an addiction, then today's date marks the birthdate of an Italian composer who might be described as the ultimate operatic gateway drug. We're talking, of course, about Giacomo Antonio Domenico Michele Secondo Maria Puccini, who was born in Lucca, in 1858. Puccini is the composer of three of the most popular operas ever written: La Bohème (in 1896), Tosca (in 1900), and Madama Butterfly (in 1904).Puccini lived and worked during the end of the 19th century and the beginning of the 20th, and his music brilliantly blended the gorgeous melodies of the 19th century Italian bel canto tradition with the raw, often brutal dramatics of the emerging verismo, or “realism” theatrics of the 20th century. Unlike 19th century operas, when time stands still while a soprano sings how happy (or miserable) she is, in Puccini's operas time always moves on, often relentlessly as the action hurls toward the, usually, unhappy ending, when the soprano dies of consumption, throws herself off a castle tower, or dies by ritual suicide with a Japanese dagger.After all, Puccini's operas really are “something to die for.”Music Played in Today's ProgramGiacomo Puccini (1858-1924): “Pinkerton's Farewell” and “The Death Of Butterfly” from Madama Butterfly; Kostelanetz Orchestra; Andre Kostelanetz, conductor; Columbia MDK 46285

In Australia, il soprano di origine calabrese Maria Teresa Leva si prepara a interpretare il ruolo di Liù nella celebre opera "Turandot" di Puccini, che andrà in scena all'Opera House di Sydney a partire dal 15 gennaio prossimo.

In this episode of Fog of Truth, Bart, John, and guest Daphne Street, an opera aficionado, discuss the documentary about Ai Weiwei's modern adaptation of Puccini's last opera, 'Turandot.' They explore Weiwei's unique interpretation, which highlights feminism and political discourse, and the challenges faced during production, including COVID-19 disruptions and Weiwei's brief incarceration. The documentary offers detailed insights into the production's visual and symbolic layers, bridging the gap between traditional opera and modern audiences. Daphne highlights Weiwei's calm and solution-oriented approach amidst obstacles, showcasing his confidence and versatility as an artist. 00:00 Introduction and Special Guest 00:37 Overview of the Documentary 01:24 Puccini's Last Opera: Turandot 03:28 I Weiwei's Unique Interpretation 04:52 The Visual Spectacle 10:21 The Impact of COVID-19 11:57 Art and Politics Intertwined 14:09 Final Thoughts and Reflections 18:42 Closing Remarks and Future Episodes  

Puccini wird in eine Kirchenmusiker-Dynastie geboren, verliert früh den Vater und geht lieber auf die Jagd nach Spatzen und Fröschen, als Orgel zu üben. Aber um Verdis neue Oper "Aida" zu hören, läuft er fünf Stunden zu Fuß.

Um einen Triumph und ein Fiasko, eine uneheliche Geburt und einen kühnen Plan geht es im zweiten Kapitel. "Arbeite und benimm dich nicht wie ein Schwein!" schreibt Puccini seinem Bruder Michele. Ein weiser Ratschlag.

Ein Hase, ein Fuchs und vier Amseln: Im dritten Kapitel erobert sich Puccini seine liebsten Jagdgründe. Und ihm gelingt der Durchbruch: "Manon". Doch bis zuletzt steht alles auf der Kippe. Deshalb erwägt er, nach Südamerika auszuwandern.

Puccini reist nach New York, wo er den größten Triumph seines Lebens feiert und in einen Grammophon-Trichter spricht. Zurück in der Heimat bahnt sich die schrecklichste Tragödie seines Lebens an.

Der Krieg hat die Welt verändert. Kann man die Zeit zurückdrehen? Wieder jung sein? Puccini würde gern, glaubt aber nicht daran. Doch an seine Figur, die grausame Prinzessin Tosca, glaubt er bedingungslos. Buchstäblich bis zum letzten Atemzug.

Puccini reist nach Wien, wo er Walzerklängen lauscht, und nach Paris, wo er Dissonanzen hört. Mit seiner Musik will er beidem Paroli bieten: den Operetten von Lehár und der Avantgarde von Strawinsky. Doch dann beginnt der Krieg.

