Podcasts about Rigoletto

This episode is an in-depth analysis of the music of Rigoletto, with LA Opera Chorus Director Jeremy Frank. From his piano, Jeremy takes us on a journey through the music of Rigoletto, providing context from the end of the bel canto period into Verdi's early, middle, and late periods. This episode was recorded as part of LA Opera's learning series, now known as Exploring Opera. Tickets for Rigoletto are available now at LA Opera.org.

Giuseppe Verdi – La donna è mobile uit Rigoletto 1851, Verdi schreef op 40 dagen tijd een nieuwe opera: Rigoletto met de beroemde aria La donna è mobile. De Italiaanse componist wist meteen dat hij een dikke hit had geschreven. Clara en Sander zingen deze oorwurm luid mee, tot ze de tekst eindelijk eens opzoeken. Want blijkbaar zingt het personage nogal wat vrouwonvriendelijke vuilbekkerij bij elkaar. En dan is er nog dit grote vraagstuk: wat is de link tussen Verdi en tomate-crevettes?

In this episode, LA Opera Chorus Director Jeremy Frank sits down with Rigoletto star Quinn Kelsey to discuss the baritone's artistic journey, his experience of embodying one of Verdi's most iconic roles, and how his Hawaiian cultural heritage has influenced it all. Playing now through June 21, tickets to Verdi's Rigoletto are available at LAOpera.org.

In this episode, musicologist Dr. Holley Replogle-Wong illuminates the women of Rigoletto and their archetypes, drawing on history, literature, and fine arts. This lecture was recorded as part of Opera for Educators, LA Opera Connects' professional development series for teachers and anyone interested in a deeper dive. Tickets to Verdi's Rigoletto are available now at LAOpera.org.

En este episodio de Detrás del telón, Gerardo Kleinburg explora el clásico de Giuseppe Verdi, Rigoletto, a través de tres lentes: el contexto sociopolítico de la ópera, su estilo y estructura musical, y su lugar en el arco creativo de Verdi como compositor.

In this episode, Richard Seaver Music Director James Conlon walks us through the history, the plot, and, of course, the music of Verdi's Rigoletto. Don't miss this heart-pounding drama playing May 31-June 21. Tickets are on sale now at LAOpera.org.

En este episodio de Detrás del telón, coreógrafo Ricardo Aponte comparte la sinopsis de Rigoletto. Las funciones en el Dorothy Chandler Pavilion serán del 31 de maio al 21 de junio. Las entradas ya están disponibles en LAOpera.org.

In this episode, mezzo-soprano Sarah Saturnino, alumna of the LA Opera Domingo-Colburn-Stein Young Artist Program, shares the synopsis for Rigoletto, with annotated musical notes from musicologist Dr. Tiffany Kuo.

durée : 00:19:43 - Disques de légende du lundi 19 mai 2025 - En 1950 paraissait chez RCA Victor un "Rigoletto" exceptionnel, avec à sa tête Renato Cellini : un incunable pour les amateurs d'opéra, que les autres découvrirons avec délices…

durée : 00:19:43 - Disques de légende du lundi 19 mai 2025 - En 1950 paraissait chez RCA Victor un "Rigoletto" exceptionnel, avec à sa tête Renato Cellini : un incunable pour les amateurs d'opéra, que les autres découvrirons avec délices…

The earliest selection on last week's Elisabeth Söderström episode featured the soprano at 24 singing the title role of Madama Butterfly. In that live recording, we also heard as Sharpless her compatriot the baritone Hugo Hasslo, to whom I introduced my listeners last fall. Today I dive a little bit deeper into Hasslo's extant recordings. Considering what a great singer he was, and how his reputation has merely grown with the passage of time, it's shocking how rarely Hasslo recorded in the studio. Therefore the majority of this episode consists of live recordings, from as far back as Hasslo's operatic debut in 1940 as Guglielmo under the baton of Fritz Busch, through to his performance as di Luna alongside Jussi Björling's final operatic appearance in Sweden twenty years later. Along the way we hear excerpts from Rigoletto, Il tabarro, Yevgeny Onegin (or should I say Eugen Onegin), Il trovatore, and… Porgy and Bess (?!?!). I also include a sample of the singing of Hasslo's teacher, the Scottish tenor Joseph Hislop to show that the apple did not fall far from the tree! Other singers appearing on the episode include Sena Jurinac, Einar Andersson, Sigurd Björling, Eric Sædén, Margareta Hallin, Arne Tyrén, Aase Nordmo Løvberg, Apollo Granforte, and a surprise visit from last week's subject, the transcendent Elisabeth Söderström. 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 or yearly support at whatever level you can afford.

