Podcasts about ravel

Can an opera, that most complex of art forms, take you back to childhood?  Unlikely though it might seem, L'Enfant et les Sortilèges (“The Child and the Enchantments”) does just that through the talents of composer Maurice Ravel and writer Colette.  This one-act opera, fantastical though it is, can transport you to all-too-real, seemingly lost memories.  Over the course of the story, our nameless child protagonist wrestles with his powerlessness and power, responsibility and dependence, piteousness and pity.  Join host Pat with Erica Miner, the mystery writer, lecturer and former Met Opera violinist, in celebration of the 150th anniversary of the birth of French composer Maurice Ravel on this episode of Opera for Everyone. For more on Erica Miner, visit ericaminer.com

Aujourd'hui, je reçois Mickaël Le Mer, chorégraphe et directeur artistique de la compagnie S'Poart.Depuis In Vivo en 2007, il développe au sein de ce collectif hip-hop une écriture poétique, nourrie de sensations et d'un travail précis sur la lumière.Sa nouvelle création, Enso – Boléro, est née d'un coup de cœur pour la musique de Ravel et pour la version mythique de Maurice Béjart.Avec neuf danseurs, il y explore la figure du cercle, comme une boucle en perpétuel mouvement.Mickael vous donne rendez-vous le 30 novembre au Festival de Danse de Cannes.On l'écoute avec joie,