On the December 14 edition of the Music History Today podcast, Saturday Night Fever opens, Puccini premieres an opera, & happy birthday to Vanessa Hudgens, Offset, & Tori Kelly.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday Chapters:00:00 Intro 00:16 What happened on this date in music history03:44 Albums released on this date in music history04:53 Singles released on this date in music history05:31 Podcast advertisement05:50 Birthdays of music artists on this date in music history06:45 Passings of music artists on this date in music history07:14 What's on tomorrow's episode

Der tschechische Dirigent Jakub Hrůša hat mit Beginn dieser Saison sein Amt als Musikdirektor der Royal Opera in London angetreten. Auf dem Spielplan stand ein spannendes Programm: eine Neuproduktion von Puccinis "Tosca" mit Anna Netrebko in der Titelrolle und Leoš Janáčeks eindringliche und rätselhafte Oper "Die Sache Makropulos". Seit 2016 ist Jakub Hrůša Chefdirigent der Bamberger Symphoniker. Mit dem Orchester, das in dieser Saison 80. Geburtstag feiert, hat Hrůša in den letzten Jahren Erfolgsgeschichte geschrieben. Nun wird er ab der Saison 2028/2029 auch neuer Chefdirigent und Musikdirektor der Tschechischen Philharmonie, wo er derzeit Erster Gastdirigent ist. Wie er seinen arbeitsdichten Konzertalltag unter einen Hut bekommt, welche Pläne er in London als Musikdirektor des Royal Opera House hat, welche mit den Bamberger Symphonikern und mit der Tschechischen Philharmonie, darüber spricht Jakub Hrůša mit Beate Scheibe in NDR Kultur à la carte.

Okay, I confess that the title of this week's episode is intentionally misleading, but if I told you what it actually was outright, you might not listen, and that would be a great loss! On Monday I celebrated Larry Kert for World AIDS Day, and today, I have made a selection of musical settings of the Marian Antiphon Salve Regina, which translated means, “Hail, Queen,” so there you have the inspiration for the episode. In fact, this is an episode chock-full of particularly glorious singing, and I don't think you'll regret spending the time with these glorious Queens of Song (with a few Kings tossed in)! The 11th-century Salve Regina text, far from being dry and dull, provided inspiration for a wide range of composers, primarily of the Baroque (Handel, Vivaldi, Hasse, the Scarlattis, Monteverdi, and a number of others), but also of later vintage (Mozart, Johann Christian Bach, Schubert, and even Puccini). The singers who perform these works are a Who's Who of Countermelody favorites (Helen Donath, Rachel Yakar, Margaret Marshall, Francisco Araiza, Elly Ameling, and Roberta Alexander) and new friends, including three countertenors (Gérard Lesne, John Angelo Messana, and Jochen Kowalski) who provided inspiration to me as a young singer. Dive right in to this episode, my friends, and never fear: would I steer you wrong? Never! The episode begins with a tribute to Madeline Kahn, who died 26 years ago this week. 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 author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Casta diva, prima donna, Maria Callas. Fully available for Supporter Club members only. Credits :  “Aida (Preludio)” by G. Verdi (1871)  -  “Norma (Cavatina)” by V. Bellini (1831)  -  “Tosca (Atto II)” by G. Puccini (1900)Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/pillole-di-italiano--4214375/support.

