Podcasts about Respighi

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durée : 01:28:49 - Relax ! du jeudi 15 mai 2025 - par : Lionel Esparza - Vacances Romaines ! Avec Scarlatti, Respighi, Bizet, Palestrina... tous ces compositeurs qui ont été inspirés par la ville éternelle, l'ont mise en musique, ou y sont simplement passés en touristes...

durée : 01:28:49 - Relax ! du jeudi 15 mai 2025 - par : Lionel Esparza - Vacances Romaines ! Avec Scarlatti, Respighi, Bizet, Palestrina... tous ces compositeurs qui ont été inspirés par la ville éternelle, l'ont mise en musique, ou y sont simplement passés en touristes...

Ottorino Respighi (1879 - 1936)Antiche arie e danze per liuto Suite No. 1 I. Balletto, "Il Conte Orlando" (0:00) II. Gagliarda (2:25) III. Villanella (5:52)IV. Passo mezzo e mascherada (11:10)  ***15:16Antiche arie e danze per liuto Suite No. 2  I. Laura soave (0:00) II. Danza rustica (3:51) III. Campanae parisienses & Aria (7:32) IV. Bergamasca (12:41)  ***33:05Antiche arie e danze per liuto Suite No. 3 I. Italiana (0:00) II. Arie di corte (1:55) III. Siciliana (8:39) IV. Passacaglia (12:18) Los Angeles Chamber OrchestraSir Neville Marriner, conductor

Send us a textFeeling tired? Need to unwind? Then how about some gentle, soothing piano music? Welcome to the Episode 6 of the Fifth Series in the Relaxing Piano Playlist! In this episode, I perform for you music by Clementi, Paderewski, Respighi, Bortkiewicz, Liszt and Mvt 2 of Ravel's Piano Concerto in G.

Il compositore italiano Ottorino Respighi (1879-1936) è ammirato soprattutto per i suoi poemi sonori incredibilmente abili e magistralmente orchestrati: Gli uccelli, I pini di Roma e Le fontane di Roma. Queste affascinanti opere sono entrate a far parte del repertorio orchestrale popolare. Ma c'è molto di più in Respighi di quanto la maggior parte delle persone sappia. Sapevate, per esempio, che ha studiato orchestrazione in Russia con Nikolaj Rimskij-Korsakov? Sapevate che, dal 1923 al 1936, fu direttore del Conservatorio di Santa Cecilia di Roma, una delle cariche più importanti della musica classica europea? Sì, dovremmo saperne di più. Quindi esploriamo la sua storia. Primi anni di vita e formazione (1879-1900) Ottorino Respighi nacque il 9 luglio 1879 a Bologna da una famiglia di musicisti. Il padre, un insegnante di pianoforte, gli fornì una prima formazione musicale. Respighi studiò violino e viola al Liceo Musicale di Bologna, dove sviluppò anche uno spiccato interesse per la composizione. Studiò composizione con Giuseppe Martucci e in seguito prese lezioni dal celebre compositore e direttore d'orchestra Luigi Torchi, esperto di musica antica. Gli anni formativi e l'influenza russa (1900-1913) Nel 1900 Respighi si recò a San Pietroburgo, in Russia, dove suonò la viola nell'orchestra del Teatro Imperiale Russo. Durante il suo soggiorno in Russia, studiò orchestrazione con Nikolaj Rimskij-Korsakov, la cui influenza avrebbe plasmato in modo significativo lo stile orchestrale colorato e dinamico di Respighi. L'ascesa alla ribalta (1913-1924) La carriera di Respighi ebbe una svolta significativa quando si trasferì a Roma nel 1913 per assumere l'incarico di professore di composizione al Liceo Musicale di Santa Cecilia. La sua opera orchestrale più famosa, Le fontane di Roma, fu eseguita per la prima volta nel 1917 e segnò l'inizio della sua celebre Trilogia Romana. Questa trilogia, che comprende anche I pini di Roma (1924) e Feste romane (1928), consolidò la reputazione di Respighi come maestro dell'orchestrazione. Apice della carriera e del successo internazionale (1924-1936) La fama di Respighi continuò a crescere per tutti gli anni '20 e '30. Compose in modo prolifico, creando opere che mostravano il suo profondo interesse sia per le moderne tecniche orchestrali che per la musica antica. Il suo balletto La Boutique Fantastique (1919), basato su musiche di Rossini, e l'opera La Fiamma (1934) furono accolti molto bene. Respighi approfondì anche la ricerca musicologica, componendo opere ispirate alla musica antica e barocca, come Antiche Arie e Danze e Gli uccelli. Gli ultimi anni e l'eredità (1923-1936) Gli ultimi anni di Respighi furono caratterizzati da una continua attività compositiva e didattica. Nel 1923 diventò direttore del Conservatorio di Santa Cecilia di Roma, incarico che mantenne fino alla morte. Nonostante il suo successo, rimase umile e dedito ai suoi studenti e alla musica. Ottorino Respighi si spense il 18 aprile 1936 a Roma, lasciando una ricca eredità di musica orchestrale e vocale. La musica di Respighi è celebrata per la sua vibrante orchestrazione e la sua capacità di evocare immagini e atmosfere vivide. Le sue opere rimangono punti fermi nel repertorio concertistico, ammirate per la loro innovativa fusione di elementi moderni e storici. Musiche di Ottorino Respighi da ascoltare Antiche Arie e Danze (poema sinfonico) Feste Romane (poema sinfonico) La Primavera (oratorio) Gli uccelli (poema sinfonico) Le fontane di Roma (poema sinfonico) I pini di Roma (poema sinfonico) Trittico botticelliano (poema sinfonico)