“My job is to make people love choral music as much as I do, and that's a lot. I really love choral music. My job is to say ‘you should care about this.' You might care about it because it's ravishingly beautiful or because it has a story to tell you. Even if you're not a person who relates to choral music, you can relate to stories. We're going to weave some sort of through-line through this program that tells you something about life that we hope resonates with you whether you're a musician or not.”Joshua Habermann is in his seventeenth season as Artistic Director of the Santa Fe Desert Chorale, one of the nation's premiere professional chamber choirs. Since joining the ensemble, he has broadened its repertoire to include choral-orchestral masterworks and unique concert experiences ranging from early music to new commissions. Under his leadership, the Desert Chorale has been featured at regional and national conferences of the American Choral Directors Association, and its summer and winter festivals are among America's largest choral events.Habermann's experience with symphonic choruses spans over three decades, encompassing the full range of the choral-orchestral repertoire. From 2011 to 2022 he was director of the Dallas Symphony Chorus, where highlights included Bach's St. Matthew Passion, the Requiem Masses of Mozart, Brahms, and Verdi, Elgar's Dream of Gerontius, Bernstein's Kaddish Symphony, Rachmaninov's The Bells, and Vaughan-Williams' Sea Symphony. He is a frequent guest conductor, and in 2022-2023 prepared Handel's Messiah, Ravel's Daphnis and Chloe, and Benjamin Britten's War Requiem for the San Francisco Symphony.A passionate advocate for music education, Joshua Habermann is a regular clinician for state and national events and has led honor choirs and choral festivals in North America, Europe, Asia, and Latin America. In 2024, he conducted Cantatas 72, 73 and 92 for Bach Santiago (Chile), a concert series dedicated to the first full cycle of Bach Cantatas in South America. He currently teaches choral literature at the University of North Texas.As a singer (tenor), Habermann has performed with the Oregon Bach Festival Chorus under Helmuth Rilling and Conspirare under Craig Hella Johnson. Recording credits include Requiem and Threshold of Night, both GRAMMY® nominees for best choral recording. Recordings as a conductor include The Road Home and Rachmaninov's All Night Vigil with the Desert Chorale.To get in touch with Joshua, you can find him on Facebook (@joshua.habermann) or visit the Santa Fe Desert Chorale website, desertchorale.org.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Konstantin Efimov was born in 1958 in St. Petersburg, Russia, the elder (by 10 years) of two sons born to Igor Efimov, well-established movie actor, and his wife, Irina, whom he met while attending Moscow's prestigious Maly Theater School.  Irina performed on stage until a few days before Kostia's birth.  "That must be why I enjoy being on stage so much," says Kostia, who goes by his childhood nickname.  His parents chose to live in St. Petersburg to be close to Igor's elderly mother.  In 1961, they signed a five-year contract with the Theater Group of the Soviet Army Force, performing in East Berlin.  KGB regulations, however, did not allow them to bring Kostia, then age 2-½ with them.  He stayed, as an "insurance policy," with his grandmother, Valya, living in a communal apartment that housed nine families (33 people) in 11 rooms, all sharing the same hallway, kitchen and bathroom.  "The bathtub was always filled with laundry," Kostia recalls.  "We took our baths twice a week in the community bathhouse."  As a child, Kostia displayed a tremendous interest in music, spending much time in front of the radio in his grandmother's tiny room.  At age 4, a present was delivered to him from his parents -- a 1937 Wolkenhauer upright piano, upon which he soon learned to play hundreds of Russian folk songs.  "It became the center of life in our home," Kostia remembers.  "Even my pet rooster, Peter, used the lid as his favorite perch, and he would sit there and listen while I played."  Kostia's parents returned from East Germany in July of 1965, when he was 7.  His grandmother died of a stroke the following month.  The same year, Kostia was accepted into a special music preparatory school of the Rimsky-Korsakov Conservatory.  For the next 11 years, each day involved four to six hours of piano practice.  At the school he met his first great influence, teacher Tamara Karetkina.  "I was her first student," Kostia recalls.  "She was a tremendous pianist and a beautiful woman, very much resembling Jacqueline Bisset.”  Because of his talent, Kostia and other elite prodigies were forbidden to play sports, for fear of hand injuries.  At 14, Kostia, who loved basketball, broke a finger in his right hand during a clandestine pick-up game.  "I was so frightened," Kostia says. "The thought of not being able to play again was so horrifying!  It was worse than death for me.  I didn't tell my mother that I did it playing basketball; I told her I fell down carrying my briefcase."  While his right hand healed, Kostia passed the time mastering pieces written by Ravel and Scriabin for left hand.  Ravel's piece was composed in honor of a pianist who lost his right hand during World War I.  At 18, Kostia entered the famed St. Petersburg Conservatory.  Here he met and studied under Vladimir Nielsen, one of the last great masters of Russian Romanticism.  He completed his Conservatory studies in 1982 with advanced graduate degrees in four disciplines:  concert (solo) pianist, pianist for chamber ensemble, accompanist, and piano teacher.  Following graduation, Kostia performed throughout Russia, Eastern Europe and Scandinavia as a soloist, with orchestras, with ethnic ensembles and his own jazz-fusion group.  Typically, Conservatory graduates move into teaching.  "I decided to go another way.  I was already involved with jazz and pop performances, and I was pretty well known as an arranger, so I wanted to explore new music.  Friends introduced me to Oscar Peterson, and modern jazz and progressive rock bands like Genesis, Yes and King Crimson.  It was very different, extremely energetic, and absolutely spontaneous, like myself.  I am definitely a free spirit, and playing this music allowed me a certain level of freedom that I wasn't able to explore in classical music."  Kostia received a proposal from the St. Petersburg Cultural Center to start, essentially, an experimental music group.  "This was 1982," he says, "and things were warming up a little bit."  Kostia called the group “ARS” -- Latin for "art.”  While working with ARS, Kostia started composing and arranging music for movies, documentaries and theatrical productions.  He freelanced as an arranger, working on a number of soundtracks for the various stage productions.  His skills as a performer led him to work with some of the well-established Russian composers (i.e., Alfred Schnitke, Vladislav Uspensky, Vladislav Panchenko), and a number of Soviet pop stars, including Marina Kapuro and Aleksander Rosenbaum, among others.  During a visit to the United States in 1989 with the Soviet-American Cultural Exchange project "Clay Stomp," Kostia had an opportunity to perform for his first American audience at the Milwaukee Art Museum, where he shared the stage with Narada artist David Lanz.  That day changed Kostia's life forever.  The next morning he received a call from Narada records offering him a recording contract.  From 1989 until 1997, Kostia worked extensively on various Narada projects as a performer, arranger and producer, including David Arkenstone's Grammy-nominated In the Wake of the Wind, and Narada's most celebrated recording, Nutcracker.  Kostia's music appeared on more than a dozen of Narada's collections and compilation albums.  In 1992, Kostia and David Arkenstone collaborated on the first album ever endorsed by the United States Olympic Committee, Spirit of Olympia.  In 1994, Narada released Kostia's first piano solo album Suite St. Petersburg, which he describes as "a piano portrait of my beloved city."  1996 brought another critically acclaimed piano album, Ten Pebbles, where Kostia revisits some of his most cherished memories.  Both albums won him respect and recognition of his fellow musicians and the love of fans around the world.  Beginning in 1997, Kostia started a series of recordings with North Sound Music Group dedicated to piano idols of pop music.  That year, he released Kostia's Interpretations of Billy Joel followed by Kostia's Interpretations of Elton John in 1998.  The success of these projects led to a number of tribute recordings completed with world renowned instrumentalists such as Daryl Stuermer, guitarist from Genesis and Phil Collins Band; Paul McCandless, Windham Hill artist and reed and saxophone player from the band Oregon; and Windham Hill guitarist, Alex De Grassi.  In 1999, Kostia composed the soundtrack for the motion picture Czar of Make Believe from Italian director Daniel Alegi, which won an award for Best Short Film at the Rhode Island International Film Festival. In 2001, Kostia released Piano Ocean, an album of original music recorded in collaboration with ex-Narada star Spencer Brewer.  At the same time, he composed the soundtracks for a motion picture, The Play in the Modern Style, and a short film of Alex Boguslavsky entitled Blue Lamp.  New Millennium also brought several other exciting projects to Kostia as well – a collaboration between LEGO and George Lucas Film, celebrated short animated film “Star Wars: “Revenge of the Brick.”; new Alex Boguslavsky's film “My Little Philosopher”; a pilot for an independent motion picture “Slow Poison.”; a collaboration with legendary band Sweetbottom (original Indi fusion group) – “Sweetbottom Live”; several new albums with old band mate, Daryl Stuermer – “GO!”, “Rewired”, “Retrofit”; debut album of Carmen Nickerson “Tomorrow Is Another Day” etc. One of Kostia's compositions made it to the world renown TV series “Sex and the City.”  In addition to collaborations with well-established music groups and individual artists, Kostia has had his music performed by the Milwaukee Symphony Orchestra, Utah Symphony Orchestra, the internationally famed Veronica String Quartet, and Present Music cellist, Paul Gemainder, to name a few.  Currently, Kostia is at work composing music for his next CD, performing solo piano concerts around the country, and recording and performing with the Daryl Stuermer Band.  Future plans?  "I am thinking about something I always wanted to do – a series of pieces for chorus, poem for string quartet, and six pictures for piano and orchestra," says Kostia.  His journey continues.  "Musical Columbus," as he is often called by journalists, is again on the way to discovering new worlds for himself and his fans. Kostia plays regularly at Fox River Congregational Church where he is a composer in residence.  

