Podcasts about puccini

Today we're stepping into the world of one of opera's most passionate, enduring, and beloved composers.His name is synonymous with soaring arias, impossible love stories, and music that grabs you by the heart and doesn't let go. This is the story of Giacomo Puccini. Inside Vancouver Opera presents: Un bel dì, A Life Begins: The World of Puccini written and performed by Jane Potter. So settle in, whether you're a seasoned opera lover or just Puccini-curious. This is a story of artistic fire, of human drama—and of one man's quest to give voice to the most fragile and fierce parts of the human soul.Learn MoreCredits:Jane Potter - Writer and NarratorAshley Daniel Foot - Host of Inside Vancouver OperaMack McGillivray - ProducerRichard Wolfe - Voice of George Bernard Shaw

  The Doctor, Audacity and Charley visit many times and places, always with the best of intentions. But others have a different agenda... Puccini and the Doctor by Matthew Jacobs Inspired by his friends, the Doctor takes Charley and Audacity to Milan to meet Puccini and hear the music of love. But the Doctor is not the only alien entranced by humanity. The mysterious Tura is setting riddles, and for those who answer, the experience is transformative... Women's Day Off by Lisa McMullin Iceland, 1975. Charley and Audacity are thrilled to discover that the women have gone on strike. All of them. With potentially disastrous consequences for a girl called Kyla - and everyone she comes into contact with. The Gloaming by Lauren Mooney and Stewart Pringle The Doctor, Charley and Audacity arrive on Gloaming, a luxury sleep clinic in orbit around a dead world. Gloaming is filled with wealthy Sleepers, dreaming through the dark ages of their world in suspended animation. But something is growing here, creeping into minds and poisoning dreams. Something the Doctor fought long ago...

Bachs Matteuspassionen är en klassiker bland klassiker. Men det var inte självklart att det skulle bli så. Karin Nykvist funderar verkets här och nu. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Det är en vårdag i Leipzig för ungefär 300 år sedan. Kanske är det 1727, kanske 1729, eller 1736. Hur som helst: det är långfredag och du är på väg att fira gudstjänst i din kyrka, Thomaskyrkan. Kantorn heter Johann Sebastian Bach. Han är en bråkig typ. Flera gånger har han hamnat i trubbel för att ha brutit mot sitt anställningskontrakt – det där han har lovat att inte spela för långa musikstycken, och att inte vara för operalik i sina kompositioner.Du vet inte om det, men snart ska du få höra ett verk som ska komma att bli ett av musikhistoriens mest älskade. Och återigen kommer det att brytas mot det där anställningskontraktet – med råge. Tre timmar musik ska det bli – och dramatiskt operalikt så det förslår.Enligt en tradition som vuxit fram sedan medeltiden ska Bibelns passionsberättelse sjungas fram, och den här gången har Bach tonsatt Matteusevangeliets tjugosjätte och tjugosjunde kapitel. Det är en våldsam text, där Jesus förråds och döms, förnekas, förnedras, torteras och till slut dör på korset. Men verket du ska få höra rymmer mycket mer än så: förutom evangelietexten och en dramatisering av dess händelser kommer också de känslor och tankar som berättelsen väcker att gestaltas av dagens sångare och musiker.Hur kommer du att reagera på det du hör? Kommer du att beröras av musiken, lära dig något nytt, känna närhet till din protestantiska Gud och till evangeliet?För oss idag är det svårt, ja nästan omöjligt, att föreställa sig hur det var att uppleva uruppförandet av Matteuspassionen. Svårt för att alla vi som nu lyssnar på Bachs musik har hört den förut – på radio, på strömningstjänster, på skiva – och kan välja att höra den igen, när vi vill och hur vi vill, jättehögt när vi kör bil eller lagar mat, och tystare, som bakgrundsmusik när vi träffar vänner eller läser en bok.Och svårt för att vi har hört så mycket mer och annat än de som satt där, i Thomaskyrkan: förutom Mozart och Beethoven och Puccini har vi ju lyssnat på Mellolåtar, Beatles och Beyoncé. Bach är inte ny musik för oss. Den chockerar inte med oväntat dramatiska arior eller kontroversiella harmonier.Men låt oss försöka tänka oss in i vad de som hörde Matteuspassionen den gången fick vara med om.För det första: musiken bröt fastans tystnad. Under Bachs tid spelades inga instrument alls under fastan. Också öronen omfattades av askesen. När han skrev sina passioner hade det precis blivit tillåtet med ett undantag för långfredagen – men bläckblåset fick tiga, glädjens och triumfens trumpeter släpptes inte fram förrän på påskdagen, efter uppståndelsen.För det andra: Lyssnarna den gången var inte en publik, utan en församling. Matteuspassionen var inte en konsert utan del i en gudstjänst. Vi kan tycka att drygt tre timmar musik är ungefär vad vi orkar med i en sittning – hur fantastisk musiken än är. För dåtidens kyrkobesökare väntade så mycket mer: framför allt en upp till två timmar lång predikan mellan passionens första och andra del.Och för det tredje: De som hörde Matteuspassionen den där första gången såg antagligen varken kören, solisterna eller orkestern, för de höll nog till på orgelläktarna. Så var de inte heller så många. Flera forskare menar att Bach använde sig av endast åtta sångare till sin Matteuspassion. De som anser att han hade fler brukar stanna vid högst tjugofyra. Alla sånginsatser, kör såväl som solon, stod dessa få röster för. Den första Matteuspassionen var alltså en intim historia, inte det magnifika oratorium som det är idag.För librettot samarbetade Bach med en samtida poet, som kallade sig Picander. Det är en skicklig blandning av bibeltext, psalmvers och lyrik. Här möter det våldsamma Matteusevangeliet kärleken i Höga visan, och konventionella och vackra koralformuleringar varvas med närapå centrallyrisk poesi.Kompositionen är slående dramatisk. I den första satsen bjuder kören in oss direkt genom att uppmana oss att betrakta hur Guds lamm offras: Se! sjunger de. Betrakta det fruktansvärda, och förundras över Guds stora kärlek. Och i den sista sätter sig kören vid graven och gråter över den döda Jesus. Sov i ro, sjunger de, i en tretakt som närmar sig vaggvisan.Så bjuds vi alla in i dramats här och nu. Matteuspassionen handlar inte bara om det som hände för länge sedan, utan om det som pågår. Två ord är särskilt viktiga i verket: nu och jag. Nu är min Jesus försvunnen, sjunger sopranen när Jesus blivit arresterad.Kören och solisterna gestaltar dramat, men de berättar också om det, reagerar på det, i en komplicerad rollväxling. Efter att ha varit en uppretad mobb som högljutt kräver Jesus avrättning kan kören plötsligt växla ton och stilla sörja det som sker. Och när Jesus dött och dramat enligt traditionen stannar upp i flera sekunder bryts den långa tystnaden till slut av kören som i en innerlig koral ber: ”Jesus, när det är min tur att skiljas från livet: var med mig. Överge mig inte”.Så blandas evangeliets berättelse om Jesus korsfästelse med det drama som pågår inom varje människa, och berättelsen om Jesu död kommer också att handla om den död som väntar oss alla.När Bach dog 65 år gammal 1750 föll hans kyrkomusik i glömska: den var omodern helt enkelt. Av de fem passionsverk forskningen menar att han komponerade har vi därför idag bara två kvar – Johannes och Matteus. Just Matteuspassionen återuppfördes berömt i Berlin 1829, efter nästan hundra år i glömskan, under ledning av den då blott tjugoårige Felix Mendelssohn. Med Mendelssohn blev Bachs Matteuspassion en annan, mer magnifik och mer romantisk.Idag är den Matteuspassion vi hör i kyrkor och konserthus ytterligare en annan: en produkt av alla de berömda uttolkare som följt i Mendelssohns spår. För så är det ju, nya Bach-framföranden tar intryck av tidigare, men också av den kyrkliga, samhälleliga och musikaliska utvecklingen. Allt i en lång receptionshistoria som nu alltså börjar närma sig 300 år.Men stommen i verket: musiken, berättelsen, består. När viola da gambans mörka toner nästan outhärdligt vackert gestaltar sorgen över Jesu död i ”Komm, süßes Kreuz”, får den moderna människa som lärt sig att aldrig tänka på döden en chans att verkligen vila och dröja i passionsmytens och sorgens stora känslor.Och kanske är det just i den där omedelbarheten och närvaron, som dagens konsertbesökare möter dem som lyssnade den där gången. I Leipzig, för trehundra år sedan.Karin Nykvistlitteraturvetare och kritiker