durée : 00:21:15 - Disques de légende du mardi 24 décembre 2024 - Ce que Riccardo Chailly aime au disque est le principe des discoveries : ces albums de découvertes pour des compositeurs majeurs. Il en a fait pour Puccini, Cherubini ou Verdi, avec de grandes réussites. Chailly y montre son talent de chef mais aussi de défricheur.

durée : 00:21:15 - Disques de légende du mardi 24 décembre 2024 - Ce que Riccardo Chailly aime au disque est le principe des discoveries : ces albums de découvertes pour des compositeurs majeurs. Il en a fait pour Puccini, Cherubini ou Verdi, avec de grandes réussites. Chailly y montre son talent de chef mais aussi de défricheur.

Torna l'indie-pop con Federico Fabi e Respighi

Winner of the Royal Philharmonic Society's Singer Award, Jennifer Johnston is a former BBC New Generation Artist, and a graduate of Cambridge University and the Royal College of Music. She has enjoyed close collaborations with both the Bayerische Staatsoper, where she has sung over 80 performances as a guest artist and with whom she won Recording of the Year at the Gramophone Awards for Korngold's Die Tote Stadt, and the Royal Liverpool Philharmonic Orchestra, for whom she was their Artist-In-Residence for two seasons. Facetune_10-01-2024-19-09-31_edited_edited.jpg Her operatic roles have included Brigitta in Korngold's Die Tote Stadt (Petrenko/Bayerische Staatstoper, Gramophone's Recording of the Year), Mrs Sedley in Britten's Peter Grimes (Gardiner/Bayerische Staatsoper), Hedwige in Rossini's Guillaume Tell (Ettinger/Bayerische Staatsoper), Second Norn in Wagner's Götterdämmerung (Petrenko/Bayerische Staatsoper), Mrs Grose in Britten's The Turn of the Screw (Eschenbach/La Scala), Juno in Handel's Semele (Luks/Glyndebourne Festival), Lady de Hautdesert in Birtwistle's Gawain (Metzmacher/Salzburg Festival), Jocasta in Stravinsky's Oedipus Rex (Gardiner/Berlin Philharmonic & London Symphony Orchestras and on disc), Judith in Bartok's Bluebeard's Castle (Yankovskaya/English National Opera, Mäkelä/Oslo Filharmonien), Dido in Purcell's Dido & Aeneas (Weiss/Festival d'Aix-en-Provence), Waltraute in Wagner's Die Walküre (Rattle/Bayerische Rundfunks Symphony Orchestra on disc), and Pasqualita in Adams' Doctor Atomic (Adams/BBC Symphony Orchestra and on disc). The works of Mahler lie at the heart of her repertoire, particularly his Second Symphony (Rouvali/Philharmonia Orchestra on disc, Zinman/Vienna Symphony Orchestra), Third Symphony (Vänskä/Minnesota Orchestra, Mäkelä/Royal Concertgebouw Orchestra, Welser-Möst/Cleveland Orchestra), Eighth Symphony (Bychkov/NDR Elbphilharmonie Orchestra, Welser-Möst/Vienna Philharmonic Orchestra, Petrenko/Bayerisches Staatsorchester), Rückert Lieder (Zinman/Vienna Symphony Orchestra), Das Lied Von Der Erde (Marin/Hamburg Symphony Orchestra), and Lieder Eines Fahrenden Gesellen (V.Petrenko/Royal Liverpool Philharmonic Orchestra), In huge demand on the concert platform, she has collaborated with many of the world's leading orchestras and conductors, particularly Beethoven's Missa Solemnis (Gardiner/Orchestre Revolutionnaire et Romantique at the BBC Proms, Carnegie Hall and on disc), Beethoven's Ninth Symphony (Welser-Möst/Cleveland & Royal Concertgebouw Orchestras), Wagner's Wesendonck Lieder (Madaras/Halle Orchestra), Elgar's Sea Pictures (Slatkin/Irish National Symphony Orchestra), Elgar's The Dream of Gerontius (Brabbins/BBC Scottish Symphony Orchestra), Verdi's Requiem (Oramo/BBC Symphony Orchestra at the First Night of the Proms, Slatkin/Orchestra National de Lyon), Schumann's Das Paradies und die Peri (Gatti/Accademia Di Santa Cecilia), Schumann's Faustszenen (Harding/Gewandhausorchester), Ravel's Schéhérezade (Oramo / BBC Symphony Orchestra), Adès's Totentanz (Adès/Royal Concertgebouw Orchestra) ,Janacek's Glagolitic Mass (Kanellakis/BBC Symphony Orchestra at the First Night of the Proms), Britten's Phaedra (Brabbins/Royal Liverpool Philharmonic Orchestra), Chausson's Poeme de l'Amour et de la Mer (De Billy/London Philharmonic Orchestra), and Respighi's Il Tramonto (Petrenko/Royal Liverpool Philharmonic Orchestra).