durée : 01:28:29 - La Capriola ; Dario Cervera ; Tetra Brass ; Garden of Silences - par : Clément Rochefort - Le consort La Capriola, chant & violons Renaissance ; Dario Cervera, clavecin : "Un Tombeau pour Ravel" ; Tetra Brass, quatuor de cuivres ; Clément Janinet, violon & nyckelharpa, Oscar Viret, trompette, Ambre Vuillermoz, accordéon, Robert Lucaciu, contrebasse : "Garden of Silences" - réalisé par : Sophie Pichon Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Ruhige Musik von Chopin oder Ravel - ein leiser Strom aus Klang. Sanft löst sich der Tag, Ruhe wächst im Atem der Nacht. Diese Stücke hast Du in der Folge gehört: Maurice Ravel - "Pavane" // Gjermund Larsen - "Pilegrimsmarsj" // Benjamin Godard - "Berceuse" // Frederic Chopin - "Berceuse" // Eric Whitacre - "Seal Lullaby" // Den ARD Podcast "Alles Geschichte" findest Du hier: https://www.ardaudiothek.de/sendung/alles-geschichte-der-history-podcast/urn:ard:show:fdb83c5530d71150/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

durée : 01:28:46 - Relax ! du vendredi 07 novembre 2025 - par : Lionel Esparza - Plongée dans quelques nouveautés : Jean-Baptiste Fonlupt qui joue avec talent les Préludes de Rachamninov, Thibaut Garcia qui revisite les Variations Goldberg à la guitare, Julien Libeer dans un florilège d'œuvres de Ravel, sans oublier le retour inspiré d'Amandine Beyer dans Bach et Vivaldi. - réalisé par : Doria Zénine Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

„Eine der ersten Fragen in meinem Studium war, was denn das schwerste Stück sei, was je für Klavier komponiert wurde“, sagt der Pianist Alexander Krichel. Die Antwort, die er am Ende bekommt: Gaspard de la nuit von Maurice Ravel. Mittlerweile spielt der Künstler alle drei Zyklen des Franzosen und auch die Klavierkonzerte gerne. Im Gespräch beantwortet er Fragen zu Gefühl und Verstand in dieser Musik und: Was ist daran eigentlich Impressionismus?