Early winter weather has us pondering an alternate definition of “slush pile,” albeit the mucky, grey residue remaining after a city snowfall. Our Slush Pile is far more fresh, but still a wintry mix as we discuss the short story “Catherine of the Exvangelical Deconstruction” by Candice Kelsey. You might want to jump down the page and read or listen to it in full first, as there are spoilers in our discussion!   The story is set on the day of the Women's March, following 2017's Inauguration Day, but only references those events in the most glancing of ways. Instead the protagonist glances away to an array of distractions: Duolingo, a Frida Kahlo biography, a bat documentary, European architecture, banjo music, a stolen corpse flower, daydreaming, and actual dreaming. In the withholding of the protagonist's interiority, Sam sees a connection to Rachel Cusk's Outline, while Jason is reminded of early Bret Easton Ellis. The editors discuss how fiction might evoke the internet's fractioning of our attention, by recreating the fractioning or reflecting it?   We'd like to offer congratulations to Sam whose debut book of short stories, “Uncertain Times,” just won the Washington Writers Publishing House Fiction Prize. As always, thanks for listening!   At the table: Dagne Forrest, Samantha Neugebauer, Jason Schneiderman, Kathleen Volk Miller, Lisa Zerkle, and Lilllie Volpe (Sound Engineer)   Listen to the story “Catherine of the Exvangelical Deconstruction” read in its entirety by Dagne Forrest (separate from podcast reading) (Bio): Candice M. Kelsey (she/her) is a bi-coastal writer and educator. Her work has received Pushcart and Best-of-the-Net nominations, and she is the author of eight books. Candice reads for The Los Angeles Review and The Weight Journal; she also serves as a 2025 AWP Poetry Mentor. Her next poetry collection, Another Place Altogether, releases December 1st with Kelsay Books. (Website): https://www.candicemkelseypoet.com/ (Instagram): @Feed_Me_Poetry   Catherine of the Exvangelical Deconstruction Catherine's thumb hovers over Duolingo's question, her mind dim from doom scrolling, chest dead as TikTok. The green owl stares. She swears its beak is twitching.  “Got 5 minutes?”  She swipes Duo, that nosy bastard, and his taunting French flag icon away. “Non.” The apartment is dim, the air too still. Days feel hollow and unhinged, as if she's Edmond Dantès tossed off the cliff of Chatêau d'If, a brief and misplaced shell weighted to the depths of the sea. So much for learning a language to calm the nerves. Frida Kahlo's face stares from the page of a book she hasn't finished reading. “I should just return this already.” There are days she commits to her syllabus of self-education and days she resents it. Kahlo's eyes pierce her, and giving up feels like large-scale feminist betrayal—how she has shelved the artist, her wounds, tragic love, and all. But even sisterhood is too much this January 21st, and of all people, Kahlo would understand. Catherine opens her laptop and starts a documentary about bats instead. Chiroptera. A biologist with kind eyes speaks of their hand-like bones, the elastin and collagenous fiber wings. The chaos of nature is its own magic realism. She learns bats are vulnerable like the rest of us. Climate disruption and habitat loss. Plus white nose syndrome and the old standby, persecution by ignorant humans who set their caves aflame. In the documentary, there is a bat with the liquid amber eyes of a prophet. Maybe that's what this world has had too much of, she begins to consider. Mid-deconstruction of decades in the white, evangelical cesspit of high control patriarchy, Catherine sees the world as one big field day full of stupid ego-competitions like cosmic tug-a-wars. And prophets were some of the top offenders. King Zedekiah, for one, had the prophet Jeremiah lowered into a well by rope, intending he sink into the mud and suffocate. All because he warned the people of their emptiness. Her mind wanders to Prague, to art, to something far away that might fill her own cistern life. “Maybe next summer,” she whispers. “Charles Bridge, St. Vitus.” The rhythm of bluegrass hums through the speakers, enough to anchor her here, in this room, in this thin sliver of a world she cannot escape. “That could be the problem; I need to learn Czech. No, fuck Duo.” J'apprendrai le français. J'irai à Prague. Je verrai les vieux bâtiments. But then, something strange. The banjo's pluck feels different, deeper, its twang splitting the air. She Googles the history of Bluegrass, and the words tumble from the page, layering like the weight of a corpse settling into the silt off the coast of Marseille. The banjo isn't Appalachian in origin but rather West African—specifically from the Senegalese and Gambian people, their fingers strumming the akonting, a skin drum-like instrument that whispered of exile, of worlds ripped apart. American slavers steeped in the bitter twisting of scripture trafficked them across the Middle Passage, yet in the cruel silence of the cotton fields, they turned their pain into music. How are we not talking about this in every history class in every school in every state of this nation? The akonting, an enslaved man's lament, was the seed of a gourd that would bloom into the sounds of flatpicking Southerners. Still, the banjo plays on in Catherine's apartment. A much more tolerable sound than Duolingo's dong-ding ta-dong. But she can't quite cleanse her mind of the French lessons, of Lily and Oscar. Il y a toujours plus. Her voice is barely a whisper, trying to reassure herself. There must be more. A recurring dream, soft and gleaming like a pearl—her hands moving over cool clams, shucking them on a beach house in Rhode Island. It's a faint memory, but no less ever present. Aunt Norma and Uncle Francis' beach cottage and the closest thing to a Hyannis Port Kennedy afternoon of cousins frolicking about by the edge of a long dock lured back by the steam of fritters. But this time, Ocean Vuong stands beside her. He's talking about the monkey, Hartford, the tremors of the world. And the banjo has morphed into Puccini's La Bohème, which laces through the rhythm of Vuong's syntax like a golden libretto. They notice a figure outside the window, a shadow in the sand—the new neighbor? He's strange. A horticulturist, they say. Catherine hasn't met him, but there are rumors. “Did he really steal it?” Vuong asks. She practices her French—it's a dream after all—asks “Le cadavre fleuri?” They move to whispers, like a star's breath in night air. Rumor stands that in the middle of California's Eaton fire, the flower went missing from the Huntington Museum in Pasadena. The Titan Arum, bloated and bizarre in its beauty and stench, just vanished. Fran at the liquor store says the new neighbor, gloves always pressed to the earth, took it.  At night, she hears him in the garden, talking to the roots. She imagines his voice, murmuring something incomprehensible to the moonlight. Like that's where the truth lies—beneath the soil, between the cracks of broken promises, smelling faintly of rot. She recalls the history she once read, so distant, so impossibly rotten. During WWI, when the Nazis swept through Prague, they forced Jewish scholars to scour their archives. They wanted to preserve the so-called “best” of the Jews—manuscripts, texts, holy materials—for their future banjo-twisted Museum of an Extinct Race. She shudders. The music, the wild joy of the banjo, now seems infected with something ancient and spoiled. The act of collecting, of preserving, feels obscene. What do you keep? What do you discard? Whom do you destroy? She wakes from the dream, her phone still alive with French conjugations. The bluegrass hums, but it's heavier, like a rope lowering her into Narragansett Bay. The neighbor's house is dark. But she thinks she can see him, a silhouette against the trees, standing still as a warning. Everything is falling apart at the seams, and she is both a part of it and apart from it. Like each church she left, each youth group and AWANA or Vacation Bible School where she tried to volunteer, to love on the kids, to be the good follower she was tasked with being.  She leans her forehead against the cool glass of the window, closing her eyes. The ache is there, the same ache that never quite leaves. It's sharp, it's bitter, it's whole. The small, steady thrum beneath it all. Il y a toujours plus. Maybe tomorrow she will satisfy Duo. Maybe next fall she will dance down a cobbled street in Prague. Find five minutes to feel human. Perhaps she will be whole enough, tall as St. Vitus Cathedral, to face whatever is left of this America. She closes her eyes to Puccini's Mimi singing Il y a toujours plus and dueling banjos while her neighbor secretly drags a heavy, tarp-covered object across his yard under the flutter of Eastern small-footed bats out for their midnight mosquito snack. A scene only Frida Kahlo could paint.