Verdi considered this character worthy of a Shakespearean tragedy, and he delivers just that! John Banther and Linda Carducci explore Verdi's masterpiece and show you what to listen for, intricacies of the characters and plot, the banned origin story, and so much more. Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

¡¡ NUEVO PODCAST !!Mónica Herrera.  Presidente de Cadena de Ayuda contra la Fibromialgia…  “Día mundial de la Fibromialgia”   Gianco Abundiz. Experto en Finanzas… “Devolución de impuestos”  Dr. Mario Aquiles…  “Hígado cansado o estresado: ¿Es esto posible?”   Claudia Cervantes. Actriz, escritora y conductora… Monólogo: “Soltera pero no sola”   Alfredo  Daza.  Barítono Mexicano… Estará en el rol estelar de la ópera Rigoletto de Giuseppe Verdi en el Palacio de Bellas Artes

Giuseppe Verdi: compositore italiano dell'Ottocento, autore di capolavori come Requiem, Rigoletto e La traviata, che hanno segnato la storia dell'opera.

Koersklappers: Ward Rigole, Jonas VergauwenWard en Jonas, oftewel: ons gouden, dynamische duo dat nog steeds een rekening in De Karper heeft openstaan van toen bij de Kerstspecial.Ditmaal alweer kwinkslagend en voorbeschouwend over de aanstormende Ronde van Italië, maar ook met de beste Italianen voor onze Sporza Minicompetitie en ook nieuws over Remco, Astana, fietscontroles en Bart Wellens.Doe mee aan onze Sporza minicompetitie

Witty actor and singer Jacob Keith Watson is making waves on the Broadway stages. He appeared as Enoch Snow in the Tony-nominated Broadway revival of Carousel. Jacob has also been seen on Broadway in Hello, Dolly!, Brian Crawley's Violet, Craig Lucas' Amélie as Joseph Buquet, Monsieur Reyer in The Phantom of the Opera, Robert Livingston in the acclaimed Encores! revival of 1776, as well as Amos Hart in the National/International tour of Chicago the Musical. Regional and Opera credits include the title role in Shrek with the Sacramento Music Circus and roles in Benny & Joon at the Papermill Playhouse, La bohème, Pagliacci, Pirates of Penzance, Rigoletto, HMS Pinafore, Chicago, Bye Bye Birdie, Seussical, Six Characters in Search of an Author, As You Like It, Twelfth Night, Othello, and The Doctor in Spite of Himself. Symphony engagements includes Kurt Weill on Broadway and New York, New York both with Maestro James Holmes and the Kurt Weill foundation and the tenor soloist in Elijah, Messiah, and Carmina Burana. Jacob is an Arkansas native and proud past winner of the prestigious Lotte Lenya Competition, the NATS National Music Theatre Competition and a regional finalist in the Metropolitan Opera National Council Auditions.

Neste vídeo Gonzalo Córdoba fala sobre as perspectivas técnicas, estéticas e educacionais da iluminação na Argentina. Gonzalo Córdoba é iluminador, cenógrafo, diretor, artista visual, professor e pesquisador. Em produções de ópera, criou a iluminação para Ariadne auf Naxos, Così fan tutte, Candide, Tri Sestri, O Cônsul para Ruben Szuchmacher, O Estupro de Lucrécia, Wozzeck, A Flauta Mágica, O Morcego, Madama Butterfly para Horacio Pigozzi, O Traviata, Italiana em Argel, Serse para Pablo Maritano, cenografia e luzes para Leonor Manso em Lucia de Lammermoor e Tosca, para María Jaunarena em A Flauta Mágica, Outra Volta do Parafuso, Medea, Conde Ory e para Ana D'Anna em El barbero de Sevilla, Bohéme, Rigoletto, Hoffman's Tales, Turandot. Com André Heller Lopez iluminou Don Pasquale, Lucia de Lammermoor, Manon Lescaut, Merry Widow, Faust, Cosi fan tutte e As Bodas de Fígaro.Como diretor: "Proyecto Appia" para Enclaves no CETC, "El Límite de Schiller", iluminação da Puente de la Boca, Linha Azul do metrô de Buenos Aires. Mude a encenação de Emma Bovary e Maní con chocolate 2 com Ana Bovo, bem como "los Persas" de Ésquilo e "La Inhumana" com Alejandra Radano. Dirigiu Marta Roca em "Palabras Cuerdas". Escreveu dois ensaios sobre iluminação cênica "La Trampa de Goethe" e "La Iluminación Escénica", editados por El Rojas.Foi comtemplado com o Prémio Teatros do Mundo por "El Experimento Damanthal" e ACE 2005 por "Las Troyanas" e "Enrique IV"; Meu Deus". Ganhou os prêmios Teatros del Mundo em 2013 e o Maria Guerrero 2014 por Querido Ibsen, Soy Nora, Love Love e Cabaña Suiza, o Prêmio Trinidad Guevara 2015 por "La nueva autoridad" e em 2016 o Prêmio Trinidad Guevara por "Desonrado". Prêmio "Hugo" por Love Musik, 2017 Florencio Sánchez por "Todas as coisas do mundo" e Prêmio KONEX 2011.Atualmente trabalha como Professor na Universidade Nacional das Artes na disciplina de Projeto II, em História da Iluminação Cênica na carreira de design de iluminação de espetáculos, e em Teatro Musical. É membro da Associação ADEA de Designers Cênicos da Argentina.@‌gonzaloemicordova | SITE: gonzalocordova.com.ar