La ópera es para todos, así se puede resumir el sentido del programa que celebra el día mundial de este gran género (octubre 25). Este episodio es una invitación para adentrarse en la aventura a que nos pueden llevar los compositores que han unido diversas expresiones artísticas como el teatro, la música, el vestuario, entre otras en un solo espacio que impulsa a la imaginación a historias trágicas, alegres, fantásticas y reales al que se le debe dar una oportunidad. Con obras de compositores como Offenbach, Ravel y Puccini se recorren historias que con un toque de picaresca muestran lo absurdo en música, que muestran cómo la ópera es un recorrido para todos los públicos.

durée : 01:28:46 - Relax ! du vendredi 07 novembre 2025 - par : Lionel Esparza - Plongée dans quelques nouveautés : Jean-Baptiste Fonlupt qui joue avec talent les Préludes de Rachamninov, Thibaut Garcia qui revisite les Variations Goldberg à la guitare, Julien Libeer dans un florilège d'œuvres de Ravel, sans oublier le retour inspiré d'Amandine Beyer dans Bach et Vivaldi. - réalisé par : Doria Zénine Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Nowadays it's hard to imagine Maurice Ravel as a "bad-boy" revolutionary, a member of a group whose name can be loosely translated as The Hooligans. To most listeners today, Ravel's music is the very picture of sumptuous beauty. But the group he belonged to, Les Apaches ("The Hooligans"), earned its name because of its members' uncompromising attitudes about music; attitudes that clashed sharply with the conservative tastes of the establishment. Another composer who belonged to Les Apaches was the Spanish composer Manuel de Falla. Falla is certainly not as well known as Ravel, but the two became fast friends when he arrived in Paris in 1907. They formed a kind of mutual-admiration society that proved immensely fruitful for both of them. Falla was deeply impressed by Ravel's Spanish-inflected music, marveling at its authenticity given that Ravel was French. But Ravel, now a symbol of French music, was the son of a Swiss father and a Spanish-speaking mother, and he was born just eleven miles from the Spanish border in the Basque region. His Spanish voice was no affectation; it came from somewhere deep within, and Falla noticed this immediately, remarking that Ravel's Rapsodie espagnole was "a Spain ideally presented by his mother." Today on the show we'll explore the Spanish world of Falla and Ravel through two central works: Falla's Nights in the Gardens of Spain and Ravel's Rapsodie espagnole. These pieces, both astonishing in their creativity and craftsmanship, offer a wonderful opportunity to compare and contrast the music and approaches of these two close friends. We'll also talk about Les Apaches and their goals, legacy, and some of their legendary members. All this and more is coming up on this final collaboration on Ravel and Friends with G. Henle Publishers! Join us!

Il y a du live à la folie LA de la Villette et ça nous fait bien plaisir ! Avant son badaboum du 20 novembre à Paris, le Normand Birrd fait escale aujourd'hui à Tsugi Radio avec ses machines et ses synthés pour nous présenter son premier album Takeoff. Je dis normand, mais Stefan Vogel est aussi américain, un peu italien, a vécu en Allemagne… il en résulte une sacrée envie de nous faire voir du pays, on ne va pas s'en plaindre. Birrd, c'est aussi un sacré curieux qui se balade, micro en bandoulière, pour capter les sons de son environnement. Il a ramené de la forêt du bocage normand des tonnes de matière qui se retrouve mêlée à ses nappes et ses beats. La mélodie c'est sans doute une tradition française depuis Fauré, Ravel et Debussy. Feraient-ils de la techno aujourd'hui tous ces artistes ? On est en droit de se poser la question. Ce qui est sûr c'est que Birrd est en train de se faire une jolie place sur la scène de techno mélodique française. La preuve aujourd'hui, en live, depuis le studio de la Tsugi Radio.

