Podcast appearances and mentions of Queen Elizabeth Hall

For this episode we're joined all the way from San Francisco by Barry Walters to discuss his new history of LGBTQ music. And in our first recording since the retirement of Mark Pringle, William Pike becomes an official co-host of the RBP podcast... Barry reflects on his upbringing in Rochester, N.Y., his move to New York City, and his early writing for the Village Voice. We then hear about his years as pop critic for the San Francisco Examiner and the inspiration of gay disco icon Sylvester. Along the way our guest touches on some of the other artists he writes about in Mighty Real, including the Village People, k.d. lang and Grace Jones. We hear clips from Richard Cook's 1985 audio interview with the amazing Grace and discuss her unique contribution to LGBTQ culture. After William mentions a recently-added library piece about Ray Davies (1977), prompting a discussion of the Kinks' watershed hit 'Lola', Jasper talks us out with his thoughts on Kylie Minogue (2011) and his deep reverence for Spanish superstar Rosalía (from whose O2 show the previous evening he is still reeling...). Many thanks to special guest Barry Walters. Mighty Real: A History of LGBTQ Music, 1969–2000 is published by Viking and available now from all good bookshops. Visit Barry's website at barrywalterswriter.com. Pieces discussed: Grace Jones audio interview (1985), Ray Davies live at Queen Elizabeth Hall, Kylie Minogue: The Albums 2000–2010 and Rosalía: Lux.

Britský dramatik Tom Stoppard byl skromný a velkorysý džentlmen s jemným smyslem pro humor. Naše spolupráce začala koncertem Plastiků v londýnské Queen Elizabeth Hall na počest divadelní hry Rokenrol, kterou Stoppard napsal. Koncert i setkání s ním byl pro mě velký zážitek.

Britský dramatik Tom Stoppard byl skromný a velkorysý džentlmen s jemným smyslem pro humor. Naše spolupráce začala koncertem Plastiků v londýnské Queen Elizabeth Hall na počest divadelní hry Rokenrol, kterou Stoppard napsal. Koncert i setkání s ním byl pro mě velký zážitek.Všechny díly podcastu Glosa Plus můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Critics William Lee Adams and Laura Barton join Samira to review the new album from Irish popstar CMAT which reflects on her home country, the sexist comments she has received, as well as Jamie Oliver and Teslas. More than a decade after the US version of sitcom The Office ended, it gets a spin-off called The Paper, set in a local newspaper office in Ohio. And Jacob Elordi and Daisy Edgar-Jones lead the cast of a new gay romance film called On Swift Horses, set in fifties California. London's Southbank Centre will be covered in dance for 3 nights, when "We Should Have Never Walked On The Moon" takes over The Royal Festival Hall and The Queen Elizabeth Hall. Visitors will witness dance in new spaces, by Ballet Rambert and (LA)HORDE. Samira speaks with dancers, choreographers, organisers and directors about what will happen and what it all means.Presenter: Samira Ahmed Producer: Tim Bano

Sons de Jorge Ramos, que utiliza IA , vão ouvir-se no Queen Elizabeth Hall, quarta-feira. Definir politicas para os madeirenses no mundo um dos objetivos da visita de Sancho Gomes à Venezuela. Edição Paula Machado

The episode was recorded and released before the start of the Israeli operation in Iran.Join our Patreon community to get access to bonus episodes, discounts on merch and more: https://bit.ly/UnholyPatreonSocial links, shop, YouTube channel and more: https://linktr.ee/unholypod As speculation increases of an imminent attack on Iran's nuclear facilities, Israel's internal political turmoil shows no sign of calming. At the heart of the latest furore: the long-running debate over military service exemptions for the ultra-Orthodox. Who should serve—and who shouldn't?Yonit and Jonathan unpack the implications of this fiercely divisive issue, and look ahead to what it means for Israel's future. Plus: a special conversation recorded at Unholy's first-ever live event at London's Queen Elizabeth Hall, with Yuval Noah Harari—historian, and one of Israel's most original thinkers. Yuval Noah HarariYuval Noah Harari is an Israeli historian and professor at the Hebrew University of Jerusalem. He is best known for his bestselling books, including Sapiens: A Brief History of Humankind, which explore broad questions about history, technology, and the future of humanity. Oi Va VoiOi Va Voi is a British band known for blending Eastern European, Jewish, and indie music influences into a unique world fusion sound. Since their formation in London, they have gained a devoted following with their energetic performances and thoughtful lyrics.

This week's book guest is She Speaks!: What Shakespeare's Women Might Have Said by Harriet Walter.In a truly special episode live from Southbank Centre's Queen Elizabeth Hall as part of the London Literature Festival 2024 Sara and Cariad are joined by the one and only Dame Harriet Walter to talk about her new collection of speeches for thirty of Shakespeare's women.Harriet is one of Britain's most esteemed Shakespearean actors, a stalwart of the RSC she has won an Olivier Award, been nominated for both Tony and Emmy Awards and has starred in the likes of Killing Eve, Ted Lasso and Succession.Her new book re-imagines what some of Shakespeare's women might have been secretly thinking and lets them speak their minds. In this episode they discuss Shakespeare for Breakfast, acting, croissants, the Edinburgh Festival and Patrick Stewart's wig.Thank you for reading with us. We like reading with you!Trigger warning: In this episode we discuss suicide and death.Harriet's book She Speaks!: What Shakespeare's Women Might Have Said is available to buy here. Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded live at the Southbank Centre's Queen Elizabeth Hall as part of the London Literature Festival 2024 and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Today's podcast features a series of interviews I conducted with HubSpot executives when I attended HubSpot's recent GROW Europe 2024 event at the Queen Elizabeth Hall in London. First up is Daphne Costa Lopes, Global Director of Customer Success at HubSpot, who I talk to about why the marketing funnel is broken, why we should be thinking about a flywheel instead and having a dedicated space in their CRM platform for customer success professionals and leaders. Following that chat, I spoke to Crevan O'Malley, VP Corporate Sales, EMEA, at HubSpot, about what stood out for him from the panel that he moderated, how human messaging will be the thing that helps scaling brands cut through the noise and what brands should be doing with all of the time that AI tools can help us save. Clue: it's all about spending more quality time building better connections. Finally, I talked to Lalitha Stables, HubSpot's new UK GM and Country Manager, about HubSpot's secret sauce and what stood out for her at the event. This interview follows on from my recent interview – It's not about the customer's journey with our platform, it's about the customer's journey – Interview with Nadine Macklin of Carto – and is number 523 in the series of interviews with authors and business leaders who are doing great things, providing valuable insights, helping businesses innovate and delivering great service and experience to both their customers and their employees. #GROWEurope2024 #hubspotpartner

Now for a roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their regular email newsletter. Audio described shows and events included: Raphael Tactile Images - Audio Described Guide Victoria and Albert Museum, London English Touring Opera, The Snowmaiden - Saturday 26 October, 7.30pm, Buxton Opera House The Elmer Adventure - Sunday 3 November, 11am, touch tour 9.45am, Queen Elizabeth Hall, Southbank Centre, London Harry Potter and the Cursed Child: Parts One & Two - Saturday 9 November, Part One  2pm, Part Two 7pm, touch tour 11.30am, Palace Theatre, London Northern Ballet - A Christmas Carol - Saturday 9 November, 2pm, touch tour 11.45am, Lyceum Theatre, Sheffield To find out more about these and other up-coming described arts events as well as details about how to sign up to the regular What's On email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Now for a roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their regular email newsletter. Audio described shows and events included: Bert Hardy – Photojournalism in War & Peace - Thursday 9 May, 6.30pm, The Photographers' Gallery, London The Drifters Girl - Saturday 11 May, 2.30pm, Wales Millennium Centre, Cardiff 2:22 A Ghost Story - Thursday 16 Mary, 7.30pm, Hal New Theatre Much Ado About Nothing - Thursday 23 May, 2pm, touch tour 12noon, Shakespeare's Globe Theatre, London Margaret Leng Tan: Dragon Ladies Don't Weep - Saturday 25 May, 7.30pm, Queen Elizabeth Hall, Southbank Centre, London To find out more about these and other up-coming described arts events as well as details about how to sign up to the regular What's On email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

fWotD Episode 2491: Blood on the Floor (Turnage) Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Thursday, 29 February 2024 is Blood on the Floor (Turnage).Blood on the Floor is a suite in nine movements composed for orchestra and jazz trio by Mark-Anthony Turnage. It was composed over a span of three years (1993–1996) after a commission from the Ensemble Modern—a German music group—to produce a piece for an evening jazz event in 1994. After the performance, Turnage expanded the piece into the larger nine movement suite that is now performed. During this period of composition, Turnage's brother Andrew died of a drug overdose, shaping the music greatly. As a result, drug culture is one of the main themes in the suite. Blood on the Floor also draws influences from the paintings of Francis Bacon and Heather Betts; the suite's title is an adaptation of Bacon's painting Blood on Pavement.Like other compositions by Turnage, Blood on the Floor incorporates elements of both classical and jazz music. Due to this, it has been described as being part of the "third stream" genre, a term coined by Turnage's former teacher Gunther Schuller. The suite is written as a concerto grosso and features a blend of classical, jazz, non-western and electronic instruments. As part of this fusion, the suite contains space for soloists to improvise in four of its movements. Blood on the Floor shows elements of non-functional harmony and has complex rhythmic changes, often changing metre every bar. Motifs are found recurring throughout the suite. Blood on the Floor was premiered by the Ensemble Modern at the Queen Elizabeth Hall, London, in May 1996. The suite received a mixed reception from music critics. Some enjoyed the suite's fusion of classical and jazz music, while others found it to be an unfulfilling combination. Outside of the Ensemble Modern, Blood on the Floor has been performed by various ensembles, including the Berlin Philharmonic, Melbourne Symphony Orchestra and Boston Symphony Orchestra.This recording reflects the Wikipedia text as of 01:07 UTC on Thursday, 29 February 2024.For the full current version of the article, see Blood on the Floor (Turnage) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Kimberly Standard.

Harvey Brownstone conducts an in-depth Interview with Peter Cincotti, Renowned Pianist, Singer/Songwriter & Recording Artist About Harvey's guests: Today's guest, Peter Cincotti, is a renowned pianist, singer-songwriter and concert and recording artist who burst on the music scene at the age of 18, when he became the youngest artist ever to reach #1 on the Billboard Jazz Charts, with the 2003 release of his self-titled debut album.   Since then, he's been dazzling audiences around the world with his ingenious musical arrangements and unique fusion of jazz, pop, rock, funk and blues, performing sold-out concerts at some of the most prestigious venues from Carnegie Hall, Lincoln Center, and Radio City Music Hall to L'Olympia in Paris, Queen Elizabeth Hall in London, and the Montreux Jazz Festival, where he won an award for his rendition of Dizzy Gillespie's “A Night in Tunisia”.    He's released 6 highly acclaimed albums, produced by legends like Phil Ramone and David Foster.  He's collaborated with many iconic music stars including Ray Charles, Andrea Bocelli, Sting, Annie Lennox, David Guetta and Seal.  He appeared in the blockbuster films “Spiderman 2” and “Beyond the Sea”.  And yes, that was him in Season 3, episode 3 of the hit Netflix series “House of Cards”, appearing as himself, singing a duet with the President.    His latest album 'Killer On The Keys' is an homage to some of the most influential piano icons of all time, and blends influences ranging from Nat King Cole, Billy Joel, and Lady Gaga, to John Lennon and Coldplay.   And last December, his new original Christmas song 'Because It's Christmas' reached #25 on the US Top 40 Mainstream Billboard Chart, #12 on the Holiday Top 15 Chart, and #3 on the Independent Artists Chart.   The critics are unanimous in their praise for this man's remarkable artistry and musicianship.  The New York Post said he's “incredible”.  The Daily News said he's “sensational”.  Newsweek Magazine called him “phenomenal”.  And the usually restrained New York Times music critic said he's “well on his way to becoming a legend”.    And if ALL OF THAT weren't enough, he's also an icon in the world of international men's fashion, representing the luxury brands Zegna and Tod's.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Peter Cincotti, go to:https://www.petercincotti.com/ https://www.facebook.com/petercincottihttps://www.instagram.com/petercincottihttps://twitter.com/petercincottihttps://www.tiktok.com/@petercincottihttp://www.youtube.com/petercincotti #petercincotti   #harveybrownstoneinterviews