In this conversation, we explore how director Mo Zhou has re-imagined Madama Butterfly for today. In her Canadian directorial debut, Mo Zhou brings this fresh vision to Vancouver Opera from April 26 to May 4, a production that honours Puccini's masterwork while offering audiences a chance to see Madama Butterfly in a new light.Learn more.Credits:Mo Zhou - Director of Madama ButterflyAshley Daniel Foot - Host of Inside Vancouver OperaMack McGillivray - Producer

God desires for us to live a life of victory, but many times the circumstances around us can cause us to think and live otherwise. We need to learn to trust and surrender as God leads, and set the table for Him to move.

durée : 01:28:01 - En pistes ! du vendredi 11 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Que ce soit dans Tosca de Puccini, Lady MacBeth de Chostakovitch ou encore dans le lied L'amour et la vie d'une femme de Schumann, place aux voix féminines dans cette émission. A retrouver aussi : une symphonie signée Wynton Marsalis, le Versailles du 17ème mis en musique au clavecin...

durée : 01:28:01 - En pistes ! du vendredi 11 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Que ce soit dans Tosca de Puccini, Lady MacBeth de Chostakovitch ou encore dans le lied L'amour et la vie d'une femme de Schumann, place aux voix féminines dans cette émission. A retrouver aussi : une symphonie signée Wynton Marsalis, le Versailles du 17ème mis en musique au clavecin...

Gustavo Puccini presidió hoy junto al Intendente Juan Pablo Poletti una ronda de negocios en la Estación Belgrano de Santa Fe.

durée : 00:20:47 - Disques de légende du lundi 07 avril 2025 - Roberto Alagna grava deux fois La Bohème : une fois en 1999 avec Riccardo Chailly, version devenue célèbre, et une autre fois en 1995 avec Antonio Pappano - intégrale moins connue mais bouleversante.

durée : 00:20:47 - Disques de légende du lundi 07 avril 2025 - Roberto Alagna grava deux fois La Bohème : une fois en 1999 avec Riccardo Chailly, version devenue célèbre, et une autre fois en 1995 avec Antonio Pappano - intégrale moins connue mais bouleversante.