durée : 00:26:07 - Julien Beaudiment, flûtiste - Flûtiste voyageur et soliste à l'Orchestre de l'Opéra de Lyon, Julien Beaudiment a plusieurs vies ! Dans son dernier disque, il met en lumière l'amour de Ravel pour son instrument en proposant des transcriptions rares ou inédites, avec la complicité de Célia Oneto Bensaid et de Karine Deshayes. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:58:04 - Musique matin du mardi 04 novembre 2025 - par : Gabrielle Oliveira-Guyon - Flûtiste voyageur et soliste à l'Orchestre de l'Opéra de Lyon, Julien Beaudiment a plusieurs vies ! Dans son dernier disque, il met en lumière l'amour de Ravel pour son instrument en proposant des transcriptions rares ou inédites, avec la complicité de Célia Oneto Bensaid et de Karine Deshayes. - réalisé par : Yassine Bouzar Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The great French soprano Rachel Yakar died on 24 June 2023 at the age of 87. As she frequently performed opposite our last subject, Swiss tenor Eric Tappy, this episode makes a suitable pendant to that one. Celebrated for her transcendent performances of Baroque music, (Monteverdi and the French Baroque in particular), Yakar was (like previous podcast subjects Eugene Holmes, Oralia Domínguez, Hana Janků, Gwendolyn Killebrew, and Teresa Żylis-Gara) also a member of ensemble of the Deutsche Oper am Rhein in Düsseldorf and Duisburg, with which company she performed for more than 25 years, singing a dizzying range of repertoire, everything from Mélisande to Arabella, Liù to Rusalka, Euridice to Desdemona. She also performed Donna Elvira and the Marschallin at Glyndebourne; and was an unforgettable Poppea in the Ponnelle-Harnoncourt Monteverdi cycle filmed for Unitel. In her prime she was also a frequent visitor to the recording studio, singing everything from Rameau to Varèse, Mozart to Messiaen, with conductors from Harnoncourt to Boulez, Leonhardt to Nagano. She was also a devoted song recitalist and in the later years of her career, she made two recordings of melodies for Virgin Records with the admirable support of her long-term accompanist Claude Lavoix. For the majority of this episode, I have chosen excerpts from both of those recordings, featuring the songs of Fauré and Hahn, which include settings of poets central to their output, including Paul Verlaine, Armand Silvestre, Léconte de Lisle, and Théodore de Banville, supplementing it with additional material in French by Ravel, Lekeu, Clérambault, Messiaen, and Poulenc. Yakar, who, like Régine Crespin and Nadine Denize, studied under the French dramatic soprano Germaine Lubin, was renowned for her faultless technique, her acting prowess, her peerless French diction, and her communicative artistic sensibility, traits of which are all in evidence in all of her recordings from the 1960s through the end of her career in the mid-1990s. Yakar was especially treasured by her colleagues, friends, and students for the warmth and effervescence of her personality, and her devotion to passing on her knowledge and experience to a younger generation of singers. May you delight in the delicacy, humor, precision, and pathos of one of the most prodigiously gifted and versatile vocal artists of her generation. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 01:28:42 - En pistes ! du lundi 03 novembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, des chefs-d'œuvre comme vous ne les avez jamais entendus : la musique de Ravel arrangée pour la flûte et les variations Goldberg de Jean-Sébastien Bach à deux guitares. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:42 - En pistes ! du lundi 03 novembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, des chefs-d'œuvre comme vous ne les avez jamais entendus : la musique de Ravel arrangée pour la flûte et les variations Goldberg de Jean-Sébastien Bach à deux guitares. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Ils sont les représentants d'une nouvelle génération de musiciens désireux donner un sens à leur carrière, voire de briser les codes. Camille Théveneau est, ainsi, à l'initiative d'un nouveau festival de musique classique élargie Sido&Co qui se déroulera dans le 10ème arrondissement de Paris du 6 au 9 novembre. Il se déclinera en sept performances artistiques privilégiant la transversalité, mêlant concert, théâtre, photographie et déambulations dans quelques salles atypiques pour la musique. Quant aux frères, Léo et Luka Ispir, ils viennent de s'illustrer au disque, grâce au soutien de la Fondation Gautier Capuçon, dans un programme associant des œuvres originales pour violon et violoncelle, comme la sonate de Ravel et la passacaille d'Halvorsen, des transcriptions de pièces de Mozart et de Bach ainsi qu'une création de Fazil Say. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Siga nosso canal de CORTES: https://www.youtube.com/@IconografiadaHistoria-cortesAJUDE-NOS A MANTER O CANAL ICONOGRAFIA DA HISTÓRIA: Considere apoiar nosso trabalho, participar de sorteios e garantir acesso ao nosso grupo de Whatsapp exclusivo: https://bit.ly/apoiaoidhSe preferir, faz um PIX: https://bit.ly/PIXidhSiga ICONOGRAFIA DA HISTÓRIA em todas as redes: https://linktr.ee/iconografiadahistoriaoficialSiga o JOEL PAVIOTTI: https://bit.ly/joelpaviottiApresentação: Joel PaviottiTexto e roteirização: Adriana de PaulaRevisão: Adriana de PaulaCâmera e produção: Fernando ZenerattoEdição: Eduardo GoesDireção: Fernando Zeneratto / Joel Paviotti

Mao Fujita, who took second prize in the Piano category at the 2019 Tchaikovsky Competition, released an album on Sony Classical of 72 preludes back in the autumn of 2024 – the three sets of 24 by Chopin, Scriabin and Akio Yashiro. Now as a pendant to that project he has recorded another six, by Ravel, Rachmaninov, Mompou, Franck, Busoni and Alkan. These have been issued individually over the past couple of months, and on November 28 they are all gathered together as an EP. James Jolly caught up with Mao Fujita in the summer at the Verbier Festival and spoke to him about the 72 preludes album, the new six preludes, and his plans for the future.