In this second episode of "Opera in the Community," musicologist Dr. Tiffany Kuo uses the lens of "La Bohème" to speak with three arts leaders and artist advocates —Asuka Hisa, who walks us through the exhibits at ICA LA; Mackenzie Royce, who shares about the affordable housing and work space rental programs at ArtShare LA; and artist Fatima Burns, who talks about the importance of having a safe place to create. Dr. Kuo shows us that although times can still be tough for the creative class, we've come a long way from the starving artist days of "La Bohème" to having robust institutional support for artists, right here in Los Angeles. Don't miss Puccini's blockbuster opera, get your tickets to "La Bohème" now at LAOpera.org.

In this episode of Completely Machinima, hosts Phil Rice, Tracy Harwood, and Damien Valentine explore the stunning AI-powered operatic machinima “Arido Taurajo” — a groundbreaking short film created by Chantal Harvey (aka Mamachinima) in collaboration with digital artist James Morgan, AI composer Roboccini and soprano/AI researcher Maya Ackerman, among others.

In this episode—an excerpt from our Exploring Opera series— LA Opera Chorus Director Jeremy Frank guides you through the musical moments of "La Bohème." Join Jeremy as he shares his wealth of knowledge about Puccini and the arias of Mimì and Musetta and all of your favorite bohemians. Don't miss this classic opera, and be sure to catch Jeremy Frank one hour before each performance in Stern Grand Hall for our popular pre-performance lectures. Tickets to "La Bohème" are available now at LAOpera.org.

