Podcast appearances and mentions of rafael payare

AU DIAPASON – Emission de musique classique – Frédéric Hutman Sur la violoniste canadienne Marianne Dugal et le chef d'orchestre vénézuélien Rafael Payare

durée : 00:06:17 - Quelle identité pour l'Orchestre symphonique de Montréal ? - par : Sofia Anastasio - Ce soir, l'Orchestre symphonique de Montréal sera en concert à la Philharmonie de Paris. L'ensemble, dirigé par Rafael Payare, est en pleine tournée européenne. L'occasion de nous pencher sur l'identité de cet orchestre qui célèbre ses 90 ans.

Il parvient à électriser la scène et la salle rien qu'avec une baguette et son talent : c'est le chef d'orchestre Rafael Payare. Ce Vénézuélien aux gestes exubérants et précis est issu d'El Sistema, un programme destiné aux enfants de quartiers défavorisés, où il apprend le cor avant de découvrir la direction d'orchestre. À 44 ans, le chef charismatique traverse l'Atlantique pour célébrer les 90 ans de l'Orchestre symphonique de Montréal dans les plus grandes salles de concert européennes — de Londres à Vienne en passant, ce 22 novembre, à la Philharmonie de Paris.  À lire aussiUn robot à trois bras chef d'orchestre en AllemagneÀ lire aussiNEWSLETTER RFI CULTURE : Ne manquez pas les meilleurs reportages et idées d'une actualité culturelle internationale qui n'oublie pas l'Afrique.

Il parvient à électriser la scène et la salle rien qu'avec une baguette et son talent : c'est le chef d'orchestre Rafael Payare. Ce Vénézuélien aux gestes exubérants et précis est issu d'El Sistema, un programme destiné aux enfants de quartiers défavorisés, où il apprend le cor avant de découvrir la direction d'orchestre. À 44 ans, le chef charismatique traverse l'Atlantique pour célébrer les 90 ans de l'Orchestre symphonique de Montréal dans les plus grandes salles de concert européennes — de Londres à Vienne en passant, ce 22 novembre, à la Philharmonie de Paris.  À lire aussiUn robot à trois bras chef d'orchestre en AllemagneÀ lire aussiNEWSLETTER RFI CULTURE : Ne manquez pas les meilleurs reportages et idées d'une actualité culturelle internationale qui n'oublie pas l'Afrique.

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In Episode 30 of The Classical Circuit, host Ella Lee chats to conductor Rafael Payare: his rapid introduction to the music world at the age of 14; and how strongly he feels that amidst huge unrest in his home country of Venezuela, today's children should have the same musical opportunities and the chance to ‘dream big', as he did. He also spoke about his approach to artistic programming as a music director, and shared the touching story of how he came to conduct the Vienna Philharmonic for the very first time.-------------------Rafael's links:WebsiteInstagramFacebook-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------This podcast is also available to listen to via The Violin Channel--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

For this week's Podcast, Gramophone Editor Martin Cullingford is joined by Rafael Payare, Music Director of the Orchestre symphonique de Montréal to talk about the music of Schoenberg in the year that marks the composer's 150th anniversary. The focus is his beautiful new recording of Pelleas und Melisande and Verklärte Nacht, which is available today on the Pentatone label.

El director de orquesta Rafael Payare nos hable acerca de su nueva grabación Pentatone dirigiendo a la Orquesta sinfónica de Montreal interpretando obras de Richard Strauss y Gustav Mahler.

This week's Eye on Travel Podcast with Peter Greenberg – from The Ritz Carlton Hotel in Montreal, Quebec. Peter sits down with Robert Morena - Co -Owner of St-Viateur Bagels - to attempt to settle the ongoing debate of which city has the best bagels: Montreal or New York City? Then, Rafael Payare - Music Director of the Montreal Synphony Orchestra- stops by for a look at the city's robust music scene. Did you know that Montreal is a circus town (and it just starts with Cirque du Soleil) Show Director Michael Smith chats about Cirque du Soleil, its history and future. Plus, so much more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week's Eye on Travel Podcast with Peter Greenberg – from The Ritz Carlton Hotel in Montreal, Quebec. Peter sits down with Robert Morena - Co -Owner of St-Viateur Bagels - to attempt to settle the ongoing debate of which city has the best bagels: Montreal or New York City? Then, Rafael Payare - Music Director of the Montreal Synphony Orchestra- stops by for a look at the city's robust music scene. Did you know that Montreal is a circus town (and it just starts with Cirque du Soleil) Show Director Michael Smith chats about Cirque du Soleil, its history and future. Plus, so much more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Esa-Pekka Salonen took over the helm of the San Francisco Symphony in 2020 from Michael Tilson Thomas. Both men have had a major impact on symphonic music in California, and Salonen is one of the three guiding figures – with the LA Phil's Gustavo Dudamel and the San Diego Symphony's Rafael Payare – behind the California Festival, a statewide celebration of music that launched in November. James Jolly spoke to Salonen at Davies Symphony Hall in San Francisco following an afternoon concert, as part of the California Festival, in November.