Oktober wordt wel gezien als de horrormaand, dus we gaan eens even lekker een uurtje muzikaal griezelen. Van Pierre Henry's verklanking van Graaf Dracula tot de Galg van Ravel en van het droevige liedje van Sally uit Nightmare Before Christmas tot een een Britse vrouw die in contact stond met een hele zwik overleden componisten en via hen muziek doorkreeg. Griezel ze! Gedraaid deze uitzending: Charlie Barnett - Danger in the Dark Danny Elfman / Hildergard von Blingin' - Sally's Song Pierre Henry - Dracula  Rosemary Brown - Grubelei Tristan Murail - Vampyr Ravel - Le Gibet Mike Oldfield - Tubular Bells

durée : 00:14:10 - Le Disque classique du jour du jeudi 23 octobre 2025 - À première vue, Mel Bonis et Ravel n'ont pas grand-chose en commun, si ce n'est l'époque à laquelle ils ont vécu. Clémence de Forceville nous démontre qu'avec Ravel et Mel Bonis, ce sont deux génies qui cohabitent. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:14:10 - Le Disque classique du jour du jeudi 23 octobre 2025 - À première vue, Mel Bonis et Ravel n'ont pas grand-chose en commun, si ce n'est l'époque à laquelle ils ont vécu. Clémence de Forceville nous démontre qu'avec Ravel et Mel Bonis, ce sont deux génies qui cohabitent. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Casa Colibri is a quiet retreat tucked into the hillside of Barton Hills. The lower level is carved into the slope to reduce visual impact and preserve the surrounding tree canopy. A plaster-coated limestone wall with a German schmear finish—referencing neighborhood materials—anchors this level and forms a privacy wall at the street, shaping a calm and grounded entry. Above, the second floor hovers lightly over the base, separated by a clerestory. At the rear, expansive glass opens to trees, a pool, and pool house. With the upper floor nestled in the canopy, the primary suite takes on a quiet, treehouse-like feel. The house lives like a modern terrarium: glassy, calm, and immersed in nature. Casa Colibri offers a layered, inward-facing way to live with the landscape—private, peaceful, and deeply rooted in its setting. Hosted on Acast. See acast.com/privacy for more information.

A brand-new episode today inaugurating a series of episodes belatedly celebrating my birthday that will see us through to the end of the month. I have so many singers, composers, and topics in which I am interested and hope to devote full episodes to in the near future. This is the first of two episodes focusing on baritones (and a few bass-baritones) who have not yet received full Countermelody treatment. Among the singers included: Josef Metternich, Tom Krause, Walter Berry, Theodor Uppman (pictured), Erich Kunz, Charles Panzéra, Roland Hermann, Aubrey Pankey, Kostas Paskalis, Pavel Lisitsian, Gianni Maffeo, John Shirley-Quirk, and exemplary pop singers Scott Walker and David Allyn singing a wide range of music from art songs of Sibelius, Rachmaninov, Griffes, Diepenbrock, and Vaughan Williams, to mélodies by Ravel, Debussy, and Hahn, to Lieder by Schubert and Brahms, to operetta arias to opera scenes and arias by Leoncavallo, Verdi, and Manfred Gurlitt; to pop songs by Randy Newman and Rodgers and Hart. And that's just the tip of the iceberg: also teased are forthcoming episodes on arie antiche and the Polish-Swiss composer Constantin Regamey. Come to think of it, today's is an excellent introduction to the Countermelody podcast in all its range and scope. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

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Yshani Perinpanayagam picks her favourite recording of Ravel's Piano Concerto in G major.

When the leaves begin to turn and shifting clouds reveal brief bursts of autumn light, music like that on pianist Aïda Lahlou's new album Mirrors and Echoes seems to meet the moment — even if you didn't know there was one waiting to be met.The Casablanca-born pianist, winner of the 2024 Royal Overseas League Award, has assembled a beguiling selection of piano works by Beethoven, Brahms, and Ravel, alongside a handful of lesser-known names she makes a compelling case for in this short interview.More than a conversation about repertoire, this is an introduction to a performer who thinks deeply about connection — between body and mind, performer and audience, sound and silence.