C'est l'histoire d'une collaboration artistique de prestige entre Londres et Tel-Aviv qui s'effondre. Le Royal Ballet & Opera du Royaume-Uni a annulé sa participation à Tosca, refusant d'associer son nom à l'opéra israélien. En cause : le soutien affiché de l'institution à l'armée israélienne dans la guerre à Gaza. Les Britanniques dénoncent un lieu qui « récompense et légitime ouvertement les forces même, responsables des meurtres quotidiens de civils à Gaza », en référence aux billets gratuits offerts aux soldats. Mais loin d'annuler, l'opéra israélien contre-attaque : il monte l'œuvre seul et promet une version éminemment politique. De notre envoyé spécial à Tel-Aviv  « Quand les canons ont tonné, les muses ne se sont pas tues », proclame Nili Cohen, la présidente du conseil d'administration de l'opéra israélien de Tel-Aviv. Et c'est précisément ce qui est reproché à cette institution dans une lettre ouverte de plus de 200 membres du Royal Ballet and Opera de Londres, qui ont annulé une coproduction de la Tosca de Puccini. « C'est un alignement délibéré avec un gouvernement actuellement engagé dans des crimes contre l'humanité », affirment les signataires du texte. Tali Barash Gottlieb, directrice générale l'opéra israélien, raconte : « Nous avons rencontré de grandes difficultés au cours de l'année qui s'achève. Et nous nous attendons à des problèmes pas moindres lors de la prochaine saison. Et c'est pour cela que nous mettons l'accent sur la participation de créateurs israéliens. C'était, de toute façon, notre intention pour cette quarantième saison qui est véritablement l'occasion de présenter sur le devant de la scène des talents israéliens, car les productions internationales présentent un grand défi. » La Tosca est donc au programme de cette nouvelle saison emblématique. Mais dans une production purement israélienne donc. Une situation qu'Anat Czarny, mezzo-soprano à l'Opéra de Tel-Aviv, regrette profondément. « Je peux comprendre les deux protagonistes concernés. Mais j'étais très déçue, car je crois que l'art est quelque chose de sacré. C'est quelque chose produit pour rapprocher les gens les uns des autres. J'ai un peu l'impression que ce n'est pas la politique qui est gagnante, mais plutôt l'art qui est perdant », se désole la chanteuse.  Après la période du Covid-19, et surtout depuis le 7 octobre 2023, la profession de chanteuse lyrique est très précaire en Israël. Mère de deux enfants, Anat Czarny va entamer une carrière parallèle d'infirmière, un de ses rêves d'enfance : « Le matin, je suis soit à l'hôpital, soit à l'opéra. Le soir, soit à l'opéra, soit à l'hôpital. Mais quand même, je veux être chanteuse d'opéra. C'est tout ce que je voudrais faire. »  Également au cœur de cette nouvelle saison de l'opéra israélien : le Dibbouk, histoire dans la tradition juive kabbaliste d'un esprit qui entre dans le corps d'un vivant pour le posséder, à la suite de mauvaises actions. Tout un programme. À lire aussi«J'ai retrouvé mon enfant démembré»: à Gaza, les bombes israéliennes non-explosées sèment la terreur

Welcome back to Behind the Curtain's mini series, 20 Years with Maestro Conlon, in which Classical KUSC's Gail Eichenthal sits down with Maestro James Conlon to discuss his legacy here at LA Opera. In this episode, we explore Italian opera—Rossini, Puccini, Verdi, and beyond—touching on bel canto and what makes a 'perfect opera.' Get your tickets now for Puccini's "La Bohème" and Verdi's "Falstaff" at LAOpera.org.