Music from suites, including Tchaikovsky's Nutcracker, Vaughan Williams' English Folk Song Suite, Grieg's Peer Gynt, Respighi's Ancient Airs and Dances and Prokofiev's Love For Three Oranges. 

Two years ago for Halloween, I presented the first of my “Haunted Opera House” episodes. At the time, I had such a plethora of creepy musical material that I produced a bonus episode of material that otherwise would have ended up in the dung heap (like the body of Faust at the end of Schnittke's Faust Cantata, which closes the episode). We also hear music from Damn Yankees featuring the red-hot Gwen Verdon; Dvořák's Rusalka (a stunning duet with Teresa Stratas and Gwendolyn Killebrew); Respighi's comic opera Belfagor (in which a devil [Lajos Miller] encounters his superior in a cunning young woman [Sylvia Sass]; Ernest Bloch's Macbeth (in which Inge Borkh gives a luminous performance of Lady Macbeth's Sleepwalking Scene); Willem Pijper's strange musical drama based on the medieval legend of Halewijn, a Bluebeard of the Lowlands; La Chute de la Maison Usher, (the climax of Claude Debussy's incomplete opera based on Edgar Allan Poe's Fall of the House of Usher); and Antikrist, Rued Langgaard's unique, indescribable, and nearly unstageable mystery play. But it is Iva Bittová's gleefully deranged performance of Alfred Schnittke's gruesome Faust tango which will, I predict, find its way into your nightmares! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Mumot, André www.deutschlandfunkkultur.de, Fazit

In deze nieuwe week van Kalm met Klassiek hoor je enkel Italiaanse muziek! De rijke muziekcultuur die het land te bieden heeft staat in de schijnwerpers, en we staan natuurlijk ook stil bij de pracht van de Italiaanse steden en natuur. Het is niet voor niets dat het land een populaire vakantiebestemming is, en Kalm met Klassiek neemt je er deze week graag mee naartoe. Met de 'Notturno' van Ottorino Respighi begeven we ons allereerst in Italië bij nacht. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

Las piezas seleccionadas en esta ocasión son el tercer movimiento de 'El verano' de Vivaldi, la obertura 'Las Hébridas' de Mendelssohn, 'En los jardines de la sierra de Córdoba' de Falla y 'Fuentes de Roma' de Respighi.

Ottorino Respighi regressou ao seu país natal ., Italia, depois de passar por diversos países. Em 1913, instalou-se em Roma para lecionar composição na Accademia Nazionale di Santa Cecilia, escrevendo as suas obras orquestrais mais famosas para a orquestra do conservatório (fundado em 1908).  Fontane di Roma (Fontes de Roma) foi um sucesso imediato, colocando Respighi no mapa internacional. Compôs duas "sequências" ao longo da década seguinte: Pini di Roma (Pinheiros de Roma) e Feste Romane (Festivais Romanos) . Os vívidos retratos sonoros de Respighi da sua amada Roma evocam de forma brilhante uma sensação de atmosfera no seu confronto entre o passado e o presente, a natureza e o cenário urbano. Apresentado por Aroldo Glomb! Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Ediney Giordani, Tramujas Jr, Brasa de Andrade Neto e Aldo França.

durée : 01:33:19 - Relax ! du mercredi 12 juin 2024 - par : Lionel Esparza - Le Petit Poucet, votre jeu de piste hebdomadaire sur France Musique ! Soyez attentifs, Lionel Esparza dissémine des indices tout au long de l'émission et c'est à VOUS de deviner de qui il s'agit.

