Podcast appearances and mentions of richard sisson

Tom Service on two of the most astounding musical skills, which the majority of professional classical musicians have in abundance - the ability to play from memory, and the ability to play at sight, without study or much in the way of rehearsal. How and why do they do it? With pianist and teacher Richard Sisson, and violinist Eva Thorarinsdottir, of the Aurora Orchestra, whose members are unusual in that they often play from memory as an ensemble.

Tom Service immerses himself in the topsy-turvy world of Gilbert and Sullivan, and finds things are seldom what they seem... With Derek Clark of Scottish Opera and pianist and composer Richard Sisson.

Chicago-based folklorist Bucky Halker interviews iron worker Sharon Sisson and her husband, iron worker Richard Sisson about their experiences as iron workers in the Chicago area. Their interview, which was recorded at Iron Workers Union Local #63 Headquarters in Broadview, Illinois, covers numerous topics. This episodes features Sharon’s experiences as a woman entering a previously male-dominated trade and a prank she played on a fellow worker to stop him harassing her in their workplace.

Chicago-based folklorist Bucky Halker interviews iron worker Sharon Sisson and her husband, iron worker Richard Sisson about their experiences as iron workers in the Chicago area. Their interview, which was recorded at Iron Workers Union Local #63 Headquarters in Broadview, Illinois, covers numerous topics. This episodes features Sharon’s experiences as a woman entering a previously male-dominated trade and a prank she played on a fellow worker to stop him harassing her in their workplace.

Kit Hesketh-Harvey has been a fixture on the cabaret circuit for nigh on 40 years, and is also a screenwriter, librettist, broadcaster, veteran panto villain and social dynamo, among much else besides.Famous for 30 years as one half of "Kit and the Widow", and subsequently as 50% of "Kit and McConnel", his skewering, blithely acidic and sometimes heartrending cabaret chansons have tackled every subject under the sun from fans of Stephen Sondheim and the perils of eating at Nando's to the (thankfully now abolished) Clause 28 and environmental destruction, and he now has his eye on how best to adapt to a world now acutely aware of the politics of identity. He talks, from the former church designed by William Donthorn which he owns, which sits next to his house and within which he has passed a hermitesque lockdown, to Dark Unicorn Productions Artistic Director Paddy Cooper about the many turns and twists his career has taken, his adoration for the magic of pantomime and how a great-aunt managed to escape back to England from behind enemy lines in World War One using a ukulele and her feminine wiles. Follow Dark Unicorn Productions on all good podcast providers for the latest content, and also follow us on:YouTube: http://tiny.cc/DUTubeTwitter: http://www.twitter.com/DarkUnicornUKInstagram: http://www.instagram.com/darkunicorntheatreFacebook: http://www.facebook.com/darkunicorntheatreTo support the work of Dark Unicorn Productions, visit http://www.darkunicorn.org/support-usCREDITS:Written, Presented and Edited by Paddy CooperTitle Music: Curtis BatsonSpecial thanks to: The estate of James Lipton, James McConnel (The McConnel of that ilk), Richard Sisson, The Yvonne Arnaud Theatre, Jenks & Co., Gay Times, The Evening Standard, The How To Academy/FANE, Channel 4, The Daily Telegraph and The Reading ChronicleExecutive Producer: Eleanor Stourton See acast.com/privacy for privacy and opt-out information.

LET'S GET ANGRY! Music's power to express and exorcise anger has taken composers, performers, and listeners, to the Dark Side of music's profoundly emotional powers. How do you make the sounds of anger? We'll scream like heavy metal virtuosos and operatic divas, we'll explore the harmonies of anger through the sounds of the angriest classical music over the centuries, and we'll hear what happens in our brains when we just have to express our vexatious impulses. But while there's a cathartic feeling of release once we've got over the musical, emotional, and hormonal expression of angriness, music itself can also make us angry. It makes Tom Service angry: when you're on hold on that phone-call to the gas-board, when that TV theme or YouTube meme gets stuck in your head and just won't budge: music can make us as exquisitely cross as any other fact of our lives. We'll get anger management advice from Commander-In-Chief, Shred guitarist Berit Hagen (angry), composer Richard Sisson (very angry) and Professor of Black Studies Kehinde Andrews (seething). From the sounds of anger to anger-inducing ear-worm: join us in an emotionally exorcising edition of The Listening Service. You'll feel better. And if you don't you can get very angry with us!