La Traviata, Rigoletto... tout le monde connait les opéras italiens de Verdi. Ce qu'on sait moins, c'est que certaines de ses œuvres furent créées à Paris en... français ! Mais quelle histoire lie la langue française à l'opéra italien ?  Don Carlos est un opéra de Verdi basé sur un drame du poète Friedrich Von Schiller et qui raconte les amours contrariées entre Elisabeth de Valois et Don Carlos, le prince héritier. C'est aussi une pièce politique qui pointe le pouvoir tyrannique de Philippe II, mais aussi le pouvoir de l'Église avec le personnage de l'Inquisiteur.  Cet opéra a été créé en français à Paris en 1867. Les compositeurs italiens sont tous passés par Paris vers la fin de leur carrière pour profiter de conditions de travail offertes par l'Académie Royale.Triompher à Paris au dix-neuvième siècle était le point d'orgue de la carrière, la consécration suprême à condition de produire des œuvres en français !Damien Colas-GalletÀ l'époque, l'opéra fonctionnait un peu comme la Comédie française : avec une troupe et un cahier des charges très exigeant. On ne pouvait composer en italien qu'au théâtre italien…  L'opéra a ensuite été raccourci et renommé Don Carlo dans sa version italienne. Le ballet a été « coupé », le Iᵉʳ acte a également été coupé. En abrégeant l'opéra, il a dû modifier certaines parties comme le duo entre Philippe II et le Marquis de Posa... Le duo était à l'origine composé « à la mode italienne » mais cela ne fonctionnait pas en français.             Pour les compositeurs, modifier une œuvre pour la réadapter était donc un défi ! Tant sur le fond que sur la langue… Il faut parfois travailler la prononciation et la stylistique. Passer d'une langue à l'autre en opéra est un travail énorme et passionnant ! La langue influence sur la couleur de la voix et sur l'expression. Tout le défi était qu'ils ne sentent pas entravés dans la manière de chanter les phrases ! Sandra Westphal Au XXe siècle, on a favorisé de nouveau la langue d'origine : langue italienne ou langue allemande. ► Invités : Damien Colas-Gallet, directeur de recherche au CNRS, musicologue et spécialisé sur l'opéra italien.   Sandra Westphale, pianiste, cheffe de chant à l'Opéra de Paris. Le chef de chant est un pianiste qui participe à tout le travail artistique qui se prépare avant l'arrivée de l'orchestre, qui joue la participation au piano pour faire travailler les chanteurs. Elle a travaillé sur le Don Carlos de Verdi, mis en scène par Krzysztof Warlikowski et actuellement joué à l'Opera Bastille.   Avec également le témoignage de Charles Castronovo, ténor lyrique américain qui joue le rôle de Don Carlos. Propos recueillis par Cécile Lavolot. ► Programmation musicale : L'artiste Anna Madjinson avec le titre Rose épine.