False beliefs about what does and doesn't constitute rape are more deeply ingrained in young people than we might think. The Crown Prosecution Service has conducted research into what these misconceptions are, and the impact they're having on the justice system when it comes to rape convictions. Anita Rani is joined by Baljit Ubhey from the CPS and Andrea Simon from End Violence Against Women to hear more.Julia Bullock is an American classical singer. Her debut solo album, Walking in the Dark, was nominated for a Grammy award. Next week, she is bringing her mixed-media project History's Persistent Voice to London's Queen Elizabeth Hall. It shines a light on the words, work and experiences of Black American and British artists, and includes new songs commissioned from leading Black women composers. She joins Anita to discuss her music, her influences and her passions. Journalist Helen Carroll faced a backlash online when she revealed she pays her son £40 a month to load the dishwasher. This sparked a discussion - were you paid as a child to do household chores? Or do you think children should just be doing things around the house anyway without money? Parenting coach and psychologist Sue Atkins joins Anita to discuss. Domino Day is a brand new series coming to BBC Three which combines the world of modern dating with the world of the supernatural. Series writer Lauren Sequeira speaks to Anita about why the show's themes of modern relationships and female empowerment are so important to her, and why she wanted to show witches in a whole new light. Presenter: Anita Rani Producer: Lottie Garton

Now for a festive roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their regular email newsletter. Audio described shows and events included: The House with Chicken Legs - Thursday 21 December, 2.30pm, touch tour 1pm, Queen Elizabeth Hall, London The Gruffalo's Child - Sunday 24 December, 11am, Garrick Theatre, London   Dick Whittington and His Cat - Wednesday 27 December, 5.30pm, King's Lynn Corn Exchange Beauty and the Beast - Thursday 28 December, 7pm, Sunderland Empire Cinderella - Saturday 30 December, 2pm, touch tour 1pm, Watford Palace Theatre Hansel and Gretel - Tuesday 2 January, 2.30pm, touch tour 12.30pm, Shakespeare's Globe Theatre, London To find out more about these and other up-coming described arts events as well as details about how to sign up to the regular What's On email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Award winning vocalist Emma Pask, has firmly established herself as one of Australia's favourite voices in Jazz. Her effortless, honest stage presence combined with her powerful vocal ability, leaves audiences spellbound and inspired whenever she takes to the stage. While Emma's voice and style are unique, and individually her own, her performances are reminiscent of the classic era of jazz, when swing was top of the charts. Her talent was first spotted by internationally renowned Jazz great James Morrison, when she was just 16 years old. She joined his band as the lead vocalist and went on to spend a solid 20 years touring the world with Morrison. On request Emma performed the Bridal Waltz for Nicole Kidman and Keith Urban at their wedding. More recently she played support to Legendary Guitarist/Vocalist George Benson when he toured Australia. Emma opened for Grammy Award winning American vocalist Kurt Elling, on his 2018 Australian Tour. Emma is a “Mo' award winner for Jazz Vocalist of the year, and has received two ARIA award nominations for Best Jazz Album of the Year in 2014 and 2016. Emma has had the honour to sing for VIP audiences including the late Diana Princess of Wales and Princess Mary of Denmark. She has sung in London at The Queen Elizabeth Hall with the BBC Concert Orchestra, the Sydney Opera House with the Sydney Symphony Orchestra. Emma has performed in China with The Shanghai Symphony Orchestra, Auckland with the NZ Philharmonic, and with the WA Symphony Orchestra in Perth.  In 2019 the Emma Pask Band headlined at the Havana Jazz Festival in Cuba. Emma has toured her band throughout Europe, Asia and Australia. She has received rave reviews for her performances in Uruguay, South America, and is a regular at the prestigious Ascona Jazz Festival in Switzerland.  Despite her achievements and the international recognition of her talent, Emma retains her natural, refreshing and unpretentious, positive approach to life.  Jazz virtuoso James Morrison says of Emma, “Whilst it's fashionable to be a jazz singer these days, she is the real thing!” In 2020 amidst the Covid 19 lockdown, Emma was chosen by The Sydney Opera House to launch the first of their concerts live streamed from the stage of the hallowed Joan Sutherland Theatre. This performance won the offical Time Out (in) award for favourite Arts livestream. In 2021 The Emma Pask Big Band brought Sydney's music scene back to life after lockdown, as they featured with a sold out performance at Sunset Piazza.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

As his new album Letter(s) to Erik Satie is set to be released, the French pianist Bertrand Chamayou talks to presenter Tom Service about the connections he sees between the visionary composers it features, including John Cage, James Tenney and Erik Satie, and how the project took him to places he'd never been before. He tells Tom how collaborating with the soprano Barbara Hannigan opened the door for this Satie project, about the unpredictability of the recording process, and how he'd like classical music performance to become more like visual art. Tom travels to Bristol's The Galleries shopping centre, home of Bristol's Eye Hospital Assessment centre, to visit a new installation featuring the testimony of 100 voices from across 12 NHS hospitals - including doctors, porters, nurses, consultants, and patients - which have been curated into an hour-long immersive experience. Providing a therapeutic space for contributors to express themselves, and an opportunity for audiences to contemplate the lived experience of hospital communities, Tom learns how the project's composer, Hannah Conway, and librettist, Hazel Gould, created four arias around common themes they encountered, and hears how they've become creatively projected into a bespoke structure that will tour Bristol, London, Preston and Addenbrooke over the coming weeks. With contributions, too, from Manager at NHS Lancashire Teaching Hospitals, Dipa Dave, and Head of Arts at Cambridge University Hospitals NHS Foundation Trust, Natalie Ellis. Also today, as the West-Eastern Divan Ensemble prepares to perform a concert including Mendelssohn, Beethoven and Carter at the Queen Elizabeth Hall in London this weekend, the violinist Michael Barenboim tells Music Matters how, despite the situation in the Middle-East, the collaborative principles behind his father's and Edward Said's orchestra – which seek to bring together Arab, Palestinian and Israeli musicians – are more important than ever. And the composer Jack van Zandt - author of a new book, Alexander Goehr, Composing a Life - speaks to Tom about the ongoing teacher-pupil relationship he's developed under the tutelage of Alexander - Sandy - Goehr, and how Olivier Messiaen, Pierre Boulez, and among others, Richard Hall, have in turn provided tuition and inspiration across Sandy's musical life.

Properly weird performance at Southbank Centre and we loved every second. Peeling potatoes, chucking nails, melting ice, cutting plasterboard, the works. We chat meeting the big M herself and what we found in the nooks and crannies of the Southbank. Bellissimo!  Here's what we saw: Marina Abramović Institute Takeover The entire Queen Elizabeth Hall – backstage and all – transforms into the set for enthralling durational performances, curated by conceptual artist Marina Abramović and MAI. The performances use the entirety of the Queen Elizabeth Hall, and is self-led, letting you explore all parts of the building, including the auditorium, Purcell Room, backstage dressing rooms, green rooms, technical spaces and foyer. The artists have all been invited to make site-specific, long-durational work. They engage with endurance, presence and participation, creating an infinite possibility of encounters between visitors and artists. The artists featured are Collective Absentia, Carla Adra, Cassils, Paula Garcia, Miles Greenberg, Sandra Johnston, Carlos Martiel, Yiannis Pappas, Paul Setúbal, Aleksandar Timotic and Despina Zacharopoulou.

In this episode we welcome acclaimed critic, author and professor Evelyn McDonnell and invite her to discuss her new Joan Didion book, along with the Motels, Britney Spears and California's pop history in general. Evelyn talks about her early L.A. memories and childhood move to Wisconsin before we hear how she progressed from her college paper in Providence, RI, to becoming the pop critic for the Miami Herald. We also note books such as her Runaways biography Queens of Noise, a suitable jumping-off point for a long conversation about her fellow Californian, Didion. Mark and Martin reminisce about the impact of Didion's extraordinary essay collections Slouching towards Bethlehem and The White Album, after which we follow her career through to the bestselling Year of Magical Thinking. The L.A. theme continues as we hear two clips from Steve Roeser's 2001 audio interview with Motels singer Martha Davis, putting that band into historical context with discussion of the pre-punk D.I.Y. "Radio Free Hollywood" shows in 1976. From there we fast-forward to the very different "L.A. Woman" that was and is Britney Spears, which in turn prompts our guest to give her very pertinent take on the [Jann] "Wennergate" debacle of the past month. At a significant remove from all this Hollywood Babylonia was avant-jazz giant Carla Bley, whose death we mark in a conversation about 1971's extraordinary Escalator Over The Hill. Finally, Mark mentions pieces he's recently added to the RBP library, including interviews with Laurie Anderson and the Byrds' Roger McGuinn, and Jasper rounds the episode off with remarks on pieces about Herbie Hancock and Steve Goodman's Hyperdub label.  Many thanks to special guest Evelyn McDonnell. The World According to Joan Didion is published by HarperOne and available now. Pieces discussed: Hollywood Swinging: Joan Didion in '60s L.A., The Runaways, The Motels' Martha Davis audio, Britney Spears at Staples Centre, Britney Spears interviewed by Steven Daly, Carla Bley interviewed by Brian Case, Carla Bley at Queen Elizabeth Hall, Dwight Twilley Band, Dwight Twilley: Magical Mystery Man, Queen Latifah/DJ Mark the 45 King, The Byrds, Laurie Anderson, Steve Goodman & Hyperdub and Herbie Hancock.

Billy Waters became a celebrity in early 19th century London as a talented street performer. New Generation Thinker Oskar Jensen and Mary L. Shannon join Rana Mitter to tell Billy's story and those of other musicians performing on the streets of London at the time. Charlie Taverner has written a history of Street Food. We also hear from Marigold Hughes about the latest production from Streetwise Opera, an organisation that devises opera productions with people who are or have been homeless. Vagabonds: Life on the Streets of Nineteenth-century London by Oskar Jensen is out now. Mary L. Shannon's book 'Billy Waters Is Dancing' will be published later this year. Street Food: Hawkers and the History of London by Charlie Taverner is out now Streetwise Opera, BBC Concert Orchestra and The Sixteen perform Re:sound at the Southbank Centre, London on Weds 22nd March and at the Queen Elizabeth Hall, London on Sun 26th March. Producer: Torquil MacLeod

Laurence Osborn (b. 1989) is a British composer currently based in London. His music has been commissioned and/or programmed by the London Symphony Orchestra, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Ensemble Modern, Britten Sinfonia, The Riot Ensemble, Manchester Collective, 12 Ensemble, GBSR Duo, Ensemble Klang, and Ensemble 360, among others. He has also written for solo performers Sarah Dacey, Mahan Esfahani, Bartosz Glowacki, Zubin Kanga, Lore Lixenberg, Michael Petrov, and Agata Zubel. His music has been programmed throughout the UK, at venues such as The Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House, Symphony Hall (Birmingham), The Wigmore Hall, Kings Place, LSO St Luke's, St Martin- In-The-Fields, Milton Court, Wilton's Music Hall, Britten Studio (Aldeburgh), The National Portrait Gallery, The Holywell Music Room (Oxford), The Crucible Theatre (Sheffield), Kettle's Yard (Cambridge), and at Huddersfield Contemporary Music Festival (where he was an International Showcase Artist), St Magnus International Festival, Music in the Round Festival, and Ulverston International Music Festival.Laurence Osborn's song cycle Essential Relaxing Classical Hits was nominated for an Ivor Novello Award in 2021. He won the Royal Philharmonic Society Composition Prize in 2017, was runner up in the New Cobbett Prize for Composition (2014) and the International Antonin Dvorak Composition Competition (2013) and was shortlisted for the ICSM World Music Days (2018). Laurence has won student prizes for composition while studying at both undergraduate and postgraduate level, including the Adrian Cruft Prize for Composition and the Royal College of Music Concerto Competition. He has held positions in association with LSO Soundhub (2013-15), Nonclassical (2015-17), and the London Philharmonic Orchestra (2017-18).SOUND EXERPTS, IN ORDER:1. Coin Op Automata  for harpsichord and string quartetperformed by the Manchester Collective2. Essential Relaxing Classical Hits, for amplified solo soprano and 6 playersperformed by Agata Zubel and Ensemble Klang3. Absorber, for solo piano and MIDI controllerperformed by Zubin KangaLINKSLaurence Osborn official websiteWatch video of ‘Absorber' for piano and MIDI controllerSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnSupport the show

Many will know Lewis Cornay as the two Johns in Southwark Playhouse's revival of John and Jen which recently played a 30th anniversary concert at 54 Below in New York. What many may not know is that Lewis Cornay has been performing for the best part of 20 years having been a child actor in shows such as Mary Poppins and The King and I. Since graduating from Guildford School of Acting, Lewis has been a powerful force in the industry, starring in The Book of Mormon on the West End, She Loves Me at Sheffield Crucible as well as performing in his own shows: Lewis Cornay and Friends and The Curious Case of Lewis Cornay. As a writer, Lewis' writing debut arrived at Seven Dials Playhouse at the end of last year with Daddy Issues starring Bebe Cave.In this exclusive interview, Lewis Cornay opens up about his career and what it has been like juggling being an actor, writer and composer. He discusses his love for theatre and why certain projects like She Loves Me and John and Jen have meant so much to him. We hear him frankly discussing challenges that the theatre is facing too with the current socio-economic climate and why it still feels like a blessing to be in a job. Later this year, Lewis will also be reuniting with Christie Bhima on SpongeBob the Musical which will tour the U.K. before a run at Queen Elizabeth Hall. It's a fascinating interview with a fascinating figure in the industry who's name we can expect to hear a lot more of in the coming years.