Rafael Payare is the Music Director for the San Diego Symphony. Born in Venezuela and having studied in the acclaimed El Sistema music program, Rafael soon found himself traveling the globe playing the horn before eventually becoming a conductor himself and finding a home here in San Diego. In this episode, Rafael discusses the role of the conductor as a storyteller and program director, how a symphony orchestra is an integral part of any modern community and how it can teach us a lot about working together and in harmony, why the world needs to know about the world-class symphony here in San Diego and much more. Hosted by Grant Oliphant Produced by Crystal Page & Adam Greenfield Engineered by Adam Greenfield Recorded in the Voice of San Diego Studio

What are borders but mere lines imagined by politicians to separate and divide human beings? And just as borders between states and countries are rather arbitrary, so are the borders we put on certain instruments, even entire genres of music.Paul Merkelo stopped in to the Trumpet Dynamics Central Headquarters to discuss his collaboration with the great Wynton Marsalis on a brand new concerto written for trumpet that is making waves in the trumpet world and beyond.Wynton's new concerto not only pushes the finest players to their utmost limits as performers, but it transcends many of the arbitrary boundaries that have been placed upon the trumpet, and even ethnic and national identities related to music.Paul was honored by being asked to help bring this piece into the public consciousness, and in this episode, he shares his experience of being included in the esteemed group of trumpeters who are premiering the piece around the world. The interview includes a detailed description of the process of preparing and allowing to see the light of day a piece of music that we expect will be part of the standard trumpet repertoire, regularly called upon by orchestras the world over, in due time.We even managed to sneak in a hat tip to elephant sounds and horse whinnies, so you're going to want to hang out until the very end of the episode!What you'll hear in this episode:-How Paul was chosen to premiere Wynton's concerto in Canada...03:30-The moment Paul stepped on stage to premiere the piece...06:30-"Like jumping out of an airplane"...13:20-We've got to build the repertoire by crossing musical borders...15:45-You can't simply play with technical precision; you must play musically...18:30-The "perfect" performance redefined...23:25-The very long process of preparing for The Day of the performance...28:10-Balancing the prep and practice with family and obligations to the day job...36:45-Efforts to get the word out about the concerto...40:30-How to make an elephant call with a trumpet...46:30-Plus whatever your discerning ears deem worthy of your time and interest...Resources mentioned:Paul Merkelo's websiteGershwin's World on Medici TV featuring Paul MerkeloA Conversation with Rafael Payare, Wynton Marsalis and Paul MerkeloTrumpet Dynamics episode with Scott "Horse Whinny Maestro" Moore of the Memphis SymphonyAbout the Guest:Paul Merkelo has been hailed as ‘the new Maurice André' by the Australian Broadcasting Corporation, and is recognized as ‘a spectacular soloist... a most impressive master of his instrument' (Montreal Gazette) who ‘knows no limits' (Der Spiegel online - Germany) with ‘unusual lyrical gifts' (Gramophone). Principal trumpet with the Orchestre symphonique de Montréal since 1995, he has been featured frequently with the OSM, including tours to South America and at the Lincoln Center in New York, and is the first member of the orchestra to be invited to record a debut solo album with the orchestra (French Trumpet Concertos - Kent Nagano).In 1999, he was appointed Canadian musical ambassador to China for the inauguration of the Montreal Park in Shanghai, and as soloist with the Shanghai Symphony Orchestra in a national telecast. Merkelo made his New York...