A tradicional Ópera de Paris também entra em ritmo brasileiro neste ano em que se celebra o bicentenário das relações diplomáticas entre a França e o Brasil. A instituição programou vários concertos que integram a temporada cruzada entre os dois países. O primeiro recital, “Melodias Francesas e Brasileiras”, acontece nesta quarta-feira (9), trazendo pela primeira vez à cena da Ópera da Bastilha várias obras de compositores brasileiros. Os ingressos estão esgotados. O concerto “Melodias Francesas e Brasileiras” é uma iniciativa da Academia da Ópera de Paris, braço educativo da instituição de aperfeiçoamento de novas gerações de artistas líricos. A ideia de mostrar músicas do repertório brasileiro pouco tocadas na França, e do repertório francês no Brasil, foi da diretora da Academia, Myriam Mazouzi.Ele pensou em integrar a temporada cultural França-Brasil durante uma primeira viagem ao Brasil no ano passado. “A primeira ideia que tive foi um concerto colocando lado a lado melodias francesas de Poulenc, por exemplo, e melodias brasileiras para apresentar ao público francês e ao brasileiro as melodias de cada um de nossos países”, conta.Myriam Mazouzi reconhece que esse repertório brasileiro “não é uma música que conhecemos muito bem”. Foi necessário fazer uma pesquisa aprofundada para definir o programa do concerto, que conta com cerca de 20 músicas de compositores dos dois países.A França será representada por obras de Francis Poulenc, Erik Satie, Léo Delibes e Pauline Viardot. Do Brasil, serão interpretadas composições de Villa-Lobos, Carlos Gomes, Marlos Nobre, Alberto Nepomuceno, Jayme Ovalle, Hekel Tavares e Carlos Alberto Pinto Fonseca. Destes, o único que teve obras tocadas na Ópera da Bastilha foi Villa-Lobos, o compositor brasileiro mais conhecido na França.“Foi muito interessante ver (essa) riqueza da música brasileira”, avalia Mazouzi.Artistas-residentes brasileiros na Academia da Ópera de ParisPara fazer a escolha, o diretor artístico da Academia, Christian Schirm, contou com a ajuda de dois artistas brasileiros que passaram ou ainda estão se aperfeiçoando na instituição. O pianista e maestro carioca Ramon Theobald foi o primeiro brasileiro a integrar a Academia da Ópera de Paris, de 2021 a 2023. Ele estará no palco no dia 9 de abril e acredita que o repertório escolhido dá um panorama da produção brasileira.“Das melodias brasileiras escolhidas, muitas têm a ver com as nossas origens. Há melodias que falam de Yemanjá, de Xangô, há melodias do Villa-Lobos, que tem o estilo modinha, que é a música popular brasileira que começou com a influência portuguesa. É realmente uma foto geral do Brasil”, afirma Ramon.O baixo-barítono Luis Felipe Sousa, atualmente cantor-residente na Academia da Ópera de Paris, também ajudou a montar o programa e será um dos solistas do concerto “Melodias Francesas e Brasileiras”.Para ele, essa “é uma oportunidade muito especial de poder interpretar a música brasileira nos palcos estrangeiros, especialmente num palco tão importante quanto o da Ópera de Paris”. Luis Felipe ressalta que será "realmente muito emocionante" poder interpretar um repertório "que tem uma certa herança artística” e interpretar "canções que foram escritas por professores dos meus professores”.Além de Ramon Theobald e Luis Felipe, duas cantoras líricas brasileiras, Juliana Kreling e Lorena Pires, também estarão em cena. O concerto Melodias Francesas e Brasileiras contará ainda com a participação de todos os artistas residentes da instituição, que recebe anualmente 30 alunos de vários países do mundo.Primeira soprano brasileiraA soprano capixaba Lorena Pires, aliás, acaba de ser selecionada e será a terceira brasileira a integrar a Academia da Ópera de Paris a partir de setembro. Ramon Theobald lembra que a seleção é dificílima, mas garante que a rica experiência compensa.“Depois que a gente entra, a estrutura é incrível. A Ópera de Paris faz mais de 20 óperas por ano. Para assistir 20 óperas no Brasil, eu teria que ter vivido uns 3 ou 4 anos. Desde que estou aqui, já assisti produções, ensaios, de mais de 60 produções. É um ambiente riquíssimo. Todo o esforço para passar na audição valeu a pena”, relata o pianista que resolveu ficar na Europa. Ele mantém a conexão com a Academia e inicia uma carreira como maestro.A experiência desse aperfeiçoamento parisiense também é considerada fantástica pelo baixo-barítono Luis Felipe que, paralelamente às atividades da Academia, que produz em média um concerto por mês, tem a chance de participar de grandes produções da Ópera de Paris.“Isso não acontece com todos os cantores da Academia”, revela. O baixo-barítono brasileiro teve a oportunidade de cantar no início dessa temporada na ópera “Le Brigands”, de Offenbach, e atualmente está ensaiando “Il Trittico”, de Puccini, que estreia em 29 de abril. “Realmente é muito enriquecedor porque você canta em vários ambientes, com vários repertórios muito diferenciados”, resume.Olhar renovadoA vinda dos artistas-residentes brasileiros à Academia da Ópera, que recebem uma bolsa de estudo, é financiada com o apoio de um grupo de mecenas brasileiras, radicadas na França. E esses artistas trazem um olhar renovado à tradicional Ópera de Paris, diz Myriam Mazouzi.“O que está acontecendo hoje na Europa, na América do Norte, nos faz pensar nas nossas profissões, nossas missões, nossos desafios, nossas ambições, de forma diferente. A contribuição dos artistas brasileiros é trazer um olhar diferente sobre o que estamos vivenciando e sobre o nosso patrimônio. A música clássica, a Ópera de Paris, são instituições que datam de vários séculos atrás e, por isso, ter um olhar renovado, enriquecido, nos traz muito”, salienta a diretora e fundadora da Academia.“Eu diria que essa contribuição brasileira é justamente o que rompe com esse tradicionalismo. A gente traz a diferença, a gente traz a cor, a gente traz o axé. E a gente faz muito bem, jogar com a tradição de uma forma extremamente única, extremamente nossa”, completa Luis Felipe.Os ingressos para a apresentação de “Melodias Francesas e Brasileiras” no anfiteatro da Ópera Bastilha em 9 de abril já estão esgotados. Em setembro, o concerto será apresentado no Rio e em São Paulo. Os artistas-residentes da Academia também participam, em outubro, de três concertos no Teatro Muncipal do Rio, no Teatro Guaíra e no Municipal de São Paulo, em homenagem a Bizet.Ainda como parte da temporada cruzada França-Brasil, haverá em Paris, em julho, e, em São Paulo, em setembro, um concerto conjunto com músicos das orquestras de jovens ADO, da Academia da Ópera, e da paulista Guri. Nesse estreitamento de laços com o Brasil, a tradicional instituição francesa sonha em abrir uma filial da Escola de Dança da Ópera em Curitiba. As discussões começaram no ano passado.

In the month of July 1991 many games were released for the Commodore 64. In episode one-hundred-and-eighty-five of Zapped to the Past, we continue our look at some of those games, including the grandiose Gem X, the empty Extreme and the half-baked Heroquest and wonder… How powerful would a rocket powered mobility scooter actually be?  Games covered in this episode: Gem X Extreme Scooby Doo and Scrappy Doo HeroQuest The Power Find us here: https://zappedtothepast.com/ If you would like to help us out and join our Patreon, find it here: https://www.patreon.com/zappedtothepast If you want to buy amazing Zapped to the Past merch, go here: https://zappedtothepast.shop https://www.redbubble.com/people/zappedtothepast/shop If you want to buy a Coffee for Zapped to the Past, go here: https://ko-fi.com/zappedtothepast Need our links in one place - you can do that too: https://linktr.ee/zappedtothepast https://online.pubhtml5.com/oowg/grrx/#p=1 Additional links mentioned in the Podcast: Gem X manual Here are some of Countdown's most X-rated conundrums - BBC Three Bernie Wenton - Stars In Their Eyes Final 1991 BBC Radio Scotland - The Kitchen Café - Sue Lawrence Opening ceremony of the Sheffield Student Games 1991 BBC TV Theatre - Shepherds Bush 1991 Luciano Pavarotti - Puccini: Donna Non Vidi Mai (live from Hyde Park in London, 1991) Luciano Pavarotti: 'Nessun Dorma' from Puccini's 'Turandot' -  London Hyde Park 1991 Rich Tea & Sympathy Ep. 1 - Sex and Snooker Alfred J Kwak (Alfred J Quack) Ep01 Alfred Comes To Life (HD Ai Improved-English) Chimera (1991) Full Mini-Series Excellent Quality Kid N' Play (1991) | Saturday Morning Cartoon ( 2 Episodes) Gravedale High E01 - Long Days Guerny Into Night Plaza Patrol 1991:

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Kevadhooajal toimub kaks Puccini ooperi „Madama Butterfly“ etendust. Nende eel ajame juttu lavastaja Robert Annusega, kellelt küsime, kuidas mõjutab lavastust nimirolli osatäitja vahetumine ning kuidas leiti geiša Chōchō-sani poja osatäitja. Lisaks räägime Vanemuises peatselt esietenduvast komöödiast „Armas ilves“ ja septembris välja tulnud ajakirjanduslikust põnevikust „Big Mother“.

Dans l'histoire mongole, peu de figures féminines sont aussi fascinantes que Khutulun. Cette princesse guerrière du XIIIe siècle, nièce de Kubilai Khan et fille du puissant Kaidu Khan, était célèbre pour sa bravoure, son talent exceptionnel au combat et surtout… son exigence unique en matière de mariage : pour obtenir sa main, un prétendant devait la vaincre à la lutte.Une guerrière hors du communKhutulun n'était pas une princesse ordinaire. Née vers 1260 dans un empire mongol en pleine expansion, elle grandit dans un contexte où les femmes aristocrates avaient un rôle actif dans la société et parfois même dans la guerre. Fille préférée de Kaidu Khan, un chef influent de la lignée de Gengis Khan, elle reçut un entraînement militaire rigoureux et s'illustra très jeune par sa force physique et ses talents de stratège.Lors des batailles, Khutulun était redoutable : on raconte qu'elle se jetait dans la mêlée, capturant elle-même ses ennemis. Sa réputation de guerrière surpassait celle de nombreux hommes de son époque. Mais c'est surtout par sa maîtrise de la lutte mongole, un sport traditionnel, qu'elle marqua l'histoire.Un défi unique pour les prétendantsSelon les récits, Khutulun refusait de se marier, malgré les pressions de sa famille et des chefs mongols. Mais pour apaiser les attentes, elle posa une condition radicale : elle n'épouserait que celui qui réussirait à la vaincre à la lutte. Chaque prétendant devait miser 100 chevaux avant de l'affronter ; s'il perdait, elle conservait les bêtes.Aucun homme ne parvenant à la battre, Khutulun accumula des milliers de chevaux, constituant ainsi un troupeau impressionnant. Cette exigence ne relevait pas seulement d'un caprice, mais d'une affirmation de son indépendance et de sa supériorité physique, dans une société où la force déterminait souvent le pouvoir.Une fin mystérieuseFace aux rumeurs grandissantes et aux intrigues politiques, Khutulun aurait fini par se marier, mais pas par défaite. Certains récits disent qu'elle choisit un guerrier de son camp, d'autres qu'elle mourut au combat.Son histoire inspira Marco Polo, qui la mentionna dans ses écrits, et plus tard des œuvres modernes, notamment en tant que source d'inspiration pour la princesse Turandot dans l'opéra de Puccini. Khutulun demeure aujourd'hui une figure emblématique de la puissance féminine dans l'histoire mongole. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Resting as resistance Folk musician Emily Youngdahl Wright of Minneapolis admires writer and community-space-maker Amọké Kubat. She wants people to know about the final step of Kubat's ongoing project to honor those who mother children by offering them a place to rest — literally. The exhibit features rocking chairs that were created during a community build and then painted, collaged or otherwise re-created by Minnesota artists. “Rocking Chair (Re)Evolution” is a free, drop-in show at the Weisman Art Museum on the West Bank of the University of Minnesota campus in Minneapolis. The exhibit is open Friday, March 28 and Saturday, March 29 from 11-5 p.m., with a ceremony on Sunday from 1-3 p.m. The rocking chairs will be gifted to 12 mothers and grandmothers previously chosen with community feedback. Emily said: The whole project itself is just such a beautiful example of thinking about what kind of rest do you need, and what kind of support do you need? The chairs are an example, I think, of tending to the spirit and the heart and the body [in] this work that really doesn't end when you're a parent and when you're a grandparent, and when you are tending to this world that is in so much need of tending right now.— Emily Youngdahl Wright21st century opera Composer Eric Heukeshoven of Winona plans to head to Rochester to watch Hometown Opera Company's New Media Opera performance, featuring scenes of new and familiar works staged in a multimedia format. The first act consists of scenes from Rochester composer Kevin Dobbe's “Tempus Fugit.” The second act centers women's voices with scenes from Verdi, Puccini, Dvořák, Wagner and Strauss. Performances are Friday, March 28 and Saturday, March 29 at 7:30 p.m. at the Rochester Civic Theatre. Eric Heukeshoven said the staging is: As 21st century as I can possibly imagine.It is an opera that explores the human experience and time, and it does this by combining live performances of vocalists and dancers with digital projections, what Kevin calls motion-capture ‘metahumans' and singing projected avatars. I've seen a clip that he sent me recently, and it is absolutely mesmerizing.(He adds that Act Two scenes are “fully staged and choreographed, but also using projections that Kevin has created.”)— Eric HeukeshovenMinneapolis hosts breaking qualifier for national competition Kelly Rabe of Champlain started taking hip hop and breaking classes over the pandemic, and she wants people to know that Minneapolis will be in the national eye this weekend when it hosts the Red Bull BC One Cypher One competition. Local and regional b-girls and b-boys will compete in one-on-one battle style for a spot at the National Finals in Denver. The event will be held in a new venue on the Minneapolis scene: Royalston Square, located in the North Loop. There are open qualifier preliminaries on Friday. The main event is Saturday, starts at 7 p.m. and costs $10. Kelly described her experience: This is probably maybe my third year going to the BC One, and I have to say, it is like the most hyped event I have ever been to in the Twin Cities. I mean, it's better than music festivals. It's better than dance parties. There's just an energy like nothing else. The spectators are really supportive of the dancers. They'll be cheering, they'll be screaming, jumping up and down when they see the dancers do amazing things. It's a really welcoming community. Not to mention they have, like, world-renowned DJs that are spinning the tunes for these dancers. So, I mean, it's a full dance and music action. — Kelly Rabe 

durée : 01:28:40 - Giuseppe Sinopoli, l'exigence artistique et le refus de la routine - par : Aurélie Moreau - Pour le chef d'orchestre Giuseppe Sinopoli, "Ce n'est pas lorsque tout fonctionne – l'intonation, la précision, l'articulation – qu'une interprétation est réussie mais lorsqu'elle me fournit matière à méditer". Aujourd'hui : Wagner, Brahms, Puccini…