[@ 13 min] Alright, this week…Carlo Rizzi goes Inside the Huddle. One of the world's foremost opera conductors and Artistic Director of Opera Rara, the latest volume of his Donizetti Song Project (featuring Friend of the Show soprano Ermonela Jaho) just dropped, as the Maestro concludes a run ofTurandot at the Met. The Italian conductor joins OBS to share his passion for Puccini and to offer a few choice words about the situation at La Fenice. [@ 35 min] Plus, in the Two Minute Drill...Rabblerouser and warrior of the resistance Kathryn Needleman is profiled in WashPo, and engaged-to-be married baritone Huw Montague Rendall wins a Gram..…..ophone. GET YOUR VOICE HEARD Stream new episodes every Saturday at 10 AM CT on amplisoundsradio.com operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Brian, Blake, and Richard are back for Episode 586 of the Chasing Tone Podcast - New Guitar Day, Reverse Headstocks, and the End of Creativity?Brian accuses Richard of many things but one that cannot be denied is his hypnotic power to make other people buy a guitar. Including you. Yes, you know you want to - treat yourself. Blake has an all new shred machine and he shows it off much to the enjoyment of Brian and Richard. Do you ever play a guitar with a reverse headstock? The guys question the benefits and Richard gets very confused. Meanwhile Brian has been digging into the new Synyster Gates amplifier and keys us in with the details. There was a nice completion of a My Chemical Romance related circle when we took a look at their latest rig rundown. There was some sad news this week as we learned of the passing of Ken Parker, one of the most innovative guitar builders of all time, so the guys talk about the Parker Fly design briefly. Meanwhile there have been some new Ai developments which the guys are almost duty-bound to discuss.Gibson x Charvel, Whitfill guitars, Brown Lobster, Puccini, Brad Paisley's new favorite guitarist...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Courses and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Youtube:https://www.youtube.com/@chasingtonepodcastFind us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Contact us at: podcast@wamplerpedals.comSupport the show

It's movie week! Enjoy 5 movie-themed quizzes this week, with topics all picked by Patrons of the pod! This one is for KC Khoury. LOVE TRIVIA WITH BUDDS? CHECK OUT THE MNEMONIC MEMORY PODCAST!  “Grow your brain one leaf at a time—tune in to The Mnemonic Memory Podcast.” http://www.themnemonictreepodcast.com/ Fact of the Day: Homer (Dan Castellaneta) is the only member of The Simpsons family voiced by a man. Triple Connections: Verdi, Puccini, Rossini THE FIRST TRIVIA QUESTION STARTS AT 01:26 SUPPORT THE SHOW MONTHLY, LISTEN AD-FREE FOR JUST $1 A MONTH: www.Patreon.com/TriviaWithBudds INSTANT DOWNLOAD DIGITAL TRIVIA GAMES ON ETSY, GRAB ONE NOW!  GET A CUSTOM EPISODE FOR YOUR LOVED ONES:  Email ryanbudds@gmail.com Theme song by www.soundcloud.com/Frawsty Bed Music:  "EDM Detection Mode" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ http://TriviaWithBudds.com http://Facebook.com/TriviaWithBudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SPECIAL THANKS TO ALL MY AMAZING PATREON SUBSCRIBERS INCLUDING:   Mollie Dominic Vernon Heagy Brian Clough Nathalie Avelar Becky and Joe Heiman Natasha raina Waqas Ali leslie gerhardt Skilletbrew Bringeka Brooks Martin Yves Bouyssounouse Sam Diane White Youngblood Evan Lemons Trophy Husband Trivia Rye Josloff Lynnette Keel Nathan Stenstrom Lillian Campbell Jerry Loven Ansley Bennett Gee Jamie Greig Jeremy Yoder Adam Jacoby rondell Adam Suzan Chelsea Walker Tiffany Poplin Bill Bavar Sarah Dan  Katelyn Turner Keiva Brannigan Keith Martin Sue First Steve Hoeker Jessica Allen Michael Anthony White Lauren Glassman Brian Williams Henry Wagner Brett Livaudais Linda Elswick Carter A. Fourqurean KC Khoury Tonya Charles  Justly Maya Brandon Lavin Kathy McHale Chuck Nealen Courtney French Nikki Long Mark Zarate Laura Palmer  JT Dean Bratton Kristy Erin Burgess Chris Arneson Trenton Sullivan Jen and Nic Michele Lindemann Ben Stitzel Michael Redman Timothy Heavner Jeff Foust Richard Lefdal Myles Bagby Jenna Leatherman Albert Thomas Kimberly Brown Tracy Oldaker Sara Zimmerman Madeleine Garvey Jenni Yetter JohnB Patrick Leahy Dillon Enderby James Brown Christy Shipley Alexander Calder Ricky Carney Paul McLaughlin Casey OConnor Willy Powell Robert Casey Rich Hyjack Matthew Frost Brian Salyer Greg Bristow Megan Donnelly Jim Fields Mo Martinez Luke Mckay Simon Time Feana Nevel