Liya Petrova mängib William Waltoni unenäolise viiulikontserdi ja Ottorino Respighi fantaasiaküllase viiulisonaadi. Kaasa teevad Royal Philharmonic Orchestra, dirigent Duncan Ward ja pianist Adam Laloum.

In deze aflevering van Kalm met Klassiek hoor je een deel uit een zeer beroemd orkestwerk: 'De vogels' van Ottorino Respighi. De vogel die je in deze aflevering terughoort is de duif, of in het Italiaans: 'La colomba'. Een ondergewaardeerd dier, wat Ab betreft. Dat gekoer heeft toch eigenlijk iets heel geruststellends... Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

In this episdoe, we discuss recordings of “The Excellence of Women: Casulana & Strozzi” (Fieri Records) by The Fieri Consort, “Casella, Mulè, Respighi, Pizzetti: Music For Cello and Piano” (Tactus) by Roberto Trainini & Stella Ala Luce Pontoriero, “David Fontanesi: Four String Quartets” (Da Vinci Classics) by The Mark Rothko Ensemble, “On the Scene” (GleAM Records) by Gianmarco Ferri, “It's A New Day” (Emme Record Label) by The Lorenzo Bisogno Quartet, and “Miradas” (Giotto Music) by The Marcella Carboni Trio.   The Adult Music Podcast is featured in: Feedspot's 100 Best Jazz Podcasts   Episode 164: Deezer Playlist   Fair use disclaimer: Music sample clips are for commentary and educational purposes. We recommend that listeners listen to the complete recordings, all of which are available on streaming services in the links provided. We also suggest that if you enjoy the music, you consider purchasing the CDs or high-quality downloads to support the artists.   “The Excellence of Women: Casulana & Strozzi” (Fieri Records) Fieri Consort https://open.spotify.com/album/6NrLfbTKK3ACv7Jid8ZHSj https://music.apple.com/us/album/the-excellence-of-women-casulana-strozzi/1735313702   “Casella, Mulè, Respighi, Pizzetti: Music For Cello and Piano” (Tactus) Roberto Trainini, Stella Ala Luce Pontoriero https://open.spotify.com/album/2XsX3TVkcVi7buFi6xhHB3 https://music.apple.com/us/album/casella-mulè-others-musica-per-violoncello-e-pianoforte/1738885610   “David Fontanesi: Four String Quartets” (Da Vinci Classics) Mark Rothko Ensemble https://open.spotify.com/album/5mNhO31nozJ3S88RF9sqir https://music.apple.com/us/album/david-fontanesi-four-string-quartets/1735774235   “On the Scene” (GleAM Records)  Gianmarco Ferri https://open.spotify.com/album/4C4ICVgsrHBwBmW415nQc4 https://music.apple.com/us/album/on-the-scene-feat-david-kikoski/1732719942   “It's A New Day” (Emme Record Label)  Lorenzo Bisogno Quartet https://open.spotify.com/album/5PWoyi8Qycb1zd9tfbrTuY https://music.apple.com/us/album/its-a-new-day-feat-cosimo-boni/1741338739   “Miradas” (Giotto Music)  Marcella Carboni Trio https://open.spotify.com/album/4waOEJGgeZXilP1jBqgGNT https://music.apple.com/us/album/miradas/1744408748   Be sure to check out: "Same Difference: 2 Jazz Fans, 1 Jazz Standard" Johnny Valenzuela and Tony Habra look at several versions of the same Jazz standard each week, play snippets from each version, discuss the history of the original and the different versions.  

La semana pasada escuchamos lo sonidos de todos los días y hoy nos centraremos sobre situaciones sonoras que nos acompañan en nuestras ciudades, que las caracterizan y que marcan nuestra memoria y que también han inspirado a muchos compositores de todos los tiempos.  Comenzamos con una obra que recoge la atmósfera de un espacio urbano cotidiano en una plaza en Bologna. En esta obra el compositor Bruno Mantovani nos hace recorrer siete iglesias. Continuaremos con unas grabaciones de campo de la catedral de Granada realizadas dentro del proyecto ÁKOUSMA: TECNOLOGÍAS 360º PARA EXPERIENCIAS DE ESCUCHA AMBISÓNICA, BINAURAL Y DE RESONANCIAS dirigido por la artista y investigadora Paz Tornero.  Escucharemos también un fragmento de 1984, instalación sonora de Juan Jesús Yelo Cano y Arturo Yelo Maquilón. creada para El Centro de Cultura Contemporánea de la Cárcel Vieja de Murcia como un homenaje a Orwell y a su famoso y premonitor del futuro que estamos viviendo libro 1984. Escucharemos un trabajo del artista sonoro Brandon Labelle, fragmentos de la obra de Ligeti S Francisco Polifony y finalizaremos con un fragmento de Las fuentes de Roma de Respighi.Escuchar audio