Espacio dedicado a los mejores intérpretes del arte vocal lírico con la producción de Carolina Valdés y locución de Sergio Morales.  Lunes a partir de las 12:00 hrs. en 95.1 FM y www.radioudec.cl

Puccini's popular opera La Bohème at Lyric Opera of Chicago is a story of youth, passion, love and loss where idealism comes face-to-face with life's realities such as poverty, illness and death. Yes, this is the opera where the young lady with the bad cough dies at the end.  Listen to our synopsis and podcast review.

Annemieke Bosman gaat met Char Li Chung in gesprek over de voorstelling Madame Butterfly. Puccini's opera Madama Butterfly uit 1904 vertelt het verhaal van de 15-jarige Japanse geisha Cio-Cio-San, bijgenaamd Butterfly. Ze wordt verliefd op de Amerikaanse marineofficier Pinkerton, die direct na hun huwelijk terugkeert naar zijn geboorteland. Butterfly blijft verlaten achter in verwachting van hun zoon. Na drie jaar keert haar geliefde terug, maar niet voor de hereniging waar Cio-Cio-San op heeft gewacht.

En la llista de les cinc

Aaron Rookus is er! Filmregisseur en -auteur, van wie binnenkort de film De Idylle gaat draaien in de Nederlandse filmhuizen. Dikke vette aanrader, daarover alles in deze aflevering. Verder: Nigtevecht en in het nu leven, Händel en Puccini, de toverbal en de Engelse drop, het Mandela-effect en de blote kont, het showbizzmannetje en de zwabber op de set, en per ongeluk voor jezelf zorgen. Veel plezier!ShownotesTrailer De Idylle op YouTubeZaadbalkanker info op Thuisarts.nlHow To with John Wilson op HBO maxDe sponsor van deze aflevering is Naturalis Biodiversity Center. Leer de kudde Triceratopsen kennen en bestel nu je tickets via naturalis.nl/triceratops. Met de code AMATEUR20 krijg je korting!Wil je ons steunen? Word dan Vriend van de Show, dan krijg je afleveringen eerder en heb je toegang tot extra afleveringen. Alvast dank!Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

[@3 min] Alright, this week...Pene Pati takes a Free Throw on Rodolfo, the role which marks the star Samoan tenor's debut at Lyric Opera of Chicago next month. As Rodolfo and Mimi are top two on the call sheet for La Boheme, we'll handicap some of the commercial recordings of Puccini's perennial people pleasing masterpiece. [@39 min] And then…Meridian Prall goes Inside the Huddle. Named an OBS artist to watch in 2025, so we are going to check in with the American mezzo-soprano in advance of her debut in Washington Concert Opera's La clemenza di Tito. [@65 min] Plus, in the ‘Two Minute Drill'…speaking of Washington..well, we'd rather not, but at least we can talk about the new Met season if America is still a thing in the fall. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 bsky @operaboxscore

Flora Willson chooses her favourite version of Puccini's La Bohème.

On the February 17 edition of the Music History Today podcast, we have Verdi, Puccini, & the Beach Boys 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 from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

durée : 00:12:55 - Le Disque classique du jour du mercredi 12 février 2025 - Pour son premier récital, la soprano Vannina Santoni rend hommage à l'amour : de Franco Alfano à Massenet en passant par Gounod, Verdi et Puccini, elle interprète de grands airs qui lui sont chers avec l'Orchestre national de Lille et le chef Jean-Marie Zeitouni

durée : 00:12:55 - Le Disque classique du jour du mercredi 12 février 2025 - Pour son premier récital, la soprano Vannina Santoni rend hommage à l'amour : de Franco Alfano à Massenet en passant par Gounod, Verdi et Puccini, elle interprète de grands airs qui lui sont chers avec l'Orchestre national de Lille et le chef Jean-Marie Zeitouni

Rufus Wainwright is a difficult artist to categorize at the best of times. As a musician, he's recorded pop songs, folk music, operas and stage musicals. But his new album, “Dream Requiem,” is a little different, even for him. It's a religious work inspired by a range of subjects, including a poem by Lord Byron, the music of Giuseppe Verdi, and his beloved late dog Puccini. He also managed to recruit Meryl Streep to narrate the project. Rufus joins Tom Power over Zoom to talk about the different influences behind “Dream Requiem,” his upbringing in Quebec, and how this project really mourns the death of the American Dream.

Jonathan Larson (geboren am 4.2.1960) will das Musicaltheater revolutionieren. Nach vielen Fehlschlägen ist er nah dran. Doch er stirbt 24 Stunden vor der Premiere seines Mega-Erfolgs "Rent". Von Jana Fischer.