Rafael Payare, or “Rafa,” as he's known more informally, is the energetic, electrifying and unmistakable conductor that is taking the classical world by storm. Payare currently serves as Music Director of both the Montreal and San Diego Symphonies. A graduate of Venezuela's famed El Sistema program, Payare first attracted attention as winner of Denmark's Malko International Conducting Competition in 2012. Since then, he's brought his exuberance and elegance to conduct preeminent orchestras across the globe, from London to New York, Munich to Boston, and Stockholm to Chicago. Rafael Payare speaks with Alec about the many important conductors he's learned from, how he approaches putting together a music program, and why finding the right chemistry with an orchestra is like falling in love.    The following compositions are featured in this episode: Gustav Mahler Symphony No. 5 with the Orchestre Symphonique de Montréal, conducted by Rafael Payare, provided courtesy of Pentatone. You can find the album here.  Shostakovich's Symphony No. 11 in G minor, Op. 103 “The Year 1905,” conducted by Rafael Payare, courtesy of the San Diego Symphony on Platoon. You can find the album here.See omnystudio.com/listener for privacy information.

El director de orquesta venezolano y director titular de la Orquesta Sinfónica de Montreal nos habla acerca de la nueva grabación interpretando la quinta sinfonía de Gustav Mahler.

The Venezuelan conductor Rafael Payare was appointed Music Director of the Orchestre symphonique de Montréal (Montreal SO) at the start of the 2022-23 season and one of their first projects together, Mahler's Fifth Symphony, has just been released by Pentatone. Rafael Payare was in London recently conducting a run of much-praised performances of Rossini's Il barbiere di Siviglia at Covent Garden, and Gramophone's James Jolly took the opportunity to catch up with him to talk about his work in Montreal and the new Mahler recording. Gramophone Podcasts are given in association with Wigmore Hall.

This episode is also available as a blog post: https://thecitylife.org/2023/02/02/rafael-payare-conducts-mahler-5-with-montreal-symphony-orchestra-at-carnegie-hall/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Alisa Weilerstein / Inon Barnatan: Beethoven Cello Sonatas (Pentatone) Jump to giveaway form New Classical Tracks - Alisa Weilerstein by “It takes organization. But it is more than possible, and it's fantastic.” That's cellist Alisa Weilerstein talking about what it takes to integrate family with an active career. About five months ago, she and her husband, conductor Rafael Payare, welcomed their second daughter, Elina, who joins big sister Ariadna. But not only did Weilerstein expand her family during the global pandemic; she also created a new recording with her longtime musical partner, pianist Inon Barnonton: a collection of Ludwig van Beethoven's cello sonatas. The two of you have been playing these works for the entirety of your collaboration, which dates to 2008. Why was now the right time to make this recording? “Nothing is like the Bach cello suites in terms of, let's say, people's reverence for them and the fear of putting one's sort of permanent stamp on them. This comes close. And so the Beethoven sonatas were pieces that we didn't want to rush into recording. 2020, of course, was also supposed to be the big Beethoven year. And, obviously, that got a bit overshadowed by world events. I mean, we had been talking about doing it eventually. It's like, well, OK, now is the perfect time. Let's just do it. So we did. It's the most visceral music I can think of. It combines some of the most structurally interesting and beautifully crafted music with primal, rhythmic drive and energy, which is present even in the most tender moments. When Beethoven becomes vulnerable, it's almost unbearable in terms of how moving, how touching it is. One of the coolest things about Beethoven's sonatas for cello and piano is that in five fairly concise works, we get to hear how his relationship between the piano and cello was redefined. Can you talk about that evolution and how we hear it in these works? “And I'm really glad you brought that up, because historically, in terms of our canon, it was a very important trajectory that we're following. “The first two sonatas, the first one, in particular, are really more of piano and cello sonatas. In other words, the piano is really the main voice, and the cello is having a kind of obbligato voice. I'm just kind of floating around and the piano is just wailing away, basically. “And then the Third Sonata is the first one where the cello and piano are truly equal partners. And it's announced from the very first note, which is played by the cello alone. That, historically, was a really big deal. It's fascinating to see how he just broke all the rules. “This is like therapy, just to make music and to communicate these really profound ideas and emotions in a way that we didn't have to use our words for anything. We could just make music. And it was kind of a reminder of why we both do what we do and why we love what we do so much.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Cello Sonata No. 3 in A Major, Op. 69: I. Allegro ma non tanto More on Alisa Weilerstein Learning to Listen: Alisa Weilerstein discusses the cello SymphonyCast: Alisa Weilerstein performs at the BBC Proms Alisa Weilerstein Giveaway Alisa Weilerstein New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Weilerstein store) Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Pentatone store) Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Amazon) Alisa Weilerstein (official site) Inon Barnatan (official site)

Volvemos a un género que nos apasiona, el de las entrevistas, y lo hacemos en compañía de una de las batutas más prometedoras y asentadas del panorama mundial. El venezolano Rafael Payare, director musical de la Orquesta Sinfónica de Montreal, nos acompaña con motivo de su visita al Royal College of Music de Londres para charlar de su carrera, sus inicios en el Sistema de Abreu y sus proyectos de futuro. Esperamos que disfrutéis esta charla con un director de primera y que podáis aprender un poco más sobre el complicado mundo de las orquestas profesionales. Como siempre, os agradecemos vuestro apoyo y presencia constante al otro lado y os esperamos en el resto de episodios de Conocimientos Musicales.