In this episode, I talk to the wonderful comedian, STEVE BUGEJA, about his comedy career. Bugeja is a regular in comedy clubs and is also a writer and actor.  Co-creating and appearing in the ITV 2 sitcom, Buffering (with Iain Stirling) and has been part of the main writing team for Stirling's ITV 2 comedy quiz show, Celebability and The Russell Hour for Sky Television.  He won the BBC New Comedy Award in 2013 and has since had five successful solo shows at the Edinburgh Fringe and been on two national tours.  An extremely funny and unique comic performer on stage, he has razor-sharp wit and delivers each story and joke with brilliant precision and timing. I have seen Bugeja perform for Always Be Comedy in London in 2017, Mervyn Stutter's Pick of The Fringe in Edinburgh in 2018, Always Be Comedy in 2021, his work-in-progress solo show Tried To Start His Own Nickname in 2021 for the Leicester Comedy Festival and supporting Iain Stirling on tour at the Queen Elizabeth Hall, London in 2022. Thank you so much for listening to my podcast, if you like what you hear, please subscribe and I hope you enjoy the interview. Please read Steve Bugeja's blog at: www.arichcomiclife.blog/2018/09/08/steve-bugeja/ Steve Bugeja's Links: Facebook: www.facebook.com/SteveBugejaComedian/ Twitter: www.twitter.com/stevebugeja Instagram: www.instagram.com/stevebugejacomedy/ Website: www.stevebugeja.com    

Heeeeey 离谱电台的各位听众大家好呀！新年快乐！ 时隔3个月，我们又更新啦。这次在辞旧迎新之际，按惯例跟大家分享一下我们这一年都听了些什么。不知道我冗长的shownotes是否有人想念，想再看更多文字的朋友们请留言 ;) Songs Intro: myenemy - Parcels - Live from Hansa Studios （David Bowie曾经录音过的地方） 06:39 Overnight - Parcels 13:26 Black Dog - Arlo Parks 24:54 God Turn Me into a Flower - Weyes Blood 31:41 Daa Nyinaa - Ata Kak 37:25 En Relisant Ta Lettre - Serge Gainsbourg 45:23 Spitting off the Edge of the World - Yeah Yeah Yeahs 51:37 I! Alarm! Alive! Alive! - Absolute Purity 55:39 United in Grief - Kendrick Lamar 01:02:19 Walkin - Denzel Curry 01:08:39 转夜 - 邱舒 01:17:15 Finger - 大象体操 live from Audiotree 01:25:14 有没有一首歌会让你想起我 - 大象体操 （滚石四十周年） 01:29:24 十二楼 - 缺省 （滚石四十周年） 01:34:12 神行太保 - Sleeping Dogs 01:37:02 Bounce Pts I + II - Nate Smith 01:40:17 In These Times - Makaya McCraven 01:47:55 Instrumental - Black Country, New Road - live from the Queen Elizabeth Hall 01:56:42 Apollo Beings - Carl Cox 02:03:26 Off the Wall - 石川红奈 02:05:05 Off the Wall - Michael Jackson 02:10:11 Einstein Groovin' - SEATBELTS (Cowboy Bebop Tank! The! Best!)

The Guilty Feminist episode 338: Camp as Christmas 2022Presented by Deborah Frances-White and Tom Allen with Larry Dean, Robert Diament, Becoming Jude, Rosie Jones, Daniel Foxx and GingzillaRecorded 3 December at the Queen Elizabeth Hall in London. Released 26 December 2022.The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.More about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://twitter.com/DeborahFWhttps://www.virago.co.uk/the-guilty-feminist-bookMore about the Say it Loud Club and Block 13https://twitter.com/sayitloudclubhttps://www.sayitloudclub.orghttps://www.freeblock13.comhttps://www.instagram.com/queers.of.joyMore about our actshttps://twitter.com/tomallencomedyhttps://twitter.com/LarryDeanComedyhttps://twitter.com/robertdiamenthttps://twitter.com/becomingjudeukhttps://twitter.com/josieroneshttps://twitter.com/dnlfoxxhttps://twitter.com/gingzillaFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTOur new podcasts are out nowMedia Storm https://podfollow.com/media-stormAbsolute Power https://podfollow.com/john-bercows-absolute-powerFOC it UP Comedy Club https://podfollow.com/foc-it-up-comedy-clubCome to a live recordingSoho Theatre, 4-7 January: https://sohotheatre.com/shows/the-guilty-feminist-2/Dublin, 24 January: https://www.ticketmaster.co.uk/the-guilty-feminist-dublin-24-01-2023/event/18005D85A436BE8EKings Place, 26 January: https://www.kingsplace.co.uk/whats-on/comedy/the-guilty-feminist-4/Rose Theatre, 5pm on 29 January: https://rosetheatre.org/whats-on/the-guilty-feministThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist Hosted on Acast. See acast.com/privacy for more information.

The Guilty Feminist episode 338: Camp as Christmas 2022Presented by Deborah Frances-White and Tom Allen with Larry Dean, Robert Diament, Becoming Jude, Rosie Jones, Daniel Foxx and GingzillaRecorded 3 December at the Queen Elizabeth Hall in London. Released 26 December 2022.The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.More about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://twitter.com/DeborahFWhttps://www.virago.co.uk/the-guilty-feminist-bookMore about the Say it Loud Club and Block 13https://twitter.com/sayitloudclubhttps://www.sayitloudclub.orghttps://www.freeblock13.comhttps://www.instagram.com/queers.of.joyMore about our actshttps://twitter.com/tomallencomedyhttps://twitter.com/LarryDeanComedyhttps://twitter.com/robertdiamenthttps://twitter.com/becomingjudeukhttps://twitter.com/josieroneshttps://twitter.com/dnlfoxxhttps://twitter.com/gingzillaFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTOur new podcasts are out nowMedia Storm https://podfollow.com/media-stormAbsolute Power https://podfollow.com/john-bercows-absolute-powerFOC it UP Comedy Club https://podfollow.com/foc-it-up-comedy-clubCome to a live recordingSoho Theatre, 4-7 January: https://sohotheatre.com/shows/the-guilty-feminist-2/Dublin, 24 January: https://www.ticketmaster.co.uk/the-guilty-feminist-dublin-24-01-2023/event/18005D85A436BE8EKings Place, 26 January: https://www.kingsplace.co.uk/whats-on/comedy/the-guilty-feminist-4/Rose Theatre, 5pm on 29 January: https://rosetheatre.org/whats-on/the-guilty-feministThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist Hosted on Acast. See acast.com/privacy for more information.

Why do we read? In this essay, the Norwegian author explores meaning and purpose in the novel, from the work of Claire Keegan to Dostoevsky and DH Lawrence. The form's power lies in its openness, he writes, its capacity to defy the absolutes of politics, philosophy or science: “It pulls any abstract conception about life… into the human sphere, where it no longer stands alone but collides with myriad impressions, thoughts, emotions and actions.” Knausgaard considers how best to achieve this – through the emotional realism of Lawrence, or the more experiential modernism of Joyce and Woolf? For the latter two, “it was about getting near to the moment – and in the moment there is no story, only actions and thoughts”. It is also about eschewing big themes or strongly-held opinions, and instead “striving towards an actionless state of being”. Persuasively argued, and rooted in close readings – particularly of Keegan's Small Things Like These – this is an edited version of the 2022 New Statesman/Goldsmiths Prize Lecture, delivered at Queen Elizabeth Hall in London on 22 October. It was first published in the New Statesman magazine on 28 October; you can read the text version here. Written by Karl Ove Knausgaard and read by Tom Gatti.If you enjoyed this listen to How to grow old in AmericaPodcast listeners can subscribe to the New Statesman for just £1 a week for 12 weeks using our special offer. Just visit newstatesman.com/podcastoffer. Hosted on Acast. See acast.com/privacy for more information.