Yesterday was the 100th birthday of the sublime Canadian singer, Lois Marshall (29 January 1925 – 19 February 1997). I was sorry to see that there were very apparently few acknowledgements of this momentous occasion. Three years ago, in a Countermelody series on Great Canadian Singers, Lois Marshall was my first subject. If you haven't heard of her (which is entirely possible, given the vagaries of posthumous fame and reputation), you are in for an enormous treat. Possessed of a rare musical scrupulousness, an interpretive honestly, directness, and integrity, as well as a finely-honed dramatic sensibility, Lois Marshall, in a better world, would have graced the world's operatic stages. Alas, she was stricken with polio as a child, and though she managed to gain the ability to walk, staged opera was a genre which she only rarely attempted. Yet she worked with the world's greatest conductors, among them Toscanini, Stokowski, and Beecham, and was a recitalist celebrated the world over. This episode offers an extended yet partial glimpse of the range and variety of her artistry, and includes recordings of arias by both Purcell and Puccini (the title role of Turandot!), Bach and Beethoven, as well as a dazzling array of recital repertoire from Debussy to folk song arrangements. Fellow Canadians Maureen Forrester and Glenn Gould are also featured. I wanted very much to present a brand-new Lois Marshall episode in hono(u)r of her centennial, and I promise you that is in the works, but in the meantime, I listened early this morning to the first Lois Marshall tribute I posted and I have decided to republish it today as I continue to prepare the brand-new episode. Some of today's material, in particular an excerpt from Oskar Morawetz's From the Diary of Anne Frank, which Lois Marshall premiered in 1970, serves as a grim reminder of the United States' further descent into madness and inhumanity, especially since the inauguration of King Ubu. Through the darkness, however, the glorious voice and humanity of Lois Marshall provide us with an ideal example of our better selves. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

[@6 min] Alright, this week…in advance of "The Puccini Heroines," an all-Puccini arias concert at Lyric Opera of Chicago, Sondra Radvanovsky takes a Free Throw on the singing the role of Turandot. Compared to Norma and Aida, you may be surprised to hear that it's one of her easiest roles. [@18 min] And then…in Listener Mailbag, we have field reports on all the vocal activity at Carnegie Hall including Song Studio, Friend of the Show Ying Fang with the Orchestra of St Luke's, and Friend of the Show Ryan Speedo Green in recital with pianist Adam Nielsen. [@27 min] Plus, in the ‘Two Minute Drill'…there *is* good news for 2025. Soprano Lise Davidsen has announced she is having twins! And if they are fraternal twins who inherit their mom's voice, maybe in 2055 we will have a future dream team Sieglinde and Siegmund! GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 bsky @operaboxscore

How do we learn from the past to change the future? This bonus is an excerpt of Charlton's interview with Matthew Ozawa, stage director for the New York premiere of Angel Island at BAM produced by Beth Morrison Productions. In this clip, Matthew shares how his first experience on Angel Island and personal family history inspired the staging of the Prototype Festival staging. And Charlton describes how this project has shifted his own relationship to the energy of the Immigration Station detention barracks. As Matthew says, “This is now gonna exist for all times, for so many generations and people to experience, to think about, to learn about their history in a way that pre this piece, probably people didn't even know about... And this is why we make art.” Matthew has some exciting productions on the horizon for 2025 including Puccini's Madama Butterfly with Pittsburgh Opera in March and with Utah Opera in May. You can follow Matthew's work at matthewozawa.com. Connect with Del Sol Quartet DelSolQuartet.com Del Sol Quartet on Spotify Facebook Instagram YouTube This episode is a bonus from the "Angel Island" season of Sounds Current. If you haven't already, we encourage you to go back to "Part 1: A Haunting History" and listen to the full 4-part story. Sounds Current is produced and edited by The Creative Impostor Studios and hosted by Charlton Lee.    

Pour l'interlude oldie ça sera du Puccini revisité par Malcom McLaren !Hal & Oates - She's GoneAnnie & The Caldwells - Cant Lose My (Soul) - WrongLarry June, 2 Chainz, The Alchemist - Bad ChoicesPrefab Sprout - AppetiteFKA twigs - EusexuaFKA twigs feat. North West - Childlike ThingsBlasé - I Need It (From You) (feat. Cola Boyy)Kompromat - GOD IS ON MY SIDEDj Koze, Ada - UnbelievableMalcolm Mclaren - Madam ButterflyINNER LIFE I'm Caught Up (In a One Night Love Affair)Ale Hop & Titi Bakorta - Así Baila el SintetizadorBoldy James - Single File LineBoldy James - Permanent InkSaya Gray - Lie DownJeshi - YOU SNOOZE YOU LOSEJeshi - SCUMBAGCentral Cee x 21 Savage - GBPPlastikman - Konception (2024 Remastered)Mean Bacharach - No DoubtBurt Bacharach - Something BigMalcolm McLaren - First Couple OutMalcolm McLaren And The World's Famous Supreme Team Show - World's Famous (Radio I.D.)

The first international guest of 2025 is here! Nat aka ScruffySpaceElf on socials joins me from Austria to talk about her favorite fandoms! We kick things off with what may be her number 1 fandom, Star Trek. Nat talks about which series started things off for her, some of the shows she's watched (and others she hasn't), favorite characters, and so much more as we explore the Trek space. Then we go from Sci-Fi to Fantasy, as Nat talks about House of the Dragon. She talks about her interest in the show, the actors & characters, and what she's liked so far after having only seen the first season. We also touch on Game of Thrones, which she has not seen. Then we talk about her work in the Opera and Classical Music space. From her experience in grade school to the work in her degree program and internships, Nat talks about what attracts her to this realm and offers some music recommendations to us (check out the links further down). Lastly, Nat talks about how she got into Cosplay. We talk about her and her families background in faires, the work her dad and mom do, and the characters she's cosplayed. Plus, we talk about what the future holds for Cosplay. You can find Nat at: https://www.instagram.com/scruffyspaceelf/ https://www.threads.net/@scruffyspaceelf https://www.instagram.com/bendingflatnotes/ https://www.tumblr.com/scruffyspaceelf https://www.tiktok.com/@scruffyspaceelf Aria from Dvorak's "Rusalka" https://www.youtube.com/watch?v=DsclkAbE0JM Aria from Puccini's "Tosca" https://www.youtube.com/watch?v=NLR3lSrqlww

durée : 01:29:37 - Relax ! du mardi 21 janvier 2025 - par : Lionel Esparza - Quelle année que 1896 ! Puccini nous offre sa Bohème, Ernest Chausson écrit son Poème, Saint-Saëns joue son 5e concerto et Strauss fait parler Zarathoustra...

durée : 01:00:05 - Sophie Nauleau, écrivaine - par : Priscille Lafitte - Connaissant le plaisir simple de la vocalise et la difficulté de tirer un son clair d'une clarinette, l'écrivaine et éditrice Sophie Nauleau laisse opérer l'envoûtement du flûtiste Ramani, le mystère dans une partition de Boulez, et la sincérité dans la ligne de chant chez Puccini comme chez Mompou. - réalisé par : Claire Lagarde