Wagner is probably the most admired AND the most reviled composer in Western Classical Music history. I've always been uncomfortable with Wagner's music, so I decided to sit down with the wonderful conductor(and my brother-in-law), Rafael Payare to try and understand how to embrace Wagner. We talk about emotional manipulation, the length of his operas, and of course, his almost pathological anti-Semitism. We also talk about Richard Strauss in this light-hearted and, I hope, illuminating conversation!

Robert Charlebois parle de son spectacle en hommage à l'auteur Réjean Ducharme; l'artiste, rappeuse et Révélation Radio-Canada Calamine accorde une entrevue; la comédienne Tatiana Zinga Botao et le comédien Philippe Racine présentent leur point de vue sur Antigone; la musicienne Marianne Dugal et le musicien André Moisan discutent de la nouvelle saison de l'Orchestre symphonique de Montréal et de leur nouveau directeur musical Rafael Payare; et Jean-Philippe Baril Guérard vient s'entretenir avec René Homier-Roy à propos de ses multiples projets.

Rafael Payare, music director for the San Diego Symphony, has conducted orchestras all over the world, but his approach always remains the same, no matter the location. "I go all in, or nothing -- completely," Payare said.

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. The 20-21 season marks Rafael Payare's second season as Music Director of San Diego Symphony and already their relationship has been recognised as one of the most dynamic in North America. He has also recently been announced as the next Music Director of the Orchestre symphonique de Montréal where he will take the title of Music Director Designate from September 2021 and will commence as Music Director from the 22-23 season for an initial period of 5 years. His profound musicianship, technical brilliance and charismatic presence on the podium has elevated him as one of the most sought-after conductors. He was Principal Conductor and Music Director of the Ulster Orchestra from 2014 – 2019 with whom he appeared twice at the BBC Proms in 2016 and 2019. The Orchestra recently named him Conductor Laureate in recognition of his vast artistic contribution to the Orchestra and City of Belfast during his five year tenure. For more information, visit https://www.askonasholt.com/artists/rafael-payare/ (https://www.askonasholt.com/artists/rafael-payare/). Recordings used in the podcast courtesy of Naxos: Seven Gates of Jerusalem The Symphony No. 4  Adagio from 3rd Symphony

Discussion avec Virginie Fortin sur ses différentes facettes d’auteure, humoriste et comédienne; présentation, par Claudia Hébert, Samuel Archibald et Jessica Barker, des séries Lupin, Cobra Kai, Claire et les vieux et Bridgerton ainsi que des documentaires Lafortune en papier et Sur les traces de Maria Chapdelaine; entrevue avec les comédiens Sarah-Jeanne Labrosse et Vincent Leclerc à propos de la dernière saison des Pays d’en haut; point de Catherine Perrin à la suite de la nomination du nouveau maestro de l’Orchestre symphonique de Montréal, Rafael Payare; entretien avec Catherine-Audrey Lachapelle sur le départ de son personnage emblématique de Virginie Francœur dans la série District 31; critique du bouleversant film Pieces of Woman; et échange avec l’auteure Chantal Cadieux, fascinée par le potentiel dramatique des personnages de psychopathes.