Entre o sítio da infância e os grandes papéis da TV, ator fala sobre arte, família, paternidade e o mergulho profundo que foi viver o Maluco Beleza

durée : 01:28:27 - En pistes ! du vendredi 10 octobre 2025 - par : Emilie Munera - Deux orchestres pour un programme contrasté à découvrir aujourd'hui dans En Pistes. Nous écouterons le Stabat Mater de Cansino et l'Espagne rêvée des compositeurs français Ravel, Ibert et Debussy. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:27 - En pistes ! du vendredi 10 octobre 2025 - par : Emilie Munera - Deux orchestres pour un programme contrasté à découvrir aujourd'hui dans En Pistes. Nous écouterons le Stabat Mater de Cansino et l'Espagne rêvée des compositeurs français Ravel, Ibert et Debussy. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:39 - Philippe Bianconi, la poésie et le panache - par : Aurélie Moreau - Philippe Bianconi, pianiste aussi convaincant dans la musique française que dans le répertoire germanique, possède "un jeu puissant, qui fait chanter le piano jusque dans la force et la virtuosité" (Le Figaro). Aujourd'hui : Ravel, Brahms, Schubert… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Warner Classics' box set edition of Boris Berezovsky's Teldec Studio Recordings oddly omitted his Ravel recital for that label. This disc has long been one of Jed's "guilty pleasures," as you will learn from this episode. Here's a link to find second-hand copies of this long out-of-print disc: https://www.discogs.com/sell/release/6924178Consider a paid sunscription to The Piano Maven by clicking on this link: https://jeddistlermusic.substack.com/.

Theodora Bellinger, Director of Artistic Operations for the San Diego Symphony, chats about the opening concert -- Ravel's The Child and the Magical Spells -- of the 2025-26 Masterworks season at the renovated Jacobs Music Center.  Bellinger is joined by Jonathan Gilmer, Creative Producer of the Ravel performance, and Tasha Hokuao Koontz, a soprano performing in the cast of The Child and the Magical Spells.About Spotlight and Cloudcast Media  "Spotlight On The Community" is the longest running community podcast in the country, continuously hosted by Drew Schlosberg for 19 years.  "Spotlight" is part of Cloudcast Media's line-up of powerful local podcasts, telling the stories, highlighting the people, and celebrating the gravitational power of local.   For more information on Cloudcast and its shows and cities served, please visit www.cloudcastmedia.us. Cloudcast Media | the national leader in local podcasting.   About Mission Fed Credit Union  A community champion for over 60 years, Mission Fed Credit Union with over $6 billion in member assets, is the Sponsor of Spotlight On The Community, helping to curate connectivity, collaboration, and catalytic conversations.  For more information on the many services for San Diego residents, be sure to visit them at https://www.missionfed.com/

Send us a textDescriptionBack to the Future: Neoclassicism in Music in 60 Seconds. Take a minute to get the scoop!Fun FactStravinsky admitted that Pulcinella wasn't just homage—it was liberation. “It was a backward look, of course,” he said, “but it was a look in the mirror too.” By reworking 18th-century melodies with his own twists, he essentially invented neoclassicism—proving that recycling old material can still create something revolutionary.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

durée : 01:27:48 - En pistes ! du lundi 22 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - L'orchestrateur Andreas Tarkmann a reconstitué la partition de la quatrième Symphonie de la compositrice allemande Emilie Mayer à partir de la réduction pour piano. A retrouver aussi, le nouvel enregistrement de Nelson Goerner : anniversaire oblige, le pianiste argentin a choisi Ravel. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:35 - Le Disque classique du jour du lundi 22 septembre 2025 - Nelson Goerner rêvait depuis longtemps d'enregistrer ces deux chefs-d'œuvre du répertoire concertant. Avec Kazuki Yamada, il a trouvé le partenaire idéal pour aborder les deux concertos pour piano de Ravel avec la sensibilité et la poésie qui lui sont unanimement reconnues. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:35 - Le Disque classique du jour du lundi 22 septembre 2025 - Nelson Goerner rêvait depuis longtemps d'enregistrer ces deux chefs-d'œuvre du répertoire concertant. Avec Kazuki Yamada, il a trouvé le partenaire idéal pour aborder les deux concertos pour piano de Ravel avec la sensibilité et la poésie qui lui sont unanimement reconnues. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:27:48 - En pistes ! du lundi 22 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - L'orchestrateur Andreas Tarkmann a reconstitué la partition de la quatrième Symphonie de la compositrice allemande Emilie Mayer à partir de la réduction pour piano. A retrouver aussi, le nouvel enregistrement de Nelson Goerner : anniversaire oblige, le pianiste argentin a choisi Ravel. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Deborah Prentice became the Vice-Chancellor of the University of Cambridge in 2023.She's the first American to take on the role, and she's leading the university at a challenging time for higher education in the UK, with questions about funding, freedom of expression, student protest, striking academics and even vice-chancellors' pay never far from the headlines.Before Cambridge, she was Provost at Princeton University, and a professor of psychology, where she focused on the social norms that govern human behaviour and the impact of unwritten rules and conventions. And before that, her first degree at Stanford was in Biology and Music.Deborah's music choices include Beethoven, Bach, Mussorgsky and Ravel.