El mundo animal es una caja de sorpresas y hoy queremos compartir con vosotros música, curiosidades y mucho más sobre las aves, animales variados y que esconden secretos bajo sus plumas. ¿Por qué pueden volar? ¿Comen de todo? ¿Cuáles son la más grande y la más pequeña? No se nos acababan los temas mientras grabábamos el programa con nuestra invitada, la profe de biología Sara Hernán, acostumbrada a contar a sus alumnos cientos de detalles sobre nuestras protagonistas de hoy. Para decorar el programa de la mejor manera posible, Carlos ha seleccionado piezas dedicadas a aves y pájaros compuestas por Janequin, Daquin, Saint-Saëns, Respighi, Delius y Einaudi, música de diferentes épocas y estilos que esperamos que te emocione hasta que te salgan alas y eches a volar de emoción. Así de alto vuela la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

durée : 01:28:22 - En pistes ! du mardi 19 mars 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Emilie et Rodolphe vous proposent d'entendre ce matin les œuvres de Mozart, Mendelssohn, Tchaïkovski et Brahms, mais également celles de Respighi, Haydn et Bach, sans oublier le compositeur français Darius Milhaud. En pistes !

SynopsisFor most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means, first and foremost, opera composers.But during the 1920s and 1930s, when great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many nonoperatic, symphonic works by modern Italian composers.On today's date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of Concerto dell ‘Estate (Summer Concerto), by contemporary Italian composer Ildebrando Pizzetti.In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari and others.Absent from Toscanini's New York programs were new works by the rising American composers of the day. There were no Toscanini premieres — or even performances — of works by Copland, Harris or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing.American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by “fashion-enslaved, prestige-hypnotized minds ... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.Music Played in Today's ProgramIldebrando Pizzetti (1880-1968): Rondo Veneziano; BBC Scottish Symphony; Osmo Vänskä, cond. Hyperion 67084

Compositeurs autour de Nono: Luciano BÉRIO, Nicola SANI, MALIPIERO, RESPIGHI etc....

durée : 00:16:52 - Le Disque classique du jour du mercredi 06 décembre 2023 - En collaboration avec l'Orchestre symphonique National de la RAI, le chef d'orchestre américain Robert Trevino présente un enregistrement étincelant de la célèbre « Trilogie romaine » du compositeur italien Ottorino Respighi

durée : 01:28:30 - En pistes ! du mercredi 06 décembre 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce mercredi matin, Emilie et Rodolphe attirent particulièrement votre attention sur un enregistrement de l'Orchestre symphonique National de la RAI avec le chef d'orchestre américain Robert Trevino, consacré à la « Trilogie romaine » du compositeur italien Ottorino Respighi

Alto Records returns to international availability critically lauded recordings of three major works for violin and orchestra by late romantic composer Ottorino Respighi, a master of merging memorable melodies with lush, inventive scoring.TracksConcerto gregoriano, P 135 I. Andante tranquillo (9:16) II. Andante espessivo e sostenuto (10:33) III. Finale (Alleluia). Allegro energico (12:36) Concerto all'antica, P 075 I. Allegro (12:45) II. Adagio non troppo (8:44) III. Scherzo. Vivace – Tempo di minuetto – Vivace (9:14) Poema autunnale, P 146 (13:31) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

A year ago, I posted an episode entitled “The Haunted Opera House” that featured a wide range of spooky, witchy, Halloween-appropriate 20th century operas from Prokofiev to Penderecki. This year I focus in on one of the works from that episode, Ottorino Respighi's 1934 masterpiece La Fiamma, based on a 1908 play on witch hunts and witchcraft in 16th century Norway by the novelist and playwright Hans Wiers-Jenssen entitled Anna Pedersdotter, the Witch. This work also formed the basis for the Carl Dreyer film Day of Wrath. Respighi and his librettist Claudio Guastalla transferred the action to seventh-century Ravenna in the early days of Christianity. Musically the work combines Respighi's interest with Gregorian chant, modal scales and harmonies, and the work of Claudio Monteverdi with his penchant for stunning orchestrations. The dramatically potent result was his most famous operatic work, but after an initial succès d'estime, it has only retained the slightest hold on the operatic fringes. Nevertheless, the heroine Silvana in particular is a role that great sopranos have made their own over the years, including Claudia Muzio, Gina Cigna, Giuseppina Cobelli, and Rosa Raisa (none of whom sadly recorded any excerpts) through Montserrat Caballé, Nelly Miricioiu, Ilona Tokody, Stefka Evstatieva, and Mara Coleva. I tell the story of the opera while offering substantial excerpts, which, in addition to the sopranos mentioned above, also include such operatic heavyweights as James McCracken, Carlo Tagliabue, Deborah Voigt, Giacinto Prandelli, Delcina Stevenson, Felicity Palmer, Juan Pons, Anna Moffo, and Mignon Dunn, among others. Just the thing to scare you out of your skin this Halloween! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Respighi is our tour guide as we explore 4 different scenes in Rome inspired by their iconic Stone pine trees. John Banther and Evan Keely explore his cutting-edge use of technology, how he uses ancient musical references, how he achieves some of these unique timbres, and more!Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