Chronique culturelle avec Anne-Lovely Etienne, Journaliste Art de vivre et culturel : Étienne Boulay a reçu presque 25 000 likes pour son statut de ses 4 ans de sobriété. Le chanteur Jamiroquai s’est fait passer pour un des manifestants hier dans le Capitole de Washington et a passé un message. C’est le chef vénézuélien Rafael Payare qui remplacera Kent Nagano à l’OSM à compter de la saison 2022-2023. Pour de l’information concernant l’utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Segment LCN avec Julie Marcoux : électro-choque de Legault. Le couvre-feu et ses exceptions. Québec et Ottawa se renvoient la balle pour le vaccin. Le tour de l’actualité avec Mario et Vincent : les États-Unis en crise. Joe Biden parle d'un des jours les plus sombres de l'histoire en Amérique. La ministre des Transports démissionne. Un leader démocrate demande de démettre Trump. Trump bannit des réseaux sociaux indéfiniment. Bilan des cas de COVID-19.  Chronique culturelle avec Anne-Lovely Étienne, Journaliste Art de vivre et culturel : Étienne Boulay a reçu presque 25 000 likes pour son statut de ses 4 ans de sobriété. Le chanteur Jamiroquai s’est fait passer pour un des manifestants hier dans le Capitole de Washington et a passé un message. C’est le chef vénézuélien Rafael Payare qui remplacera Kent Nagano à l’OSM à compter de la saison 2022-2023. Entrevue avec Éric Boisjoly, directeur général de la FTQ-Construction : un flou semble persister au niveau des réglementations entourant le domaine de la construction dans les nouvelles réglementations du confinement resserré du gouvernement Legault. Quelles sont les inquiétudes, problématiques et attentes dans le milieu?  Entrevue avec Pierre Brassard, président de la CSN–Construction : un flou semble persister au niveau des réglementations entourant le domaine de la construction dans les nouvelles réglementations du confinement resserré du gouvernement Legault. Quelles sont les inquiétudes, problématiques et attentes dans le milieu?  Chronique sportive avec Jean-François Baril : un match intraéquipe du CH. Patrice Bergeron capitaine des Bruins. Raphaël Lessard aura un volant pour une saison complète. Bianca Andreescu renouera avec l'action! Entrevue avec Richard Thibault, président de RTCOMM, spécialiste en gestion de crise : présent sur place le 8 mai 1984, lorsque le caporal Denis Lortie est entré, lourdement armé, dans l'hôtel du Parlement à Québec, Richard Thibault ressentait un sentiment similaire hier en voyant le Capitole être assiégé aux É.-U..  Reprise des actualités avec Mario et Vincent : Trump voudrait se pardonner lui-même. Les derniers détails concernant ce qui se passe aux États-Unis. Cote d’écoute record pour François Legault et CNN hier. Records de cas en Ontario. Les citoyens devront justifier leurs déplacements, confirme Geneviève Guilbault. Le bureau du PM critique Québec solidaire. Chronique de Richard Martineau : GND reproche à la CAQ de restreindre les libertés individuelles. Retour sur le “shit show” à Washington. Chronique politique avec Gilles Baril : Trump ; le chaos jusqu’au bout. Le véritable enjeu politique de 2021 : l’accès aux vaccins  Segment LCN avec Pierre Bruneau : le fédéral et le provincial se renvoient la balle pour les vaccins. Retour sur les violences à Washington. Une production QUB radio Janvier 2021 Pour de l’information concernant l’utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Rafael Payare, conductorDorothea Röschmann, sopranoMOZART: Symphony No. 35 in D Major, K. 385: HaffnerMAHLER: Rückert Lieder From concerts performed November 8 & 10, 2019.

Rafael Payare, conductorBEETHOVEN: Symphony No. 3 in E-flat Major, Op. 55: Eroica From concerts performed November 8 & 10, 2019.

Rafael Payare, conductor SHOSTAKOVICH: Symphony No. 11 in G minor, Op. 103: The Year 1905

Rafael Payare, conductor Stefan Jackiw, violin BEETHOVEN: Violin Concerto in D Major, Op. 61

In this episode, international soloist Stefan Jackiw talks to us about his journey overcoming a serious injury.  He tells us how he got injured, the steps he took to heal, the mental impact it had on him, and how he stays injury free. He also elaborates on: What his musicology studies brought to his playing What collaborating with other musicians mean to him Establishing strong fundamentals on the instrument How he maximizes his practice time His injury story: How it happened Facing the stigma attached to being an injured musician The mental impact it had on him and the new mindsets he developed as a result The reflection he did, the changes he implemented and how he overcame it How he modified his setup and technique as a result How he remains injury free The very important concept of surrendering in practicing How our level of stress and the amount of pressure we tolerate affects our playing How to plan practice     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we're currently discussing The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT STEFAN JACKIW: Website: https://stefanjackiw.com/ YouTube: https://www.youtube.com/results?search_query=stefan+jackiw Instagram: https://www.instagram.com/stefanjackiwviolin/ Facebook: https://www.facebook.com/StefanJackiw/   Stefan Jackiw is one of America's foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold's Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin.  Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more. Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev's Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra play-directing Mendelssohn. He also gave the world premiere of American composer David Fulmer's Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston's Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields. Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York's Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam's Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. At the opening night of Carnegie Hall's Zankel Hall in New York, Jackiw was the only young artist invited to perform, playing alongside such artists as Emanuel Ax, Renée Fleming, Evgeny Kissin, and James Levine. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Anew year is a time for new beginnings, and this year, there's a whole lot of “new” headed our way. Our hometown orchestra, the San Diego Symphony, is welcoming its new music director, Rafael Payare. Best-selling author Don Winslow has a new book, “The Border.” And the long-awaited Conrad Prebys Performing Arts Center, the La Jolla Music Society's new home, is expected to open this year, too. Here's to the new year and to all things new in 2019 — 19 things we are looking forward to this year. Cheers!