Join this episode of DM Radio, as host Eric Kavanagh dives into the emerging concept of “AI factories” with special guests Mark Madsen of Third Nature and Denise Muyco of Ravel. Together, they explore how modern data centers are being transformed to handle the massive compute demands of AI-balancing workloads, optimizing power usage, and rethinking infrastructure for the GPU era. From high-performance computing roots to today's generative AI breakthroughs, this discussion unpacks the challenges and opportunities of scaling intelligence at industrial levels.

Der Dirigent weiß als ehemaliger Geiger, wie man einen singenden Streicherklang formt. Das kommt der neuen Aufnahme zugute.

durée : 01:26:00 - En pistes ! du jeudi 11 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Cristian Măcelaru et ses musiciens célèbrent l'anniversaire Ravel avec la parution d'un triple album qui vient rallumer la flamme éternelle et organique qui existe entre le compositeur et l'Orchestre National de France... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:26:00 - En pistes ! du jeudi 11 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Cristian Măcelaru et ses musiciens célèbrent l'anniversaire Ravel avec la parution d'un triple album qui vient rallumer la flamme éternelle et organique qui existe entre le compositeur et l'Orchestre National de France... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:16:49 - Le Disque classique du jour du jeudi 11 septembre 2025 - En mars 2025, à Paris, l'Orchestre National de France et son directeur musical Cristian Măcelaru, s'engageaient dans un grand festival Ravel, à l'occasion du 150e anniversaire de la naissance du compositeur. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:16:49 - Le Disque classique du jour du jeudi 11 septembre 2025 - En mars 2025, à Paris, l'Orchestre National de France et son directeur musical Cristian Măcelaru, s'engageaient dans un grand festival Ravel, à l'occasion du 150e anniversaire de la naissance du compositeur. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Who doesn't love more music? Starting this season, we'll be releasing occasional bonus episodes. We kick it off with a great performance of a suite from Ravel's ballet Daphnis and Chloe. Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

Today, we're looking at Ravel - a character who could be completely removed from the Prometheus and it wouldn't alter the film at all.

We're meeting some phenomenal musicians from the Walnut Hill School for the Arts in Natick, Mass. The school is celebrating 50 years as an arts high school and sharing its talented teens with Guest Host Orli Shaham and listeners. Enjoy performances of Ravel, Rachmaninoff, Schubert, and more.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In the mid-1920s, Maurice Ravel wrote a letter to the legendary composition teacher Nadia Boulanger. Boulanger's class was a mecca for composers, both young and old, and musicians from all over the world vied to study with her. But Ravel's letter wasn't on his own behalf. Instead, he urged Boulanger to take on a young student whom Ravel himself had declined to teach. He wrote: "There is a musician here endowed with the most brilliant, most enchanting, and perhaps the most profound talent: George Gershwin. His worldwide success no longer satisfies him, for he is aiming higher. He knows that he lacks the technical means to achieve his goal. In teaching him those means, one might ruin his talent. Would you have the courage, which I wouldn't dare have, to undertake this awesome responsibility?" Boulanger also declined to take Gershwin as a student, fearing, like Ravel, that she might damage his spontaneity and dynamic jazz sensibility. Whether or not the famous story is true (that Ravel turned down Gershwin's request to study with him by saying, “Why be a second-rate Ravel when you are a first-rate Gershwin?”) we may never know. But the two composers were friendly, and formed something of a mutual admiration society. Today, in this fourth collaboration with G. Henle Publishers in honor of their Ravel and Friends project, we're going to explore the connections between these two great composers: their friendship, their mutual influence, and the profound ways jazz infused itself into Ravel's music, particularly in his Violin Sonata and Piano Concerto in G. From the moment he discovered it, Ravel adored jazz, and like many French composers of the time, allowed its influence to permeate his work in ways both explicit and subtle. Join us!