Olivier winner George Maguire is currently starring as Bob Cratchit and Jacob Marley in the European premiere of Dolly Parton's Smoky Mountain Christmas Carol at the Southbank Centre's Queen Elizabeth Hall.Some of George's early theatre credits include: Stu in Tonight's The Night, Angel in Rent, Joe Vegas in Fame, Marc Bolan in 20th Century Boy, Berger in Hair and Busker in Lift.George won the 2015 Olivier Award for Best Supporting Actor in a Musical for originating the role of Dave Davies in the West End production of Sunny Afternoon (Hampstead Theatre/Harold Pinter Theatre). He went on to play Macheath in The Busker's Opera (Park Theatre), Orsino/Malvolio in Twelfth Night (Bridge House Theatre), Alan Dangle in One Man Two Guvnors (New Wosley/Nuffield Theatres) and the title role in The Wicker Husband (Watermill Theatre).Most recently George played Buck Barrow in Bonnie & Clyde, firstly in the musical's concert alongside Jeremy Jordan at the Theatre Royal Drury Lane and then again in the show's fully staged run at the Arts Theatre. Dolly Parton's Smoky Mountain Christmas Carol runs at the Southbank Centre's Queen Elizabeth Hall 8th December 2022 - 8 January 2023. Visit www.smokymountainchristmascarol.com for info and tickets. Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Now for a bit of a festive roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their weekly email newsletter. Audio described shows and events included: Sleeping Beauty - Sunday 11 December, 1pm, touch tour 11.30am, Marlowe Theatre, Canterbury Aladdin - Wednesday 14 December, 6pm, touch tour 4.30pm, Aylesbury Waterside Mama Mia! - Thursday 15 December, 2.30pm, New Theatre Oxford A Christmas Carol - Friday 9 December, 7pm, Old Vic, London, A Christmas Carol - Thursday 15 December, 2.30pm, Bridge Theatre, London, A Christmas Carol - Saturday 17 December, 11.30am, Rose Theatre, Kingston,  A Christmas Carol - Tuesday 20 December, 7pm, touch tour 5.30pm,  Hull Truck Theatre Dolly Parton's Smoky Mountain Christmas Carol - Thursday 22 December 7.30pm, touch tour 6pm, Queen Elizabeth Hall, Southbank Centre, London Alice in Wonderland - Saturday 17 December, 1.30pm and 6pm, touch tour 4.30pm, Brixton House, London Six The Musical - Tuesday 20 December, 5pm, touch tour 4.15pm, Liverpool Playhouse Elf the musical - Thursday 29 December, 2.30pm, Dominion Theatre, London Northern Ballet:The Nutcracker - Saturday 31 December, 2pm, touch tour 11.45am, Leeds Grand Theatre  To find out more about these and other up-coming audio-described arts events as well as details about how to sign up to the VocalEyes weekly email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Sortie de l'album d'Oumou Sangaré Timbuktu (Oumsang/World Circuit/BMG), le 29 avril 2022. Nous l'avons rencontrée début février 2022 à Issy.   Concerts : - 15 mai : Cigale (Paris) - 6 juin : Sakifo Musik Festival / La Réunion - 7 juillet : Nuits du Sud / Vence  - 15 juillet 2022 : Les Suds / Arles. Oumou, son histoire par Francis Dordor.   (Rediffusion) Depuis Moussolou, son premier album sorti en 1989, la vie de la chanteuse malienne Oumou Sangaré n'a connu aucun répit. De ce riche et trépidant voyage, on retient notamment des enregistrements parmi les plus décisifs de la musique africaine contemporaine, tous produits par le label World Circuit : Ko Sira en 1993, Worotan en 1996 et Seya nominé dans la catégorie Meilleur Album de World Music des Grammy Awards en 2009. De nombreuses tournées internationales et la consécration obtenue sur les scènes prestigieuses que sont l'Opéra de Sydney, le Queen Elizabeth Hall de Londres ou le Nippon Budokan de Tokyo, complètent ce tableau d'honneur.  Timbuktu, première production de son label Oumsang constitue le nouvel acte de cette épopée musicale sans équivalent à laquelle World Circuit est à nouveau associée. Il consacre cette artiste issue des quartiers pauvres de Bamako devenue une superstar mondiale, ainsi qu'une icône féministe unanimement admirée. D'une aura puissante comparable à celle d'une Grace Jones, icone noire transgressive par excellence, Oumou a depuis longtemps franchi les barrières séparant genres musicaux et continents. Hier invitée par Alicia Keys pour un duo télévisé, elle est désormais citée en exemple par des artistes aussi considérables qu'Aya Nakamura, qui lui a dédié la chanson Oumou Sangaré en 2017, ou Beyoncé, qui a samplé l'une de ses plus célèbres créations, Diaraby Néné, pour le titre Mood 4 Eva tiré de la bande originale du film The Lion King : The Gift en 2019.  Sa carrière menée tambour battant sans la moindre pause a pourtant connu une interruption avec la crise sanitaire en 2020.   En mars de cette année-là (2020), suite au FIWA (Festival International du Wassoulou), événement qu'elle a créé en 2016 pour promouvoir sa région d'origine du sud Mali, elle se rend aux États-Unis. Initialement prévu pour durer deux semaines, son séjour se prolonge en raison du confinement. D'abord à New York, puis à Baltimore où elle trouve rapidement ses marques. "Quelque chose m'a immédiatement attirée dans cette ville. Je m'y suis sentie si bien que j'ai voulu acquérir une maison."  Une fois installée là, elle occupe ses journées à composer avec une ancienne connaissance, Mamadou Sidibé, qui fut le premier joueur de kamele n'goni (le luth traditionnel) à l'accompagner à ses débuts. À la faveur de cette réclusion forcée, vont naître dix des onze chansons constituant Timbuktu, recueil qui noue d'intimes correspondances sonores entre les instruments traditionnels ouest-africains et ceux liés à l'histoire du blues. Notamment entre le kamele n'goni et ces lointains héritiers que sont la guitare dobro et la guitare slide, jouées ici par Pascal Danaë, co-réalisateur de l'album avec Nicolas Quéré. De cette séquence particulière du confinement, où le temps s'est pour ainsi dire arrêté, où l'artiste comme la femme d'affaires se sont trouvées dans une situation inédite d'isolement, loin du tumulte et des sollicitations incessantes, Oumou a tiré le meilleur. "Depuis 1990, je n'avais jamais eu la possibilité de me couper du monde de la sorte pour me consacrer exclusivement à la musique. De ce point de vue, le confinement a été une chance pour moi car il m'a permis de rester concentrée sur le travail de composition. Je pense que la musique s'en ressent mais aussi les textes qui sont le fruit de moments où j'ai pu me retirer en moi même pour méditer." Jamais ses paroles n'ont en effet accédé à une telle qualité poétique, une telle profondeur. Jamais ne l'a t-on trouvé aussi inspirée à livrer ses réflexions sur les indéchiffrables mystères de l'existence, la situation périlleuse que traverse son pays ou sur la condition des femmes africaines, preuve que même devenue puissante, elle n'a rien renié de ses engagements de jeunesse. Entre l'introspection de Degui N'Kelena, la langueur amoureuse exprimée dans Kanou, la compassion dans Demissimw, l'exaspération dans Kêlê Magni ou la fierté dans Wassulu Don, beaucoup d'états d'âme nourrissent ce disque. Trouvant dans l'habillage sonore réalisé par Danaë et Quéré, qui à la dynamique des rythmes traditionnels du Wassoulou  additionne celle propre au langage musical contemporain, une probante mise en valeur, Timbuktu s'impose ainsi comme le plus ambitieux et abouti d'une discographie déjà émérite.     Si le titre Timbuktu renvoie à l'actualité politique du Mali, pays menacé de désintégration et cherchant dans son histoire, dont cette ville du nord-est le plus puissant symbole, des motifs d'espérer, beaucoup de chansons renvoient à l'expérience singulière de la chanteuse. Quand dans Sira (littéralement "le baobab" en bambara), elle évoque la progéniture de familles érudites et aisées qui, malgré cela, verse dans la délinquance et gâche un avenir prometteur, c'est presque inconsciemment pour souligner par contraste l'exemplarité de sa propre trajectoire… Née à Bamako, le 2 février 1968, Oumou Sangaré est la fille cadette d'une famille appartenant à l'ethnie peule du Wassoulou. Sa mère, Aminata Diakité, est chanteuse comme le fut sa propre mère Noumouténé. Oumou a très peu connu son père, Diari Sangaré, qui a quitté le foyer familial lorsqu'elle avait deux ans. Abandonnée, Aminata se fait alors commerçante pour faire vivre ses quatre enfants. Oumou lui vient en aide en vendant des sachets d'eau dans la rue. Ayant pris l'habitude de suivre sa mère dans les "soumous" (cérémonies nuptiales ou baptismales) que celle-ci anime, elle s'octroie déjà une part de prestige par la clarté et la puissance d'une voix qui, jaillissant d'un corps d'enfant, éblouit l'auditoire. Elle ne tarde d'ailleurs pas à s'accaparer toute la gloire à l'occasion d'un concours interscolaire où elle fait gagner son école du quartier de Douadabougou en chantant devant 3 000 personnes réunies dans le Stade omnisports de Bamako. Passée par l'Ensemble National du Mali et le groupe Djoliba, Oumou a déjà une longue carrière professionnelle derrière elle quand à 18 ans, elle s'apprête à enregistrer à Abidjan sa première cassette produite par Abdoulaye Samassa (qui a dû lui offrir sa propre voiture pour la convaincre d'entrer en studio). Rééditée en CD et vinyle par World Circuit en 2016, la cassette intitulée Moussolou ("les femmes" en bambara) se vend à l'époque à plus de 250 000 exemplaires, un record resté inégalé en Afrique de l'Ouest. Si la musique très dansante caractéristique du Wassoulou l'explique en partie, la raison de ce succès tient beaucoup aux textes chantés, parfois rugit, par cette jeune lionne qui, depuis son plus jeune âge, a dû se battre pour survivre. Se dressant avec fougue contre les abus de la tradition patriarcale, qui autorise la polygamie, le mariage forcé et l'excision, Oumou devient du jour au lendemain l'égérie d'une cause féministe qui n'a aucune assise véritable dans cette partie du monde. Sa carrière et ses enregistrements restent ainsi marqués comme au fer rouge par cette double dimension : être une femme et avoir une origine sociale qui l'a rendue singulièrement sensible à toutes les formes d'injustices. Timbuktu ne fait pas exception. Ainsi Gniani Sara (littéralement "la récompense de la souffrance") renvoie-t-il à son combat de toujours en faveur de la condition féminine. "J'ai osé aborder ce sujet avant tout le monde et même risqué ma vie en le faisant  dit elle aujourd'hui. Ma récompense c'est d'avoir réussi à éveiller les consciences. Surtout au sein de la jeune génération. Voir Aya Nakamura ou Beyoncé me prendre en exemple vaut tous les prix et toutes les distinctions du monde". Pourtant, devenir la plus grande et la plus influente chanteuse africaine vivante ne lui a pas suffi. Depuis trente ans, Oumou s'est aussi illustrée dans le domaine économique et l'action sociale. À la tête de plusieurs entreprises touchant à l'hôtellerie, l'agriculture ou au négoce d'automobiles à travers sa marque Oum Sang, elle emploie actuellement près de 200 personnes à temps plein. Quant à la fondation Oumou Sangaré, créée il y a dix ans pour venir en aide aux femmes et aux enfants en situation difficile, elle parachève pour ainsi dire une œuvre artistique jamais éloignée de convictions humanistes. Élevée au grade de Commandeur de l'Ordre National du Mali, faite Chevalier des Arts et des Lettres de la République Française, Oumou est devenue Ambassadrice de bonne volonté de la F.A.O. (Organisation des Nations unies pour l'alimentation et l'agriculture) en 2003, après avoir reçu le prix de l'UNESCO deux ans plus tôt.     Mais cette réussite, Oumou doit la payer au prix fort. Après avoir subi les blessures de l'enfance parmi les plus cruelles- l'abandon, l'extrême misère- elle doit aujourd'hui se protéger des maux que la notoriété lui attire, la jalousie, la calomnie, la trahison. Autant d'atteintes qu'elle expose dans Sarama, et qu'elle s'encourage à dépasser dans Dily Oumou. En découle la solitude évoquée dans Degui N'Kelena, autour de laquelle se cristallise le thème de la séparation et de la perte qu'elle entend affronter à la manière stoïcienne, accueillant chaque événement avec une lucidité agissante. Une force qu'elle tire intégralement de la musique elle-même, dont la puissance renvoie à celle des chasseurs du Wassoulou qui en sont les inventeurs. En effet, la confrérie de ceux qu'on appelle "Donsow" ("Donso" au singulier) est à l'origine des rythmes utilisés par toutes les chanteuses modernes, elles-mêmes baptisées "kònò" (oiseau). Instrument emblématique de ce répertoire le donso-ngoni,  modernisé en kamel n'goni  (la harpe des jeunes) dans les années 1950, reste à la base de toutes les compositions d'Oumou. Tel un guide chant, celui de Mamadou Sidibé structure l'ensemble des compositions de Timbuktu, comme il attire par sa tonalité pentatonique les superbes développements à la guitare de Pascal Danaë. En utilisant une  Harmony Stratotone sur Wassulu Don (littéralement "la culture du Wassoulou"), un dobro resonator sur Degui N'Kelena et Sarama, ou la technique du bottleneck sur Sira, le musicien semble à chaque fois renvoyer à la sonorité métallique caractéristique du kamel n'gnoni, nouant ainsi une enivrante complicité élective entre les genres musicaux et les continents.  Que surmonter la souffrance et faire face à toutes les adversités traverse l'ensemble du répertoire d'Oumou Sangaré n'est pas un hasard compte tenu de son passé. Cette dominante n'est probablement pas étrangère non plus au fait que lors de cérémonies qui leur sont propres, certains chasseurs s'infligent des sévices pour mieux les dépasser, vont jusqu'à avaler des tisons ardents ou se larder de coups de poignards tout en dansant, tandis que les chanteurs invoquent des forces relevant de la surnature. C'est à cette confiance intraitable que fait référence Wassulu Don. C'est cette culture aux fondements telluriques, à la portée universelle que célèbre ici sa plus célèbre représentante, une chanteuse qui à la manière des plus grandes, Aretha Franklin ou Nina Simone, sublime la douleur et, plus que jamais, éclaire de son génie propre la musique, toute la musique, et pas seulement africaine. "La musique est en moi !", proclame Oumou. "Sans elle je ne suis rien, et rien ne peut me l'enlever ! Dans ce disque j'ai mis ma vie, toute ma vie, cette vie où j'ai connu la faim, l'humiliation de la pauvreté, la peur et dont je tire aujourd'hui la gloire."     Titres diffusés extraits de l'album Timbuktu - Wassulu Don voir le clip - Sira - Degui N'Kelena - Timbuktu Voir le clip Sarama.

This week Merlin speaks to Julian Robinson. Julian is Director of Estates at the London School of Economics and winner of this year's Open City Irene Barclay PrizeAlton Estate spared demolition but more than 100 other London estates face regeneration | Speculation grows over the green belt's future under Liz Truss | Campaigners call for Queen Elizabeth Hall's listing as a mark of respect | And Open City reveals the winners of this year's Stewardship AwardsThe Londown is recorded and produced at the Open City offices located in Bureau. Bureau is a co-working space for creatives offering a new approach to membership workspace. Bureau prioritises not just room to think and do, but also shared resources and space to collaborate. To book a free day pass follow this link.The Londown is produced in association with the Architects' Journal. If you enjoyed the show, we recommend you subscribe to the AJ for all the latest news, building studies, expert opinion, cultural analysis, and business intelligence from the UK architecture industry. Listeners can save 15% on a subscription using this link. Hosted on Acast. See acast.com/privacy for more information.