This past week the opera world was plunged into mourning over the sudden death of Renata Scotto. Originally I had intended this week's episode to be devoted to her memory. But I can't even speak her name without bursting into tears. In other words, I need more time as I try to come to terms with her demise. I have decided to feature the matchless singing actor in the first episode of Season Five. In the meantime, we have another momentous occasion (and artist) to acknowledge: the 90th birthday of the English Rose: the phenomenal Janet Baker. Given that I could probably devote an entire podcast to Dame Janet, and given the wealth of material in my personal collection featuring this artist, much of it rare and unusual, I have chosen to feature this beloved artist in her third full Countermelody episode. There are few vocal artists in the history of classical music who have exhibited greater versatility than Janet Baker; this episode features many rare performances across the entirety of her long career of repertoire in which she had virtually no equal, as well as music in which she also excels but which might prove surprising. Thus we hear the expected mélodie, Lied, British song and Bach aria alongside Purcell's Dido and pants roles by both Mozart and Richard Strauss. But we also hear such surprises as Monteverdi's Poppea (sinuously and surprisingly sexy), Bellini's Romeo (opposite Beverly Sills), William Walton's Cressida (in the 1976 version of his opera Troilus and Cressida refashioned expressly for Baker), and a sublime extended orchestral song by Respighi, as well as the ultimate jaw-dropper, Rossini's Cenerentola! We wish long life and continued health and vitality to one of the greatest mezzo-sopranos of the twentieth century! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

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durée : 00:14:57 - Le Disque classique du jour du mardi 20 juin 2023 - Sous la direction de John Neschling, l'Orchestre philharmonique royal de Liège nous présente un nouvel enregistrement consacré à Respighi. C'est notre disque du jour !

durée : 01:28:50 - En pistes ! du mardi 20 juin 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme du jour : Sigiswald Kuijken et sa petite bande interprétant la Passion selon Saint-Matthieu de Bach mais également Respighi par l'Orchestre philharmonique royal de Liège ainsi que Rachmaninov par l'Orchestre de Détroit.

Naomi Alderman is a writer who likes to question established ways of thinking. In 2017 her novel The Power won the Bailey's Women's Prize for fiction. It imagines a world where women develop the ability to emit electric shocks from their fingers, leading to a worldwide reversal in the traditional balance of power between the sexes. The book became a global bestseller, and more recently a nine part TV drama. A sense of rebellion was evident in the title of her first novel, Disobedience: it's tale of a woman who questions the conventions of the strict Orthodox Jewish community in which she grew up, and draws in part on Naomi's own experiences. Along with four novels, Naomi created and written computer games, including Zombies, Run! This immersive app encourages you to improve your fitness – by running faster to escape predatory zombies. Naomi's musical choices include Mozart, Respighi, Bach and Stephen Sondheim. Photo of Naomi Alderman: Annabel Moeller.

Was that a bird or a violin?

Riccardo Muti conducts two of Respighi's vibrant orchestral tapestries: his sumptuous homage to Rome's iconic neighborhoods and pine groves and his masterful evocation of Renaissance lute music. The program includes the vivid First Concerto for Timpani by American composer William Kraft, featuring CSO Principal Timpani David Herbert. Learn more: cso.org/performances/22-23/cso-classical/muti-herbert-and-pines-of-rome

durée : 01:28:36 - Musiques aquatiques (1/2) - par : François-Xavier Szymczak - S'il y a bien des analogies entre l'eau et la musique, aux ondes rafraîchissantes, bien des compositeurs ont restitué dans leurs œuvres les arabesques de l'élément liquide : de Tom Jobim à Respighi ou encore de Ravel à Debussy.