YUH 192 is Andy Semotiuk and his biography of his great aunt, "Solomea Star of Opera's Golden Age". As the war of aggression Russia continues to pursue against Ukraine bleeds into 2025, our guest brings his remarkable biography of Ukraine's greatest prima donnas to our show. Solomea Krushelnytska rose from modest beginnings to an incredible career in Opera that brought her face to face with such legendary figures as Tuscanini, Puccini, Czar Nicholas the second and and Caruso. Fallout from the Second World War went a long way towards wiping her story from the history books. But there was a time when Solomea was the premier Soprano in the world! #solomiyakrushelnytska #madambutterfly #italianopera  #richardwagner #arturotuscanini  #puccini  #soprano  #tristianundisolde  #ukraine  #worldwar2  #ironcurtain  YUH Theme by David T and Mojo 3  https://www.amazon.com/Insanity-Sobriety-Blues-David-Mojo3/dp/B091N8BJNB Solomea Star of Opera's Golden Age on Amazon ⁠https://www.amazon.com/Solomea-Star-Operas-Golden-Age-ebook/dp/B0C79ZM8RV Andy Semotiuk at Forbes Magazine https://www.forbes.com/sites/andyjsemotiuk/ Yeah Uh Huh Social Stuff:    Yeah Uh Huh on TikTok https://www.tiktok.com/@yeahuhhuhpod Yeah Uh Huh on Facebook https://facebook.com/YeahUhHuhPod Yeah Uh Huh on Twitter https://twitter.com/YeahUhHuhPod Yeah Uh Huh on Spotify https://open.spotify.com/show/7pS9l716ljEQLeMMxwihoS?si=27bd15fb26ed46aa Yeah Uh Huh on Apple Podcasts https://podcasts.apple.com/us/podcast/yeah-uh-huh/id1565097611 Yeah Uh Huh Website: https://yeah-uh-huh.wixsite.com/yeahuhhuhpod

WE'RE BACK!! After a lengthy hiatus, Who & Company returns with a very special guest! Writer/director/actor Matthew Jacobs joins us to discuss his film/TV career, the creation of the 1996 Doctor Who TV Movie, and his new venture - writing for Big Finish! Then Matthew selects his Pick of the Month - the ABC/Family Channel action/adventure series, Young Indiana Jones Chronicles! Matthew discusses writing for the show, meetings with George Lucas, how scripts get chosen in a writers' room, and much more! And get the brand new Matthew Jacobs Big Finish audio play, Puccini and the Doctor - part of the Deadly Strangers box set only at www.bigfinish.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/doctorwhoandcompany/support

The actor Simon Russell Beale speaks about playing the poet and scholar A. E. Housman in Tom Stoppard's play 'The Invention of Love', as well as discussing his memoir.The singer, songwriter and composer Rufus Wainwright was inspired to write a Requiem by his love of the composer Giuseppe Verdi and the loss of his dog, named Puccini. He speaks about the project and the involvement of Meryl Streep.And Kate Garner performs songs from the music halls, alongside the historian and writer Oskar Jensen discussing the stories behind the songs.Presenter: Samira Ahmed Producer: Ruth Watts

Simon Reeve is a broadcaster and writer best known for his TV documentaries which combine travel and adventure with investigations into the challenges faced by the places he visits.His journeys have taken him across jungles, deserts, mountains and oceans, and to some of the most dangerous and remote regions of the world. He's dodged bullets on frontlines, dived with seals and sharks, survived malaria, walked through minefields and tracked lions on foot.Simon grew up in Acton in west London. He experienced anxiety and depression as a teenager and left school with few qualifications. He eventually found a job in the post room at the Sunday Times and from there progressed to working with the news teams, filing stories on a range of subjects from organised crime to nuclear smuggling. In the late 1990s he wrote one of the first books about Al-Qaeda and its links to Osama Bin Laden. His expertise in this area was quickly called upon after the 9/11 attacks in the USA, and he became a regular guest on American television and radio programmes.The current pandemic put Simon's overseas trips into abeyance and he has turned his attention to the UK, recently making programmes about Cornwall and the Lake District. DISC ONE: Eskègizéw Bèrtchi by Alèmayèhu Eshèté DISC TWO: Vissi d'arte - from Puccini's Tosca, performed by Kiri Te Kanawa with the London Philharmonic Orchestra, conducted by Sir John Pritchard DISC THREE: It Takes Two by Rob Base & DJ EZ Rock DISC FOUR: We Will Rock You by Queen DISC FIVE: Mr Brightside by The Killers DISC SIX: Wiley Flow by Stormzy DISC SEVEN: You're Lovely to Me by Lucky Jim DISC EIGHT: Rocket Man by Elton John BOOK CHOICE: Moonshine for Beginners and Experts by Damian Brown LUXURY ITEM: Bird seed CASTAWAY'S FAVOURITE: Rocket Man by Elton John Presenter Lauren Laverne Producer Paula McGinley