Genre-defying South African cellist Abel Selaocoe speaks to Samira and performs a piece from his new album Where Is Home (Hae Ke Kae), which will be launched at a performance at the Queen Elizabeth Hall in London. He is about to become Artist In Residence at London's Southbank Centre. His inventive and virtuosic compositions and performance style fuse Baroque repertoire with traditional African music, combining classical cello with body percussion and voice. A rich crop of recent books shows that art is being viewed from a new perspective. Michael Bird, author of This Is Tomorrow: Twentieth Century Britain And Its Artists, and Frances Spalding, who has written The Real And The Romantic: English Art Between Two World Wars, join Front Row to talk about not the history of art, but art as history. The calls of curlews are memorable, mysterious, and musical. They have appeared in music and poetry over the ages, and they continue to fascinate artists. Simmerdim: Curlew Sounds is an unusual new album - two CDs, one of music inspired by curlews, the other a series of soundscapes capturing their calls, recorded in places where these threatened birds are still to be found. The musician Merlyn Driver, whose idea Simmerdim was, explains his compulsion to make the records. Presenter: Samira Ahmed Producer: Sarah Johnson

Le 29 avril 2022, Oumou Sangaré a sorti son album Timbuktu (Oumsang/World Circuit/BMG). Nous l'avons rencontrée début février 2022 à Issy.  Oumou, son histoire par Francis Dordor Depuis Moussolou, son premier album sorti en 1989, la vie de la chanteuse malienne Oumou Sangaré n'a connu aucun répit. De ce riche et trépidant voyage, on retient notamment des enregistrements parmi les plus décisifs de la musique africaine contemporaine, tous produits par le label World Circuit : Ko Sira en 1993, Worotan en 1996 et Seya nominé dans la catégorie Meilleur album de World Music des Grammy Awards en 2009. De nombreuses tournées internationales et la consécration obtenue sur les scènes prestigieuses que sont l'Opéra de Sydney, le Queen Elizabeth Hall de Londres ou le Nippon Budokan de Tokyo, complètent ce tableau d'honneur.  Timbuktu, première production de son label Oumsang constitue le nouvel acte de cette épopée musicale sans équivalent à laquelle World Circuit est à nouveau associée. Il consacre cette artiste issue des quartiers pauvres de Bamako devenue une superstar mondiale, ainsi qu'une icône féministe unanimement admirée. D'une aura puissante comparable à celle d'une Grace Jones, icone noire transgressive par excellence, Oumou a depuis longtemps franchi les barrières séparant genres musicaux et continents. Hier, invitée par Alicia Keys pour un duo télévisé, elle est désormais citée en exemple par des artistes aussi considérables qu'Aya Nakamura, qui lui a dédié la chanson Oumou Sangaré en 2017, ou Beyoncé, qui a samplé l'une de ses plus célèbres créations, Diaraby Néné, pour le titre Mood 4 Eva tiré de la bande originale du film The Lion King : The Gift en 2019.  ►Oumou Sangaré sur RFI musiques Sa carrière menée tambour battant sans la moindre pause a pourtant connu une interruption avec la crise sanitaire en 2020. En mars de cette année-là (2020), suite au FIWA (Festival International du Wassoulou), événement qu'elle a créé en 2016 pour promouvoir sa région d'origine du sud Mali, elle se rend aux États-Unis. Initialement prévu pour durer deux semaines, son séjour se prolonge en raison du confinement. D'abord à New York, puis à Baltimore où elle trouve rapidement ses marques. "Quelque chose m'a immédiatement attirée dans cette ville. Je m'y suis sentie si bien que j'ai voulu acquérir une maison."  Une fois installée là, elle occupe ses journées à composer avec une ancienne connaissance, Mamadou Sidibé, qui fut le premier joueur de kamele n'goni (le luth traditionnel) à l'accompagner à ses débuts. À la faveur de cette réclusion forcée, vont naître dix des onze chansons constituant Timbuktu, recueil qui noue d'intimes correspondances sonores entre les instruments traditionnels ouest-africains et ceux liés à l'histoire du blues. Notamment entre le kamele n'goni et ces lointains héritiers que sont la guitare dobro et la guitare slide, jouées ici par Pascal Danaë, co-réalisateur de l'album avec Nicolas Quéré. De cette séquence particulière du confinement, où le temps s'est pour ainsi dire arrêté, où l'artiste comme la femme d'affaires se sont trouvées dans une situation inédite d'isolement, loin du tumulte et des sollicitations incessantes, Oumou a tiré le meilleur. "Depuis 1990, je n'avais jamais eu la possibilité de me couper du monde de la sorte pour me consacrer exclusivement à la musique. De ce point de vue, le confinement a été une chance pour moi car il m'a permis de rester concentrée sur le travail de composition. Je pense que la musique s'en ressent, mais aussi les textes qui sont le fruit de moments où j'ai pu me retirer en moi même pour méditer." Jamais ses paroles n'ont en effet accédé à une telle qualité poétique, une telle profondeur. Jamais ne l'a t-on trouvé aussi inspirée à livrer ses réflexions sur les indéchiffrables mystères de l'existence, la situation périlleuse que traverse son pays ou sur la condition des femmes africaines, preuve que même devenue puissante, elle n'a rien renié de ses engagements de jeunesse. Entre l'introspection de Degui N'Kelena, la langueur amoureuse exprimée dans Kanou, la compassion dans Demissimw, l'exaspération dans Kêlê Magni ou la fierté dans Wassulu Don, beaucoup d'états d'âme nourrissent ce disque. Trouvant dans l'habillage sonore réalisé par Danaë et Quéré, qui à la dynamique des rythmes traditionnels du Wassoulou  additionne celle propre au langage musical contemporain, une probante mise en valeur, Timbuktu s'impose ainsi comme le plus ambitieux et abouti d'une discographie déjà émérite. Si le titre Timbuktu renvoie à l'actualité politique du Mali, pays menacé de désintégration et cherchant dans son histoire, dont cette ville du nord-est le plus puissant symbole, des motifs d'espérer, beaucoup de chansons renvoient à l'expérience singulière de la chanteuse. Quand dans Sira (littéralement "le baobab" en bambara), elle évoque la progéniture de familles érudites et aisées qui, malgré cela, verse dans la délinquance et gâche un avenir prometteur, c'est presque inconsciemment pour souligner par contraste l'exemplarité de sa propre trajectoire… Née à Bamako, le 2 février 1968, Oumou Sangaré est la fille cadette d'une famille appartenant à l'ethnie peule du Wassoulou. Sa mère, Aminata Diakité, est chanteuse comme le fut sa propre mère Noumouténé. Oumou a très peu connu son père, Diari Sangaré, qui a quitté le foyer familial lorsqu'elle avait deux ans. Abandonnée, Aminata se fait alors commerçante pour faire vivre ses quatre enfants. Oumou lui vient en aide en vendant des sachets d'eau dans la rue. Ayant pris l'habitude de suivre sa mère dans les "soumous" (cérémonies nuptiales ou baptismales) que celle-ci anime, elle s'octroie déjà une part de prestige par la clarté et la puissance d'une voix qui, jaillissant d'un corps d'enfant, éblouit l'auditoire. Elle ne tarde d'ailleurs pas à s'accaparer toute la gloire à l'occasion d'un concours interscolaire où elle fait gagner son école du quartier de Douadabougou en chantant devant 3 000 personnes réunies dans le Stade omnisports de Bamako. Passée par l'Ensemble National du Mali et le groupe Djoliba, Oumou a déjà une longue carrière professionnelle derrière elle quand à 18 ans, elle s'apprête à enregistrer à Abidjan sa première cassette produite par Abdoulaye Samassa (qui a dû lui offrir sa propre voiture pour la convaincre d'entrer en studio). Rééditée en CD et vinyle par World Circuit en 2016, la cassette intitulée Moussolou ("les femmes" en bambara) se vend à l'époque à plus de 250 000 exemplaires, un record resté inégalé en Afrique de l'Ouest. Si la musique très dansante caractéristique du Wassoulou l'explique en partie, la raison de ce succès tient beaucoup aux textes chantés, parfois rugit, par cette jeune lionne qui, depuis son plus jeune âge, a dû se battre pour survivre. Se dressant avec fougue contre les abus de la tradition patriarcale, qui autorise la polygamie, le mariage forcé et l'excision, Oumou devient du jour au lendemain l'égérie d'une cause féministe qui n'a aucune assise véritable dans cette partie du monde. Sa carrière et ses enregistrements restent ainsi marqués comme au fer rouge par cette double dimension : être une femme et avoir une origine sociale qui l'a rendue singulièrement sensible à toutes les formes d'injustices. Timbuktu ne fait pas exception. Ainsi Gniani Sara (littéralement "la récompense de la souffrance") renvoie-t-il à son combat de toujours en faveur de la condition féminine. "J'ai osé aborder ce sujet avant tout le monde et même risqué ma vie en le faisant  dit elle aujourd'hui. Ma récompense c'est d'avoir réussi à éveiller les consciences. Surtout au sein de la jeune génération. Voir Aya Nakamura ou Beyoncé me prendre en exemple vaut tous les prix et toutes les distinctions du monde". ► Biographie Pourtant, devenir la plus grande et la plus influente chanteuse africaine vivante ne lui a pas suffi. Depuis trente ans, Oumou s'est aussi illustrée dans le domaine économique et l'action sociale. À la tête de plusieurs entreprises touchant à l'hôtellerie, l'agriculture ou au négoce d'automobiles à travers sa marque Oum Sang, elle emploie actuellement près de 200 personnes à temps plein. Quant à la fondation Oumou Sangaré, créée il y a dix ans pour venir en aide aux femmes et aux enfants en situation difficile, elle parachève pour ainsi dire une œuvre artistique jamais éloignée de convictions humanistes. Élevée au grade de Commandeur de l'Ordre National du Mali, faite Chevalier des Arts et des Lettres de la République Française, Oumou est devenue Ambassadrice de bonne volonté de la F.A.O. (Organisation des Nations unies pour l'alimentation et l'agriculture) en 2003, après avoir reçu le prix de l'UNESCO deux ans plus tôt. Mais cette réussite, Oumou doit la payer au prix fort. Après avoir subi les blessures de l'enfance parmi les plus cruelles- l'abandon, l'extrême misère- elle doit aujourd'hui se protéger des maux que la notoriété lui attire, la jalousie, la calomnie, la trahison. Autant d'atteintes qu'elle expose dans Sarama, et qu'elle s'encourage à dépasser dans Dily Oumou. En découle la solitude évoquée dans Degui N'Kelena, autour de laquelle se cristallise le thème de la séparation et de la perte qu'elle entend affronter à la manière stoïcienne, accueillant chaque événement avec une lucidité agissante. Une force qu'elle tire intégralement de la musique elle-même, dont la puissance renvoie à celle des chasseurs du Wassoulou qui en sont les inventeurs. En effet, la confrérie de ceux qu'on appelle "Donsow" ("Donso" au singulier) est à l'origine des rythmes utilisés par toutes les chanteuses modernes, elles-mêmes baptisées "kònò" (oiseau). Instrument emblématique de ce répertoire le donso-ngoni,  modernisé en kamel n'goni  (la harpe des jeunes) dans les années 1950, reste à la base de toutes les compositions d'Oumou. Tel un guide chant, celui de Mamadou Sidibé structure l'ensemble des compositions de Timbuktu, comme il attire par sa tonalité pentatonique les superbes développements à la guitare de Pascal Danaë. En utilisant une  Harmony Stratotone sur Wassulu Don (littéralement "la culture du Wassoulou"), un dobro resonator sur Degui N'Kelena et Sarama, ou la technique du bottleneck sur Sira, le musicien semble à chaque fois renvoyer à la sonorité métallique caractéristique du kamel n'gnoni, nouant ainsi une enivrante complicité élective entre les genres musicaux et les continents.  Que surmonter la souffrance et faire face à toutes les adversités traverse l'ensemble du répertoire d'Oumou Sangaré n'est pas un hasard compte tenu de son passé. Cette dominante n'est probablement pas étrangère non plus au fait que lors de cérémonies qui leur sont propres, certains chasseurs s'infligent des sévices pour mieux les dépasser, vont jusqu'à avaler des tisons ardents ou se larder de coups de poignards tout en dansant, tandis que les chanteurs invoquent des forces relevant de la surnature. C'est à cette confiance intraitable que fait référence Wassulu Don. C'est cette culture aux fondements telluriques, à la portée universelle que célèbre ici sa plus célèbre représentante, une chanteuse qui à la manière des plus grandes, Aretha Franklin ou Nina Simone, sublime la douleur et, plus que jamais, éclaire de son génie propre la musique, toute la musique, et pas seulement africaine. "La musique est en moi !", proclame Oumou. "Sans elle je ne suis rien, et rien ne peut me l'enlever ! Dans ce disque j'ai mis ma vie, toute ma vie, cette vie où j'ai connu la faim, l'humiliation de la pauvreté, la peur et dont je tire aujourd'hui la gloire." (Rediffusion du 17 avril 2022)   Titres diffusés extraits de l'album Timbuktu - Wassulu Don voir le clip - Sira - Degui N'Kelena - Timbuktu Voir le clip Sarama

LOOK OUT! It's only Films To Be Buried With!Join your host Brett Goldstein as he talks life, death, love and the universe with the brilliant writer, comic and actress JESSICA KNAPPET!...and furthermore, this is a live episode so you can expect all the real life atmosphere of people interacting and being next to each other in the same place, which is a lovely novelty for sure. A lovely one though, with a really nice vibe throughout and all sorts of fun and games to be had including being pregnant, living in LA, signs of the end as hipsters start arming up, making and working on Drifters, the soon-to-be hit game 'I Don't Spy', human kindness and the worst week of cinema going ever. Lovely stuff! Enjoy - you shall!ONLINEINSTAGRAMTWITTERDRIFTERSAVOIDANCETASKMASTERBRETT GOLDSTEIN on TWITTERBRETT GOLDSTEIN on INSTAGRAMBRETT GOLDSTEIN on PATREONTED LASSOSOULMATESSUPERBOB (Brett's 2015 feature film)CORNERBOYS with BRETT & SCROOBIUS PIPDISTRACTION PIECES NETWORK on FACEBOOKDISTRACTION PIECES NETWORK on INSTAGRAMSupport this show http://supporter.acast.com/filmstobeburiedwith. See acast.com/privacy for privacy and opt-out information.