Synopsis Many music lovers will confess they prefer to hear symphonies or operas in the comfort of their own home rather than live in person at a concert hall or theater. On today's date in 1911, the famous French novelist, hypochondriac, and notorious homebody Marcel Proust wrote to his friend, the composer Reynaldo Hahn, that he had just listened to a live afternoon performance of the whole first act of Wagner's opera Die Meistersinger tucked up in bed and planned to hear Debussy's still-new opera Pelléas and Mélisande later that same evening, once again snugly secure in his Parisian apartment. Now, these days with radio, TV, and multiple live-streaming devices, this would be no big deal – but in 1911 how could that be possible? Well, for 60 francs a month -- a small fortune in 1911 -- wealthy Parisians could hear live performances of operas and plays relayed by a special phone line to a home receiver called the “théâtrophone.” First demonstrated in Paris in 1881, by 1890, the “théâtrophone was commercialized and the service continued 1932. Of course, even an enthusiastic subscriber like Proust had to admit the phone line sound quality was “très mal” (“really bad” in plain English) and hardly the same as being there in person. Music Played in Today's Program Claude Debussy (1862-1918) Pelléas et Mélisande Symphonie Suite (arr. Marius Constant) Orchestre National de Lyon; Jun Märkl, conductor. Naxos 8.570993 On This Day Births 1801 - Czech composer Johann Wenzel Kalliwoda, in Prague; 1836 - French composer Léo Delibes, in St. Germain du Val, Sarthe; 1844 - French composer and organist Charles Marie Widor, in Lyons; Deaths 1996 - American composer and conductor Morton Gould, age 82, in Orlando, Fla. Premieres 1727 - Bach: Sacred Cantata No. 52 ("Ich habe genug") performed on the Feast of the Purification as part of Bach's third annual Sacred Cantata cycle in Leipzig (1725/27); 1744 - Handel: oratorio “Semele,” in London (Julian date: Feb. 10); 1749 - Handel: oratorio “Susanna” in London (Julian date: Feb. 10); 1886 - Mussorgsky (arr. Rimsky-Korsakov): opera “Khovanschchina,” posthumously, in St. Petersburg (Julian date: Feb. 9); 1907 - Delius: opera, "A Village Romeo and Juliet," in Berlin; 1909 - Liadov: “Enchanted Lake” for orchestra, in St. Petersburg (Julian date: Feb. 8); 1917 - Rachmaninoff: “Etudes-tableaux,” Op. 39 (Gregorian date: March 6); 1920 - Milhaud: ballet "Le Boeuf sur la toît," in Paris; 1929 - Respighi: orchestral suite, "Roman Festivals," by the New York Philharmonic, Toscanini conducting; 1946 - Roy Harris: "Memories of a Child's Sunday," by the New York Philharmonic with the composer conducting; 1948 - Cowell: Suite for Woodwind Quintet, by an ensemble at the McMillan Theater of Columbia University in New York City; This work was written in 1933 for the French flutist Georges Barrère, but the score and parts remained lost until 1947. Links and Resources On Debussy On the Théâtrophone

Today's episode is a special request from one of my most dedicated listeners, and one with which I am happy to comply. It is already seven years this month since the death of the great Swedish tenor Nicolai Gedda (11 July 1925 – 8 January 2017). One of the most cultivated singers of the twentieth century, Gedda not only had a rock-solid technique and an instantly recognizable timbre, but he was a brilliant musician and a polyglot of the first order, singing a wide range of repertoire and styles in a host of languages. He was also a prolific recording artist. Though he sang an enormous range of operatic roles, in this episode, I have decided to focus entirely on a slightly lesser-known aspect of his career: his work in art song. Gedda was a master of French style, but also celebrated for his performances of Russian music. And one of the three languages he spoke while he was growing up was German, which lends his work in that language a real authenticity as well. In listening to recordings of song repertoire, I was struck by the frequent added spontaneity and commitment of his live versus his studio performances, so the episode features a large number of selections culled from Gedda's live recitals. Gedda is accompanied by some of the most exceptional pianists of his time: Alexis Weissenberg, Wolfgang Sawallisch, Gerald Moore, Geoffrey Parsons, Dalton Baldwin, Erik Werba, Hermann Reutter, and his compatriot and most frequent collaborator Jan Eyron. Another extraordinary aspect of Gedda's singing was his longevity. We hear him in songs by Strauss, Berlioz, Schubert, Janáček, Duparc, Grieg, Schumann, Fauré, Respighi, and Gounod, recorded over a period of nearly 40 years. Here is another singer who was active into the twilight of his life and sang into his seventies with both the intimacy and clarion power that were his musical trademarks. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

The concert begins at 7:30pm on Saturday the 14th at the Tulsa PAC.