While I was growing up, Gilda Cruz-Romo was a fixture on the stage of the Metropolitan Opera. At the time, I did not fully appreciate her, as I thought of her as a second-string singer on the roster. I saw her once on the Met tour as Desdemona opposite Jon Vickers, but for reasons none too flattering to me, I undervalued her. In recent years, however, I have completely revised my opinion, and now think that Gilda Cruz-Romo was both the most significant Mexican soprano ever to appear on the world's stages, but also simply one of the finest lirico-spinto sopranos of the twentieth centuries. Fortunately there are many people that agree with me, including some devoted fans who have posted an extraordinary number of live recordings of the artist on YouTube and elsewhere. And this is especially helpful because, incredibly, Cruz-Romo never made any commercial recordings. This episode fully explores the career and repertoire of our subject for today, and includes performances of the soprano in her core Verdi and Puccini repertoire (including such surprises as Odabella, Lady Macbeth, and Turandot!), as well as less expected forays into Mozart and bel canto. Throughout her virtues shine forth: a plangently beautiful voice with a particularly radiant top wedded to an incredibly secure technique, which afforded her enormous flexibility and coloratura facility. Added to this, and paramount to her artistry, is a dedication to her craft and to music which sweeps all before it and raises her work into the realm of the sublime. I think of this episode (the last completely new episode I'll be putting out this season) as a pre-birthday tribute, as the diva turns 85 years old on February 12, 2025. Other singers heard on the episode are tenors Carlo Bergonzi, Colenton Freeman, and John Alexander, and baritone Matteo Manuguerra; among the conductors are Zubin Mehta, Nicola Rescigno, Riccardo Muti, Peter Maag, and Julius Rudel. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Humanities West and the Italian Cultural Institute celebrate the life and art of Giacomo Puccini (December 22, 1858 to November 29, 1924) on the 100th anniversary of his death. His operas La Bohème, Tosca, Madama Butterfly and Turandot are among the most beloved and most often-recorded operas of all time. His arias are famous for both their emotional resonance and their melodic beauty—even among millions who have never listened to a complete opera. Puccini was born into a centuries-old family of Italian composers, and he began his successful career just as Verdi was completing his, quickly inheriting Verdi's renown as the greatest living composer of Italian opera. We have brought the internationally praised scholar and musicologist Gabriele Dotto from Italy to share the stage with San Francisco Opera's favorite Kip Cranna to tell some of the stories behind the composition of Puccini's heavenly arias. Giacomo Puccini and the Impact of Early 20th Century Media Gabriele Dotto will trace the rapid rise of sound recordings and film as competitors for opera theaters and the traditional business of music publishers. Puccini and his publisher, Casa Ricordi, demonstrated an extraordinary combination of artistic creation and commercial activity, using new and efficient strategies to market Casa Ricordi's opera repertoire to a globally expanding audience and “branding” Puccini as the publishing house's most iconic composer. Puccini Before Fame: The Composer in His Youth Clifford (Kip) Cranna will discuss Puccini's boyhood experiences, his musical training and his operatic influences. Cranna will demonstrate that some of the music Puccini wrote as a student was eventually recycled in his later operas. He will also concentrate on Puccini's first two operas, the rarely performed Le Villi and Edgar, which were composed before his first big hit Manon Lescaut—the beginning of his enduring fame and operatic stardom. OrganizerGeorge Hammond   A Humanities Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. In association with Humanities West and the Italian Cultural Institute Learn more about your ad choices. Visit megaphone.fm/adchoices

“Seems an opera house is the perfect place for mischief and mayhem,” says the hard-boiled Inspector Cristina as she seeks to unravel the mystery at the heart of Overture to Murder, the meticulously researched third book of Erica Miner's “Julia Kogan Opera Mystery Series.” Mayhem and mischief are no strangers to the opera house, both on and off-stage.  Join us for a discussion of both Erica's new book and Giacomo Puccini's Il Tabarro, a powerful, gritty verismo opera inspired by the dramatic potential of the darker human impulses. For more on Erica Miner, visit ericaminer.com

[@ 2 min] This week…we go inside the huddle with Key'mon Murrah. In advance of his upcoming Washington National Opera Marian Anderson Vocal Award recital, we catch up with the in-demand countertenor almost four years after he first became a Friend of the Show. [@ 26 min] Then, we take a break from the opera to discuss the CSO in this week's listener mailbag… [@ 31 min] After that…Puccini died a century ago, and his operas are still performed all over the world. Matt and I are here to settle the question once and for all: was Giacomo the GOAT? Or GioAT, if you will? [@ 59 min] Plus, in the ‘Two Minute Drill'…is Bayreuth's budget going bust? Will bad business bring about bankruptcy? We boys break down this baffling botheration… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Nick and Benji present… The Chat: Podcast Xmas… Good Review Guy: Doctor Who Audio Novel: Terror of the Master… Behind-the-Scenes and Drama Tease: Eighth Doctor Adventures - Puccini and the Doctor… Also available: Bernice Summerfield - The Eternity Club 4.

Act II builds on the suspense and burgeoning relationship between Rodolfo and Mimi, newfound neighbors and bohemian lovers in the Latin quarter of Paris. Their spark of divine love is juxtaposed with the contrasting passion and suffering of Marcello and Musetta, the latter whose adulterous liaison serves as the locus of lustful competition, jealousy, and spite. Such destructive tendencies are representative of our collective humanity's consequent obsession with carnal desire and adultery, symbolized in Revelations as the scarlet whore who entices the multitudes with false prophecy and blind promises that lead to intense affliction. See how spiritual initiates like Puccini warned against following blind passion and the ways to recognize salvation within oneself: the path of chastity or sexual purity within the perfect matrimony.

[@ 2 min] This week, we're recording on December 2nd, the 101st anniversary of the birth of Maria Callas. And to celebrate, we'll go Inside the Huddle with Sophia Lambton, author of the new biography, "The Callas Imprint." [@ 30 min] Then, it's a Monday Evening Quarterback on “Maria,” the film now in select theaters and coming to Netflix this month! [@ 38 min] Plus, in the ‘Two Minute Drill'…we may be celebrating Callas' birthday on the show today, but Puccini's birthday was nearly ruined at La Scala… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Kitsch oder Kult? Kolportage oder Kunst? Wie auch immer: Giacomo Puccinis "La Boheme", "Tosca" und "Turandot" ziehen bis heute die Menschen in die Opernhäuser der Welt. Puccini war Weltstar, Schwermütiger, Auto- und Techniknarr, eine vielseitige, oft widersprüchliche, immer aber faszinierende Figur. Von Christian Schuler

David Belasco -- playwright, producer, impresario, theatre manager, and theatrical visionary -- was one of the most important names in the world of the Gilded Age stage.Beginning his life and career in San Francisco following the Gold Rush years, Belasco moved to New York to revolutionize how theatre was seen and produced in the last years of the 19th and into the 20th century. In addition to writing such hits as plays "Madame Butterfly" and "The Girl of the Golden West" which went on to become even more popular ad Puccini operas, he was responsible for launching the careers of Maude Adams (the first Peter Pan), Mary Pickford and Barbara Stanwyck. He was known for often wearing the robes and clerical collar of a Catholic priest, despite his Jewish heritage and thus began to call himself  "The Bishop of Broadway". Belasco owned and operated today's Belasco Theatre on 44th St which continues to bear his name. The theatre, built in 1907, is home to current Broadway hits and still contains the once lavish apartment now abandoned in which he lived on the theatre's top floor.   It's said that perhaps Belasco has never quite left his eponymous theatre and reports have persisted over the years of sightings and strange occurrences that indicate his possible presence even today.