Welcome to Bittersweet Symphony, a podcast about the bitter, the sweet and the bittersweet of life for classical musicians when the music suddenly stopped. Hosted and produced by me, Cliodhna Ryan, a violinist, it's an intimate and heart-warming exploration of the human spirit. My guest in episode thirteen is oboist Dan Bates, my colleague in the Irish Chamber Orchestra. After an initial sense of exhilaration in the first few weeks of lockdown, Dan shares his experience of a crushing depression, the treatment he was offered, and the impact this had on him. His sweet memory is of the three chickens he reared; Anastasia, Garbo and Clemmie Bunting. His bitter was witnessing the effect of lockdowns on his Mum. This conversation was recorded in September 2021. Daniel Bates (MA CANTAB, FRSM, FTCL, ARAM, AGSMD) is principal oboe with the Irish Chamber Orchestra, the City of London Sinfonia and co-principal oboe of the Orchestra of the Age of Enlightenment. Previously, he also held the principal oboe position with the Royal Northern Sinfonia at the Sage, Gateshead. He has played guest principal for all the major UK orchestras as well as various international orchestras such as the National Orchestra of Colombia, the Swedish Chamber Orchestra, the Bergen Philharmonic Orchestra and the West Australian Symphony Orchestra. As a session musician, he has recorded for numerous pop acts and films, including the Harry Potter franchise and for Barbra Streisand, Mary J Blige, Rihanna and Stevie Wonder. Born in London, Daniel attended the Purcell School of Music. He was subsequently offered scholarships to every music college in the country and chose to study at the Royal Academy of Music under Celia Nicklin and Dougie Boyd. This was followed by a music scholarship to study at Pembroke College, Cambridge, where he read Music and the History of Art. He has performed solo concertos with the London Symphony Orchestra, the City of London Sinfonia, the Irish Chamber Orchestra, the Brasov Filharmonica, the Turin Philharmonic Orchestra, the London Mozart Players and the English Chamber Orchestra. Solo recitals include venues such as the Wigmore Hall, the Queen Elizabeth Hall, the Usher Hall and the Purcell Room. Internationally, he has given solo recitals in venues such as the Pushkin Museum in Moscow and at various European festivals partnered with musicians of international renown including Jörg Widmann, Elizabeth Leonskaya, Joan Rodgers and Anthony Marwood. As an actor, having studied classical acting at the London Academy of Music and Dramatic Art, his credits include the title role in The Picture of Dorian Gray (Vienna's English Theatre), Fedotik in The Three Sisters (alongside Kristen Scott Thomas and Eric Sykes in the West End) and Adrian Green in Casualty (BBC TV). Daniel is the founder and Artistic Director of FitzFest (www.fitzfest.co.uk), a community chamber music festival, based in Fitzrovia, central London. GET IN TOUCH WITH DAN/LINKS Dan's Website Instagram FitzFest Website GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony CREDITS Thumbnail Art || Colm MacAthlaoith Writers || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland

Peter has directed the Nu Civilisation Orchestra since it's inception in 2009. The NCO has performed at the Queen Elizabeth Hall, Ronnie Scott's, The Royal Northern College of Music. Peter made his BBC Proms conducting debut in 2019 performing  Duke Ellington's 'Sacred Concert'. He has worked with the BBC Concert Orchestra directing his arrangement of Billy Strayhorn's 'Chelsea Bridge' at London Jazz Festival 2019. HorseFrog ProductionsA podcast where two friends explore their favorite books, shows, and movies.Listen on: Apple Podcasts Spotify I Read Comic BooksA podcast for comic book fans. New episodes on Wednesdays. Comics are good, and so are youListen on: Apple Podcasts Spotify WikiListenThe daily podcast about everything, and anything.Listen on: Apple Podcasts SpotifySupport the show

Le 29 avril 2022, Oumou Sangaré sortira son nouvel album Timbuktu (Oumsang/World Circuit/BMG). Nous l'avons rencontrée début février 2022 à Issy.   Concerts à venir : - 15 mai : Cigale (Paris) - 6 juin : Sakifo Musik Festival / La Réunion - 7 juillet : Nuits du Sud / Vence  - 15 juillet 2022 : Les Suds / Arles. Oumou, son histoire par Francis Dordor.   Depuis Moussolou, son premier album sorti en 1989, la vie de la chanteuse malienne Oumou Sangaré n'a connu aucun répit. De ce riche et trépidant voyage, on retient notamment des enregistrements parmi les plus décisifs de la musique africaine contemporaine, tous produits par le label World Circuit : Ko Sira en 1993, Worotan en 1996 et Seya nominé dans la catégorie Meilleur Album de World Music des Grammy Awards en 2009. De nombreuses tournées internationales et la consécration obtenue sur les scènes prestigieuses que sont l'Opéra de Sydney, le Queen Elizabeth Hall de Londres ou le Nippon Budokan de Tokyo, complètent ce tableau d'honneur.  Timbuktu, première production de son label Oumsang constitue le nouvel acte de cette épopée musicale sans équivalent à laquelle World Circuit est à nouveau associée. Il consacre cette artiste issue des quartiers pauvres de Bamako devenue une superstar mondiale, ainsi qu'une icône féministe unanimement admirée. D'une aura puissante comparable à celle d'une Grace Jones, icone noire transgressive par excellence, Oumou a depuis longtemps franchi les barrières séparant genres musicaux et continents. Hier invitée par Alicia Keys pour un duo télévisé, elle est désormais citée en exemple par des artistes aussi considérables qu'Aya Nakamura, qui lui a dédié la chanson Oumou Sangaré en 2017, ou Beyoncé, qui a samplé l'une de ses plus célèbres créations, Diaraby Néné, pour le titre Mood 4 Eva tiré de la bande originale du film The Lion King : The Gift en 2019.  Sa carrière menée tambour battant sans la moindre pause a pourtant connu une interruption avec la crise sanitaire en 2020.   En mars de cette année-là (2020), suite au FIWA (Festival International du Wassoulou), événement qu'elle a créé en 2016 pour promouvoir sa région d'origine du sud Mali, elle se rend aux États-Unis. Initialement prévu pour durer deux semaines, son séjour se prolonge en raison du confinement. D'abord à New York, puis à Baltimore où elle trouve rapidement ses marques. "Quelque chose m'a immédiatement attirée dans cette ville. Je m'y suis sentie si bien que j'ai voulu acquérir une maison."  Une fois installée là, elle occupe ses journées à composer avec une ancienne connaissance, Mamadou Sidibé, qui fut le premier joueur de kamele n'goni (le luth traditionnel) à l'accompagner à ses débuts. À la faveur de cette réclusion forcée, vont naître dix des onze chansons constituant Timbuktu, recueil qui noue d'intimes correspondances sonores entre les instruments traditionnels ouest-africains et ceux liés à l'histoire du blues. Notamment entre le kamele n'goni et ces lointains héritiers que sont la guitare dobro et la guitare slide, jouées ici par Pascal Danaë, co-réalisateur de l'album avec Nicolas Quéré. De cette séquence particulière du confinement, où le temps s'est pour ainsi dire arrêté, où l'artiste comme la femme d'affaires se sont trouvées dans une situation inédite d'isolement, loin du tumulte et des sollicitations incessantes, Oumou a tiré le meilleur. "Depuis 1990, je n'avais jamais eu la possibilité de me couper du monde de la sorte pour me consacrer exclusivement à la musique. De ce point de vue, le confinement a été une chance pour moi car il m'a permis de rester concentrée sur le travail de composition. Je pense que la musique s'en ressent mais aussi les textes qui sont le fruit de moments où j'ai pu me retirer en moi même pour méditer." Jamais ses paroles n'ont en effet accédé à une telle qualité poétique, une telle profondeur. Jamais ne l'a t-on trouvé aussi inspirée à livrer ses réflexions sur les indéchiffrables mystères de l'existence, la situation périlleuse que traverse son pays ou sur la condition des femmes africaines, preuve que même devenue puissante, elle n'a rien renié de ses engagements de jeunesse. Entre l'introspection de Degui N'Kelena, la langueur amoureuse exprimée dans Kanou, la compassion dans Demissimw, l'exaspération dans Kêlê Magni ou la fierté dans Wassulu Don, beaucoup d'états d'âme nourrissent ce disque. Trouvant dans l'habillage sonore réalisé par Danaë et Quéré, qui à la dynamique des rythmes traditionnels du Wassoulou  additionne celle propre au langage musical contemporain, une probante mise en valeur, Timbuktu s'impose ainsi comme le plus ambitieux et abouti d'une discographie déjà émérite.     Si le titre Timbuktu renvoie à l'actualité politique du Mali, pays menacé de désintégration et cherchant dans son histoire, dont cette ville du nord-est le plus puissant symbole, des motifs d'espérer, beaucoup de chansons renvoient à l'expérience singulière de la chanteuse. Quand dans Sira (littéralement "le baobab" en bambara), elle évoque la progéniture de familles érudites et aisées qui, malgré cela, verse dans la délinquance et gâche un avenir prometteur, c'est presque inconsciemment pour souligner par contraste l'exemplarité de sa propre trajectoire… Née à Bamako, le 2 février 1968, Oumou Sangaré est la fille cadette d'une famille appartenant à l'ethnie peule du Wassoulou. Sa mère, Aminata Diakité, est chanteuse comme le fut sa propre mère Noumouténé. Oumou a très peu connu son père, Diari Sangaré, qui a quitté le foyer familial lorsqu'elle avait deux ans. Abandonnée, Aminata se fait alors commerçante pour faire vivre ses quatre enfants. Oumou lui vient en aide en vendant des sachets d'eau dans la rue. Ayant pris l'habitude de suivre sa mère dans les "soumous" (cérémonies nuptiales ou baptismales) que celle-ci anime, elle s'octroie déjà une part de prestige par la clarté et la puissance d'une voix qui, jaillissant d'un corps d'enfant, éblouit l'auditoire. Elle ne tarde d'ailleurs pas à s'accaparer toute la gloire à l'occasion d'un concours interscolaire où elle fait gagner son école du quartier de Douadabougou en chantant devant 3 000 personnes réunies dans le Stade omnisports de Bamako. Passée par l'Ensemble National du Mali et le groupe Djoliba, Oumou a déjà une longue carrière professionnelle derrière elle quand à 18 ans, elle s'apprête à enregistrer à Abidjan sa première cassette produite par Abdoulaye Samassa (qui a dû lui offrir sa propre voiture pour la convaincre d'entrer en studio). Rééditée en CD et vinyle par World Circuit en 2016, la cassette intitulée Moussolou ("les femmes" en bambara) se vend à l'époque à plus de 250 000 exemplaires, un record resté inégalé en Afrique de l'Ouest. Si la musique très dansante caractéristique du Wassoulou l'explique en partie, la raison de ce succès tient beaucoup aux textes chantés, parfois rugit, par cette jeune lionne qui, depuis son plus jeune âge, a dû se battre pour survivre. Se dressant avec fougue contre les abus de la tradition patriarcale, qui autorise la polygamie, le mariage forcé et l'excision, Oumou devient du jour au lendemain l'égérie d'une cause féministe qui n'a aucune assise véritable dans cette partie du monde. Sa carrière et ses enregistrements restent ainsi marqués comme au fer rouge par cette double dimension : être une femme et avoir une origine sociale qui l'a rendue singulièrement sensible à toutes les formes d'injustices. Timbuktu ne fait pas exception. Ainsi Gniani Sara (littéralement "la récompense de la souffrance") renvoie-t-il à son combat de toujours en faveur de la condition féminine. "J'ai osé aborder ce sujet avant tout le monde et même risqué ma vie en le faisant  dit elle aujourd'hui. Ma récompense c'est d'avoir réussi à éveiller les consciences. Surtout au sein de la jeune génération. Voir Aya Nakamura ou Beyoncé me prendre en exemple vaut tous les prix et toutes les distinctions du monde". Pourtant, devenir la plus grande et la plus influente chanteuse africaine vivante ne lui a pas suffi. Depuis trente ans, Oumou s'est aussi illustrée dans le domaine économique et l'action sociale. À la tête de plusieurs entreprises touchant à l'hôtellerie, l'agriculture ou au négoce d'automobiles à travers sa marque Oum Sang, elle emploie actuellement près de 200 personnes à temps plein. Quant à la fondation Oumou Sangaré, créée il y a dix ans pour venir en aide aux femmes et aux enfants en situation difficile, elle parachève pour ainsi dire une œuvre artistique jamais éloignée de convictions humanistes. Élevée au grade de Commandeur de l'Ordre National du Mali, faite Chevalier des Arts et des Lettres de la République Française, Oumou est devenue Ambassadrice de bonne volonté de la F.A.O. (Organisation des Nations unies pour l'alimentation et l'agriculture) en 2003, après avoir reçu le prix de l'UNESCO deux ans plus tôt.     Mais cette réussite, Oumou doit la payer au prix fort. Après avoir subi les blessures de l'enfance parmi les plus cruelles- l'abandon, l'extrême misère- elle doit aujourd'hui se protéger des maux que la notoriété lui attire, la jalousie, la calomnie, la trahison. Autant d'atteintes qu'elle expose dans Sarama, et qu'elle s'encourage à dépasser dans Dily Oumou. En découle la solitude évoquée dans Degui N'Kelena, autour de laquelle se cristallise le thème de la séparation et de la perte qu'elle entend affronter à la manière stoïcienne, accueillant chaque événement avec une lucidité agissante. Une force qu'elle tire intégralement de la musique elle-même, dont la puissance renvoie à celle des chasseurs du Wassoulou qui en sont les inventeurs. En effet, la confrérie de ceux qu'on appelle "Donsow" ("Donso" au singulier) est à l'origine des rythmes utilisés par toutes les chanteuses modernes, elles-mêmes baptisées "kònò" (oiseau). Instrument emblématique de ce répertoire le donso-ngoni,  modernisé en kamel n'goni  (la harpe des jeunes) dans les années 1950, reste à la base de toutes les compositions d'Oumou. Tel un guide chant, celui de Mamadou Sidibé structure l'ensemble des compositions de Timbuktu, comme il attire par sa tonalité pentatonique les superbes développements à la guitare de Pascal Danaë. En utilisant une  Harmony Stratotone sur Wassulu Don (littéralement "la culture du Wassoulou"), un dobro resonator sur Degui N'Kelena et Sarama, ou la technique du bottleneck sur Sira, le musicien semble à chaque fois renvoyer à la sonorité métallique caractéristique du kamel n'gnoni, nouant ainsi une enivrante complicité élective entre les genres musicaux et les continents.  Que surmonter la souffrance et faire face à toutes les adversités traverse l'ensemble du répertoire d'Oumou Sangaré n'est pas un hasard compte tenu de son passé. Cette dominante n'est probablement pas étrangère non plus au fait que lors de cérémonies qui leur sont propres, certains chasseurs s'infligent des sévices pour mieux les dépasser, vont jusqu'à avaler des tisons ardents ou se larder de coups de poignards tout en dansant, tandis que les chanteurs invoquent des forces relevant de la surnature. C'est à cette confiance intraitable que fait référence Wassulu Don. C'est cette culture aux fondements telluriques, à la portée universelle que célèbre ici sa plus célèbre représentante, une chanteuse qui à la manière des plus grandes, Aretha Franklin ou Nina Simone, sublime la douleur et, plus que jamais, éclaire de son génie propre la musique, toute la musique, et pas seulement africaine. "La musique est en moi !", proclame Oumou. "Sans elle je ne suis rien, et rien ne peut me l'enlever ! Dans ce disque j'ai mis ma vie, toute ma vie, cette vie où j'ai connu la faim, l'humiliation de la pauvreté, la peur et dont je tire aujourd'hui la gloire."     Titres diffusés extraits de l'album Timbuktu - Wassulu Don voir le clip - Sira - Degui N'Kelena - Timbuktu Voir le clip Sarama.