This week, we're honoring the birthday of the legendary composer Richard Wagner by talking about why I don't like his music very much!  I welcome in the great conductor Rafael Payare(who loves Wagner) to discuss the issues with Wagner's music, from its length, scope, and visceral quality, to its troubling associations with anti-Semitism and Nationalist movements.  Whether you worship Wagner's music or can't stand it, this show is the one for you.  Perhaps one of us will even change your mind!  Thanks for listening!   

Zum ersten Mal seit 2008 ist der polnische Pianist Piotr Anderszewski am 30. Juni sowie am 1./2. Juli 2016 wieder zu Gast beim Symphonieorchester des Bayerischen Rundfunks. Unter der Leitung von Rafael Payare wird neben Werken von Rossini und Brahms das Klavierkonzert G-Dur, KV 453 von Wolfgang Amadeus Mozart zu hören sein. Im Vorfeld des Konzertes hat Robert Jungwirth Piotr Anderszewski zum Gespräch getroffen.

Gareth Davies, the LSO's principal flute, talks to the Venezuelan conductor Rafael Payare about his education in El Sistema and how a conductor can truly change the sound of an orchestra.

When Alisa Weilerstein came to the WQXR Café, it was during the epic cold blast that gripped New York, sending residents scurrying indoors while impairing string instruments with wayward pitch. Yet after a thorough warm-up, the cellist launched into soulful renditions of solo works by Osvaldo Golijov and J.S. Bach and the icy temps may have receded into memory. Weilerstein, who is a 2011 recipient of the MacArthur "Genius" grant and a busy touring artist, performed what she described as "one of the most beloved pieces for cello," the Gigue from Bach's Cello Suite No. 3: Thoughts about the weather were further put aside when Weilerstein brought up her latest recording, an all-Dvorak affair that includes the Cello Concerto along with several miniatures (read more and get a free download here). She recorded the concerto last summer in Prague with the Czech Philharmonic. "There’s a kind of warmth and depth to their playing which I found very unique,” she said of the orchestra's sound. Weilerstein spent a day at Dvorak’s 18th-century house on the outskirts of Prague where she performed beneath a portrait of Josefina Čermakova, the composer’s sister-in-law who died at any early age. The composer dedicated the third movement of his Cello Concerto to Čermakova, with whom he fell in love (it was not returned though and he eventually married her younger sister). Weilerstein then stayed for a photo shoot in the adjacent woods – that portrayed in his work From the Bohemian Forest. The Dvorak Concerto has another significance for Weilerstein. In February 2009 she played the piece as part of an audition for Gustavo Dudamel. Ten months later, she was invited to play it with the conductor's Simon Bolivar Orchestra in Caracas. The performance was a hit, and led to a spontaneous invitation to join the orchestra on a Venezuelan tour. There she encountered Rafael Payare, a young conductor who also played French horn in the ensemble. A relationship emerged and, last August, Weilerstein and Payare got married at the Caramoor Center in Katonah, NY. Their wedding, which was featured in the New York Times, came just two months after her trip to Prague. The couple appear to be developing a professional relationship too: this week, Weilerstein and Payare are performing the Brahms Double Concerto together in Hamburg, Germany (Weilerstein is scheduled to perform the Dvorak Concerto in December with the New York Philharmonic). Below, Weilerstein performs Osvaldo Golijov’s Omaramor, a fantasia inspired by the legendary tango singer Carlos Gardel. “The cello is supposed to be walking through the streets of Buenos Aires," Weilerstein explained in lightly accented English. "Sometimes it’s melancholic, sometimes it’s very rough, sometimes very reflective. It’s a piece that I’ve played a lot over the past eight years and one that’s really important to be in the core cello repertoire." Video: Amy Pearl; Audio: George Wellington; Text & Production: Brian Wise; Interview: Jeff Spurgeon