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Although Season 5 is coming to an end, there is quite a bit being born in this episode! For this installment of Strokes in Notes, we will be looking at 3 paintings by Renaissance master, Sandro Botticelli, and how those paintings inspired a composer hundreds of years later. After this episode, N&S is taking a break for a while, but you'll have to listen to the episode to find out why. :) Thank you for all your support through these 70 episodes and 5 seasons. We look forward to our return, but for now, Enjoy!   Art: Sandro Botticelli (1445-1510): La Primavera (1470s) Botticelli: The Adoration of the Magi (1475) Botticelli: The Birth of Venus (1481-6)   Music (Spotify playlist): Ottorino Respighi (1879-1936): Trittico Botticelliano (1927)   Connect with us! Patreon | Instagram | Facebook | notesandstrokespodcast@gmail.com

The idea of preservation is on tenor Timothy Fallon's mind a lot lately. He recently bought a house in New England that dates to 1740 — which, he's quick to point out, means Bach was still alive when the house was built. And away from the renovations he's managing to preserve the charm of his new abode, Fallon — who will spend the next two seasons as a house singer with Vienna's Volksoper — has been thinking about the role of preservation in music-making. This summer he released Crepuscolo, a new album of art songs by Ottorino Respighi that Fallon recorded with Ammiel Bushakevitz, his longtime recital partner. Although the Italian composer is popular for big orchestral works like Pines of Rome, performances of his songs are extremely rare. Connecting new listeners with the array of colors and emotions these songs convey appealed greatly to Fallon and Bushakevitz. "Does the market need another Schubert album from someone who's not so well known?" Fallon says on the latest episode of the Classical Post podcast. "We thought this could be a preservation project, because Respighi's songs aren't widely recorded. I found it very inspiring to try to make an album that could be a reference for other people in the future, to go and listen to this music in one place." In this discussion, we talk more about the new album, the recording process, and how the project served as a musical lifeline for Fallon at the height of the pandemic. Plus, he shares how being a nosy person is a good thing for musicians, why his house always needs a box of Malden sea salt on hand, and his go-to spots for martinis, dumplings, and sesame pancake sandwiches in New York City. Listen to Crepuscolo on Spotify, Apple Music, or wherever you stream and download music. — Classical Post uncovers the creativity behind exceptional music. Dive into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

Ideato da un italoa-australiano, il primo Festival Respighi Bologna è in programma dal 16 al 23 settembre al Teatro Auditorium Manzoni del capoluogo emiliano.

Respighi, Bach, Schubert, Haydn, Britten.

Rome's fountians are nothing short of inspiring—as we discovered on Monday's episode that features excerpts from Ottorino Respighi's symphonic tone poem, The Fountains of Rome. But there are so many more fountains in Rome than are despicted auditorily in Respighi's music, and so many more than the average tourist comes across in the course of a typical visit.  On this mini-episode, Tiffany shares some of her favorite lesser-known Roman fountains and why she loves them.  ------------------------------------- ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!

Synopsis Today marks the birthday in 1879 of Ottorino Respighi, a rare Italian composer more famous for orchestral works than operas. And no wonder – Respighi was a master orchestrator, learning his craft first-hand from the brilliant Russian orchestrator Nicolai Rimsky-Korsakov during the time the young Italian served as principal violist in the pit band of the Russian Imperial Theater in St. Petersburg. One of Respighi's best-loved works is The Pines of Rome. It includes a slow section depicting a full moon shining on the pines growing on the Janiculum hill west of Rome. The music includes the song of a nightingale, played from a phonograph record of an actual nightingale. That record, made in 1910, was the first ever made of live bird song, and using it as part of Respighi's orchestration was cutting-edge stuff in 1924. This recording was made by the Hungarian conductor Antal Dorati, who was known noted for his fiery temper, but Dorati had an equally strong sense of humor, so in the 1950s, when one of his Minneapolis Symphony musicians substituted a Spike Jones once during a rehearsal, of the Respighi piece, Dorati got the joke and laughed along with everybody else. Music Played in Today's Program Ottorino Respighi (1879-1936) – Feste Romane (Montréal Symphony; Charles Dutoit, cond.) London 410 145 Spike Jones (1911 – 1965) – Rhapsody from Hunger (Spike Jones and his City Slickers) RCA 3235

durée : 01:58:46 - Le Bach du dimanche du dimanche 13 mars 2022 - par : Corinne Schneider - Au programme de cette 199e émission : un « Bach symphonique » en 1ère heure avec les orchestrations de Honegger, Mahler, Respighi, Reyer, Schoenberg, Stokowski, Walton, Vaughan Williams et Webern ; puis un zoom sur d'étonnantes partitions composées pour le cor par Bach et ses fils ! - réalisé par : Olivier Guérin