Black Country, New Road – Opus (Live from the Queen Elizabeth Hall, 2022) ksak Maboul -    I Viaggi Formano la Gioventú (Un Peu de l'Ame des Bandits, 1980) David Thomas and the Pedestrians – The Crickets in the Flats (The Sound Of The Sand And Other Songs Of The Pedestrian, 1981) Dead Can Dance – Ascension (Spleen and Ideal, 1985) These New Puritans – Organ Eternal (Field of Reeds, 2013) Black Country, New Road – Snow Globes (Ants from Up There, 2022) Faust – So Far (So Far, 1972) This Heat - Horizontal Hold (This Heat, 1979) The Residents – Rest Aria (Meet the Residents, 1974) Tuxedomoon - Fifth Column (Half Mute, 1980) Tuxedomoon – Tritone (Half Mute, 1980)

Now for a round up of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their weekly email newsletter. Audio described shows and events included: Bring it On - Thursday 20 January, 7.30pm, Queen Elizabeth Hall, Southbank Centre, London Waitress - Saturday 29 January, 2.15pm, Curve Leicester Force Majeure - Saturday 29 January, 2.30pm, touch tour 1pm, Donmar Warehouse, London Disney's Beauty and the Beast The Musical - Wednesday 2 February, 7.30pm, Sunderland Empire Pride & Prejudice* (*sort of), Sunday 6 February, 2.30pm, Criterion Theatre, London Nobody - Friday 11February , 7.30pm, Home Manchester To find out more about these and other up-coming audio-described arts events as well as details about how to sign up to the VocalEyes weekly email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Vietnam, ecological worries and poverty and suffering inspired the lyrics in Marvin Gaye's 1971 album What's Going On. Written as a song cycle from the point of view of a war Vet returning home, it was inspired in part by the letters he was receiving from his brother from Vietnam and from his own questions following the 1965 Watts riots. The Nu Civilization Orchestra is performing their version of the album at the London Jazz Festival tomorrow. Matthew Sweet is joined by jazz journalist Kevin Le Gendre, musician Gary Crosby, Dr Althea Legal-Miller - Senior Lecturer in American History & Culture at Canterbury Christ Church university and poet Roy McFarlane The Nu Civilization Orchestra, founded by Gary Crosby, perform their version of the album at the London Jazz Festival at the Queen Elizabeth Hall, Southbank Centre 18th November @7.30pm, with subsequent dates in Birmingham, Liverpool & Canterbury. You can hear a host of programmes featuring performers from the London Jazz Festival on BBC Radio 3 including a special Jazz Through the Night. Free Thinking has a playlist of discussions devoted to influential artworks, books, films, music and plays called Landmarks of Culture with everything from the plays of Lorraine Hansberry to the film Jaws. https://www.bbc.co.uk/programmes/p01jwn44

The Guilty Feminist presented by Deborah Frances-White and Bridget ChristieEpisode 275: Fighting for Hope with special guests Travis Alabanza and Holly Harrison-Mullane with music from She Drew The GunRecorded 11 September at The Queen Elizabeth Hall in London. Released 11 October 2021.Photos by Callum Baker https://callumbakerphoto.comThe Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.Vote for us in the National Comedy Awards http://www.thenationalcomedyawards.comMore about Deborah Frances-Whitehttp://deborahfrances-white.comhttps://twitter.com/DeborahFWMore about Bridget Christiehttps://twitter.com/bridgetchristiehttps://www.bridgetchristie.co.ukMore about our guestshttps://twitter.com/travisalabanzahttp://travisalabanza.co.ukhttps://www.amnesty.org.ukhttps://twitter.com/shedrewthegunhttps://shedrewthegun.comFor more information about this and other episodes…visit www.guiltyfeminist.comtweet us www.twitter.com/guiltfempodlike our Facebook page www.facebook.com/guiltyfeministcheck out our Instagram www.instagram.com/theguiltyfeministor join our mailing list www.eepurl.com/bRfSPTCome to a live recordingMothers of the Revolution. Wednesday 20 October, 7:00pm. Buy tickets now.Kings Place. Monday 25 October, 7:30pm. Buy tickets now.Kings Place. Thursday 4 November. 7:30pm. Buy tickets now.Thank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist See acast.com/privacy for privacy and opt-out information.

The Guilty Feminist presented by Deborah Frances-White and Kemah BobEpisode 273: Reclaiming Our Joy with special guest Nina Conti and music from Jess RobinsonRecorded 10 September at The Queen Elizabeth Hall in London. Released 27 September 2021.The Guilty Feminist theme by Mark Hodge and produced by Nick Sheldon.More about Deborah Frances-White· http://deborahfrances-white.com· https://twitter.com/DeborahFW· https://www.virago.co.uk/the-guilty-feminist-bookMore about Kemah Bob· https://twitter.com/kemahbob· http://kemahbob.comMore about Nina Conti· https://twitter.com/ninaconti· https://www.ninaconti.net/live· https://play.acast.com/s/richard-and-gretaMore about Jess Robinson· https://twitter.com/jessierobinson· https://www.jessrobinson.co.ukFor more information about this and other episodes…· visit www.guiltyfeminist.com· tweet us www.twitter.com/guiltfempod· like our Facebook page www.facebook.com/guiltyfeminist· check out our Instagram www.instagram.com/theguiltyfeminist· or join our mailing list www.eepurl.com/bRfSPTThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist See acast.com/privacy for privacy and opt-out information.

Saul Williams, Motion and Face2Face host David Peck talk about their new film Akilla's Escape, extended family, lived experience, existence as resistance, racialized capitalism, poetry, art and pushing boundaries and why it may not be a great idea to dabble in hope or cynicism.TrailerFind out more about the film here.Synopsis:Akilla's Escape weaves the present and past in a crime-noir about the urban child-soldier. Set in Toronto and New York where over 450,000 Jamaicans reside, the story speaks to the historical criminalization of black boys that modern society overlooks.Akilla Brown is forty years old and for the first time in his life, the clandestine cannabis grow operation he runs is legit. Only one year into government approvedlegalization, the pendulum of hypocrisy takes a toll and Akilla decides to cash out. While making a routine delivery on a cool, summer night, destiny takes anunexpected turn when Akilla confronts a firestorm of masked youths in an armed robbery.In the aftermath of the heist, Akilla captures one of the thieves, a mute fifteen-year-old boy named Sheppard. Upon learning thebandits are affiliated with the Garrison Army, a Jamaican crime syndicate his grandfather founded. Akilla is forced to reckon with a cycle of violence he thought he escaped.About Saul Williams:Saul Williams came to public attention after the release of the internationally acclaimed film Slam, which he co-wrote and starred in. Slam introduced the world to the Slam poetry movement and won Sundance's Grand Jury Prize and the Cannes Camera D'Or in 1998.Saul holds a B.A. in Philosophy and Drama from Morehouse College and an M.F.A. in acting from NYU's Tisch School of the Arts. He has performed in over 30 countries with invitations that have spanned from the White House, the Sydney Opera House, Lincoln Center, The Louvre, The Getty Center, Queen Elizabeth Hall, to villages, townships, community centers, and prisons across the world.Saul has published five books of poetry and 7 musical albums. On stage, he was chosen for the lead role in Holler If Ya Hear Me, a Broadway musical featuring music by Tupac Shakur and he has appeared in numerous films and television shows. He is currently working on his directorial debut Neptune Frost.Wendy "Motion" BraithwaiteWendy Motion Brathwaite is a Canadian musician, writer and activist from Toronto, Ontario. She is most noted as cowriter with Charles Officer of the screenplay for the 2020 film Akilla's Escape, for which they won the Canadian Screen Award for Best Original Screenplay at the 9th Canadian Screen Awards in 2021.She also wrote the short films A Man's Story (2016) and Theodore (2020) and has worked as a story editor on the television series Coroner.She has performed as a hip hop artist and spoken word poet under the stage name Motion, and released the CD Motion in Poetry: The Audio Xperience and has also published the poetry collections Motion in Poetry and 40 Dayz, and has written theatrical plays including Oraltorio: A Theatrical Mixtape, 4our Woman, Aneemah's Spot, Loveleigh's Logue, Nightmare Dream and Rebirth of the Afronauts: A Black Space Odyssey.Image Copyright and Credit: Cane Sugar FilmWorks.F2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck's podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Kim's  career has taken her from Broadway to the West End to the international concert stage, resulting in a most unusual career path unmatched by any other singer. She continues to specialize in musical theatre, bringing the classic American songbook to leading music venues across the world, both in symphony settings and recital.  She has sung at La Scala in Milan, La Fenice in Venice, the Teatro di San Carlo in Naples, the Accademia Nazionale Santa Cecilia in Rome, the Théâtre du Châtelet and the Opéra Comique in Paris, Concertgebauw in Amsterdam, Carnegie (Weill) Recital Hall in New York, the Musikverein, Konzerthaus and Volksoper in Vienna, the Berliner Philharmonie, the Teatro Nacional de São Carlos in Lisbon, the Snape Maltings Concert Hall in Aldeburgh, and the Mariinsky Theatre in St. Petersburg, not to mention multiple appearances in London at the Wigmore Hall, the Royal Albert Hall, the Barbican, the Royal Festival Hall, the Queen Elizabeth Hall, the Purcell Rooms, Cadogan Hall, and the Linbury Studios at the Royal Opera House, and elsewhere, from Reykjavik, Helsinki, Leipzig and Kaiserslautern, to Athens, Essen, Gothenburg and Bremen, to Tel Aviv, Jerusalem, Hong Kong, Malta, Montpellier, and Moscow, giving her a unique platform among interpreters of the musical theatre repertoire.She has had the pleasure of singing with many of the world's greatest symphony orchestras, ranging from the Berlin Philharmonic and City of Birmingham Symphony Orchestras conducted by Sir Simon Rattle, with whom she has recorded Leonard Bernstein's Wonderful Town in a version that then was repeated as a BBC Proms concert, and as the New Year's Eve Gala in Berlin, to the London Symphony Orchestra, the London Philharmonic Orchestra, the Philharmonia and London Sinfonietta, the Liverpool Philharmonic, the Northern Sinfonia, the Leipzig Gewandhaus, the Orchestre National de Lyon, the Orchestre de Picardie, the Orchestra della Toscana, the Hong Kong Philharmonic, the Toronto and Winnipeg Symphonies, and many, many more. Kim has formed several lasting musical partnerships over the years, leading to both concert and recording opportunities. Conductor/music historian John McGlinn brought her to EMI Classics, which led to several recordings and a personal recording contract, as well as many symphony concerts across America and Europe. With conductor John Wilson, she has explored the world of film music across the UK in concert, including the very popular MGM and Rodgers and Hammerstein Proms concerts, and several solo evenings. Her ongoing recital partnership with conductor/pianist Wayne Marshall has taken the pair to many of the great concert venues in Europe, both as recitalists and in full symphony settings.  Other conductors she has appeared with include Kristjan Jarvi, , Leonard Slatkin, Marin Alsop, Yutaka Sado, Keith Lockhart, Ulf Schirmer, John Axelrod, Kevin Farrell, Carl Davis and Richard Hickox, to name a few.Critically acclaimed for playing “Annie Oakley” in Annie Get Your Gun at London's Prince of Wales Theatre, for which she earned a Olivier Award nomination for Best Actress in a Musical, and for her role as “The Old Lady” in Robert Carsen's productions of Candide at La Scala and the Théâtre du Châtelet, she has also won a Helen Hayes Award for her work in Side by Side by Sondheim. She also starred as “Sally Adams” in Call Me Madam at the Goodspeed Opera House, singing the role of “The Old Lady” in Candide at Chicago's Ravinia Festival, and co-starring with Joseph Fiennes and Charles Edwards in Happy Days in the Art World at NYU's Skirball Center in New York.Kim's Broadway credits include starring as “Lucy”, opposite Sting, in the 3 Penny Opera directed by John Dexter, and appearing in the original Broadway cast of 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Star