Tom Service considers what makes a good song work - verse, chorus, a good tune and...? Is a pop song using fundamentally the same structure as an art song or lied? From the timeless pop of The Carpenters to the gigantic "song symphonies" of Gustav Mahler, Tom examines what you can do with a few verses, perhaps a chorus, and maybe a "middle eight". He's also joined by composer and pianist Richard Sisson to consider the genius of Robert Schumann's songcraft, and by producer Dan Carey who considers contrasting song structures by The Beach Boys and Frank Ocean.

In this special edition of The Listening Service recorded live at this year's Hay Festival, Tom Service explores the parallels between great children's literature and music written for young people. From Debussy to Prokofiev, Bizet to Britten - childhood has fascinated some of the greatest composers - how does their approach compare to children's writers and illustrators? What can we learn from music written by youngsters themselves and what lessons can be learned from music, pictures and words created for children? Joining Tom to answer those questions at the piano, is the composer and pianist Richard Sisson who wrote the score for Alan Bennett's The History Boys at The National Theatre and the Royal Shakespeare Company's Goodnight Children Everywhere; and the award-winning author and illustrator Ed Vere, creator of Mr Big, Max the Brave and Bedtime for Monsters.

Richard Sisson recommends the best recording of Rodgers & Hammerstein's musical Oklahoma!

In a special edition of The Listening Service recorded live at this year's Hay Festival of Literature and the Arts, Tom is joined by the composer Richard Sisson (at the piano), and poet Gillian Clarke to discuss the art of setting words to music. From the thwarted romance of Lieder to the game-changing musicals of Stephen Sondheim and the era-defining pop songs of Jarvis Cocker, finding the perfect synergy between written word and musical note is an elusive art. Tom and his guests explore just how it's done and by the end of the show they'll have created their own setting live in front of the eyes and ears of the Hay audience. Part of Radio 3's week-long residency at Hay Festival, with Lunchtime Concert, In Tune, Free Thinking, The Verb and The Listening Service all broadcasting from the festival.

Live from Free Thinking at Sage Gateshead the composer and pianist Richard Sisson brings his infectious enthusiasm to an idiosyncratic journey through music articulated by the boundless, cyclic, remorseless unfolding of Time; from the clock's ominous striking of midnight in Prokofiev's Cinderella to vivid evocations of heady times past in Berlioz's Symphonie Fantastique, with works by Finzi, Tchaikovsky and Beethoven along the way. For many years the piano playing half of cabaret act Kit and the Widow, Richard has composed extensively, particularly for the theatre, including the music for Alan Bennett's The History Boys.

Richard Sisson compares recordings of Kander and Ebb's 1966 musical 'Cabaret'

As part of Radio 3 at Southbank Centre, London, pianist and composer Richard Sisson presents a celebration of musical septuagenarians, unearthing some of the late glories of composers still at the height of their powers. Featuring works by Bruckner, Saint-Saëns, Strauss and Reich.

Which great pianists would be worth queuing for? Piano fans queued around the block in 1965, to see the return of Vladimir Horowitz, one of the century's most celebrated pianists, after a twelve year break from live performance. And in the age of internet booking, piano audiences are no less passionate, dedicated and sometimes frenzied. Richard Sisson, Erica Worth, Eddy Smith, Jonathan Biss, Stephen Hough, Pierre-Laurent Aimard and Angela Hewitt discuss the role of a good audience in creating a great performance.

Often when a concert pianist steps onto the stage to perform, they have to play a piano that has been hired. Surprisingly, while many are in great shape, sometimes they aren't. Sometimes they are appropriate for the repertoire about to be played and sometimes not. The challenge for the artist is to work out how to play this piano in such a way that the concert is the best it can be. How does a pianist coax a beautiful performance out of the hired concert grand? Featuring Pierre Laurent Aimard, Richard Sisson, Jonathan Biss and Ulrich Gerhartz.

The piano is an unusual musical instrument in that all ten digits of the performer can be used to sound different notes simultaneously. Fingers need practice, and practice makes perfect. Working hard to build strength and dexterity is part and parcel of every pianist's story, and just as in sport, exercises are a necessary evil. But what can start out as a chore when young can eventually become a pleasure when technique is more advanced and exercises turn into Chopin or Moskowski Etudes – written and designed for developing technique but also being very beautiful music. Featuring Lucy Parham, Gwilym Simcock, Richard Sisson and David Owen Norris