The Southbank Undercroft is a space under the Queen Elizabeth Hall of the Southbank Centre that has been a very popular with skateboarders and graffiti artists for over four decades. The Undercroft was completed in the 1960s and became popular with skateboarders in the 1970s. Over the years it has been covered and re-covered in graffiti and contains work created by thousands of artists over the years. The history of the Undercroft was made famous by Winston Whitter's documentary Rollin Through the Decades (2005) which focused on the history of UK skateboarding from the 1970s to the mid-2000s. In 2013, the planned redevelopment of the area endangered the Undercroft but skaters and local enthusiasts campaigned and fought to safeguard the site, through the non-profit organisation Long Live Southbank (LLSB), and won.

Synopsis In the 1980s, the Finnish Broadcasting Company had come up with the idea of commissioning a whole evening’s worth of orchestral pieces by native composer Einojuhanni Rautavaara, which, when taken together, would form a conventional concert program of overture, concerto and symphony. These three works have come to be called the “Angel Trilogy,” since each of them has a title with the word “Angel” in it. Rautavaara’s Fifth Symphony, with the working title “Monologue with Angels,” premiered on today’s date in 1986, was originally to be the symphonic conclusion of this triple commission. But Rautavaara dropped the title, and his Symphony No. 7, subtitled “Angel of Light,” ended up being the third part of the “Angel Trilogy,” alongside an overture entitled “Angels and Visitations” and a double-bass concerto entitled “Angel of Dusk.” If you asked the mystical Rautavaara why he changed his mind, he would probably have said it really wasn’t HIS idea at all. Rautavaara believed that his compositions already existed in ‘another reality,’ as he said, and his job was just to bring it into our world in one piece. "I firmly believe that compositions have a will of their own,” he said, “even though some people smile at the concept.” Music Played in Today's Program Einojuhani Rautavaara (1928 - 2016) Symphony No. 5 Leipzig Radio Symphony; Max Pommer, cond. BMG 62671 On This Day Births 1885 - German conductor and composer, Otto Klemperer, in Breslau; 1917 - American composer Lou Harrison, in Portland, Ore.; Deaths 1847 - German composer Fanny Mendelssohn Hensel, age 41, in Berlin; She was the sister of Felix Mendelssohn; Premieres 1723 - Handel: opera "Flavio, re de' Langobardi" (Flavio, King of the Langobards), in London at the King's Theater in the Haymarket (Gregorian date: May 25); 1832 - Mendelssohn: "Hebrides" Overture ("Fingal's Cave"), in London, conducted by the composer; 1914 - R. Strauss: ballet "Josephslegende," in Paris; 1919 - Debussy: Saxophone Rhapsody (orchestral version by Roger-Ducasse), at a Société Nationale de Musique concert conducted by André Caplet at the Salle Gaveau in Paris; 1923 - Holst: "The Perfect Fool," in London at Covent Garden Opera House; 1941 - Cage: "Third Construction" for four percussionists, in San Francisco; 1942 - Copland: "Lincoln Portrait," by the Cincinnati Symphony conducted by André Kostelanetz, with William Adams the narrator; 1953 - American premiere of Stravinsky's opera, "The Rake's Progress," at the Metropolitan Opera in New York, with the composer conducting; The world premiere performance occurred on September 11, 1951, in Venice, again with the composer conducting; 1966 - Ginastera: "Concerto per Corde," by the Philadelphia Orchestra, Eugene Ormandy conducting; 1986 - Rautavaara: Symphony No. 5, in Helsinki, by Finnish Radio Symphony, Esa-Pekka Salonen conducting; 1987 - Alvin Singleton: "Shadows" for orchestra. By the Atlanta Symphony, Robert Shaw conducting; 1992 - James MacMillan: "Sinfonietta" at Queen Elizabeth Hall in London, by the London Sinfonietta, Martyn Brabbins conducting; 1993 - Philip Glass: opera "Orphée" (based on the Jean Cocteau film), by the American Repertory Theater in Cambridge, Mass.; Others 1719 - Handel is commanded by the Lord Chamberlain (Thomas Holles, Duke of Newcastle), to hire singers for the recently established Royal Academy of Music's productions of Italian operas (Gregorian date: May 25); 1974 - Final London concert performance by conductor Leopold Stokowski, age 92 conducting the New Philharmonia Orchestra at Royal Albert Hall: The program was Symphony No. 4 by Brahms, the "Fantasia on a Theme by Thomas Tallis" by Vaughan Williams, the "Merry Waltz" by Otto Klemperer, and the "Rapsodie espagnole" by Ravel; This was not Stokowski's "final" concert appearance, however; He was on the podium again in Venice in July of that year, and continued to make studio recordings; He died on September 13, 1977, at the age of 95 in his house in Nether Wallop, Hampshire, England; Links and Resources On Rautavaara Rautavaara NYTimes obit

Head of contemporary music at London's iconic Southbank Centre Bengi Unsal, gives us an insight into how Europe's largest arts & culture institution has adapted to the issues that COVID-19 has brought. Bengi manages and programmes over 200 shows a year at the Southbank's Royal Festival Hall, Queen Elizabeth Hall & Purcell room, as well as managing it's legendary Meltdown Festival, which is the longest running Artist Curated in the world, with artists such as David Bowie, Yoko Ono, Nile Rodgers, David Byrne and currently Grace Jones directing the festival. This year's effects on the Southbank Centre having been huge, so it was fascinating to discuss how the great institution has been adapting with Bengi.

Inua Ellams is many things – he's a poet, playwright, a creator of community, graphic artist and designer. He's moved, entertained and challenged audiences around the world, on stages from Queen Elizabeth Hall and the Sydney Opera House to the Glastonbury Festival. Inua is an ambassador for the Ministry of Stories, a Fellow of the Royal Society of Literature and has published various prize-winning books of poetry. His most recent book is ‘The Half-God of Rainfall' that ‘The Guardian' described as ‘a playful, epic contemporary retooling of Greek mythology…a story of feuding gods and journeys to the edge of the universe'. As with his poetry, his plays have been critically acclaimed. ‘The Barber Shop Chronicles' for example, sold out two runs at The National Theatre and was recently one of the special selection of works live streamed and made accessible for a period during the pandemic. Inua is also the founder of Midnight Run, a nocturnal urban excursion. He's undertaken several commissions, for places like the Tate Modern, Soho Theatre and the BBC and he also runs a R.A.P. Party for poets to read work inspired by hip-hop.Inua's new book of poetry is called ‘The Actual', and as Bernardine Evaristo said 'This is what poetry looks like when you have nothing to lose, when you speak from the heart, when you have spent years honing your craft so that you can be free. This is what poetry looks like when you are a word sorcerer, a linguistic swordsman, a metaphor-dazzler, a passionate creator of poetry as fire, as lament, as beauty, as reflection, as argument, as home. I was blown away by this book'.www.inuaellams.comListen to the audio documentary: https://www.bbc.co.uk/sounds/play/m000m5lt

Norwegian crime writer Jo Nesbø on his novel based on Macbeth; playwright Mark Ravenhill on why the play rarely works on stage, James Shapiro on the contemporary events which shaped it and Emma Whipday on the elements that Shakespeare borrowed from 16th century domestic dramas. Plus Ellah Wakatama Allfrey on rereading Chinua Achebe's 1958 novel and the echoes of Macbeth she found there. Presented by Shahidha BariA 60th anniversary reading of Things Fall Apart, by Chinua Achebe and abridged by Ellah Wakatama Allfrey, Publishing Director at The Indigo Press, is taking place at London's Southbank Centre in the Queen Elizabeth Hall on April 15th, with readers including Lucian Msamati, Chibundu Onuzo, Margaret Busby and Olu Jacobs. Jo Nesbø's Macbeth is published now and the plot summary reads: When a drug bust turns into a bloodbath it's up to Inspector Macbeth and his team to clean up the mess. He's also an ex-drug addict with a troubled past.Macbeth - starring Rory Kinnear and Anne-Marie Duff - is on stage at London's National Theatre until June 23rd and will be broadcast live to cinemas on 10 May. It's also at the RSC in Stratford-upon-Avon - starring Christopher Eccleston and Niamh Cusack - until September 18th and will transfer to London between Oct 15th and Jan 18th 2019. Mark Bruce Company are on tour with their dance-theatre version visiting Ipswich, Blackpool, Exeter, Salisbury and Milton Keynes. Macbeth directed by Kit Monkman is in cinemas around the UK. Producer: Torquil MacLeod.

Viv Albertine was the guitarist in the cult punk band The Slits and a key player in British counter culture before working as a film maker and launching a solo career. Her new memoir, To Throw Away Unopened, unpicks family secrets which shaped her childhood and her early creative influences. This book begins when she is at the launch party for her hugely successful first book Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys and her sister calls with news that their mother is dying. After a two-year £35m refurbishment, the Queen Elizabeth Hall and the Purcell Room on London's Southbank re-open this week. The architect Richard Battye and Gillian Moore, Director of Music at the Southbank, give Samira a guided tour of the Brutalist buildings, which have been updated to cater for an even wider range of music, dance and performance for the 21st century.Damian Kavanagh, the Controller of BBC Three, discusses how the platform is different online to on air, considers why it has been a success with younger audiences, and what this means for the future of television.Plus, we gauge the public reaction to Tracey Emin's new artwork, named I Want My Time With You, unveiled at St Pancras Station in London today.Presenter : Samira Ahmed Producer : Dymphna Flynn.

Recorded in A Room for London, the creative / living space in the shape of a boat on top of the Queen Elizabeth Hall on the South Bank of the Thames, Open Book explores the impact the city has had on literature - from Chaucer and Dickens to Martin Amis and Peter Ackroyd; the themes it evokes and why it creates such a diverse backdrop to novels. Mariella Frostrup is joined by novelists who've all been charmed by London - Will Self, Amanda Craig, Dreda Say Mitchell and Ben Aaronovitch.