La Traviata, Rigoletto... tout le monde connait les opéras italiens de Verdi. Ce qu'on sait moins, c'est que certaines de ses œuvres furent créées à Paris en... français ! Mais quelle histoire lie la langue française à l'opéra italien ?  Don Carlos est un opéra de Verdi basé sur un drame du poète Friedrich Von Schiller et qui raconte les amours contrariées entre Elisabeth de Valois et Don Carlos, le prince héritier. C'est aussi une pièce politique qui pointe le pouvoir tyrannique de Philippe II, mais aussi le pouvoir de l'Église avec le personnage de l'Inquisiteur.  Cet opéra a été créé en français à Paris en 1867. Les compositeurs italiens sont tous passés par Paris vers la fin de leur carrière pour profiter de conditions de travail offertes par l'Académie Royale.Triompher à Paris au dix-neuvième siècle était le point d'orgue de la carrière, la consécration suprême à condition de produire des œuvres en français !Damien Colas-GalletÀ l'époque, l'opéra fonctionnait un peu comme la Comédie française : avec une troupe et un cahier des charges très exigeant. On ne pouvait composer en italien qu'au théâtre italien…  L'opéra a ensuite été raccourci et renommé Don Carlo dans sa version italienne. Le ballet a été « coupé », le Iᵉʳ acte a également été coupé. En abrégeant l'opéra, il a dû modifier certaines parties comme le duo entre Philippe II et le Marquis de Posa... Le duo était à l'origine composé « à la mode italienne » mais cela ne fonctionnait pas en français.             Pour les compositeurs, modifier une œuvre pour la réadapter était donc un défi ! Tant sur le fond que sur la langue… Il faut parfois travailler la prononciation et la stylistique. Passer d'une langue à l'autre en opéra est un travail énorme et passionnant ! La langue influence sur la couleur de la voix et sur l'expression. Tout le défi était qu'ils ne sentent pas entravés dans la manière de chanter les phrases ! Sandra Westphal Au XXe siècle, on a favorisé de nouveau la langue d'origine : langue italienne ou langue allemande. ► Invités : Damien Colas-Gallet, directeur de recherche au CNRS, musicologue et spécialisé sur l'opéra italien.   Sandra Westphale, pianiste, cheffe de chant à l'Opéra de Paris. Le chef de chant est un pianiste qui participe à tout le travail artistique qui se prépare avant l'arrivée de l'orchestre, qui joue la participation au piano pour faire travailler les chanteurs. Elle a travaillé sur le Don Carlos de Verdi, mis en scène par Krzysztof Warlikowski et actuellement joué à l'Opera Bastille.   Avec également le témoignage de Charles Castronovo, ténor lyrique américain qui joue le rôle de Don Carlos. Propos recueillis par Cécile Lavolot. ► Programmation musicale : L'artiste Anna Madjinson avec le titre Rose épine.

Seattle Opera presents its first-ever Gilbert & Sullivan in October 2025: The Pirates of Penzance, in a charming, traditional production that has already delighted many American opera audiences. Jonathan Dean explains the difference between opera and operetta, shares a bit of the music and humor of Pirates, and attempts to explain what The Pirates of Penzance is all about. Musical examples from Seattle Opera recordings of Rigoletto and Il trovatore, plus a recording of Pirates provided by the Atlanta Opera Film Studio (with Susanne Burgess as Mabel and Santiago Ballerini as Frederic, Chorus and Orchestra of Atlanta Opera conducted by Francesco Milioto) and another recorded in 1959 by EMI, featuring George Baker as the Major-General, James Milligan as the Pirate King, Owen Brannigan as the Police Sergeant, plus the Glyndebourne Festival Chorus and the Pro Arte Orchestra conducted by Sir Malcolm Sargent.

Recorded March 11th, 2025. A lecture by Fergus Sheil (Founding Artistic Director of Irish National Opera) for the Music Composition Centre Talks. Fergus is the founding artistic director of Irish National Opera. He has conducted a wide-ranging repertoire of over 50 different operas in performance, recordings and on film. Highlights include Strauss' Salome, Der Rosenkavalier and Elektra, Rossini's William Tell and La Cenerentola, Brian Irvine and Netia Jones's Least Like The Other, Verdi's Aida, La traviata and Rigoletto as well as Wagner's Tristan und Isolde. Before founding Irish National Opera in 2018, Fergus was Artistic Director of Wide Open Opera, which he founded in 2012 and Opera Theatre Company. He has produced opera in over 30 venues throughout Ireland as well as bringing productions to the UK (Edinburgh International Festival, Royal Opera House and The Barbican), USA, Holland, Luxembourg and Italy. As conductor, Fergus has worked with major orchestras and opera companies in Ireland as well as fulfilling engagements in the USA, Canada, South Africa, Australia, UK, France, Netherlands, Denmark, Sweden, Malta and Estonia. Fergus Sheil studied music at Trinity College, graduating in 1992. While at TCD he founded the Trinity Orchestra. He currently delivers a module in career development at TCD's Music Department and in 2023 he was awarded an honorary Doctor in Letters from TCD. Learn more at www.tcd.ie/trinitylongroomhub

Rigoletto es una ópera difícil, dice el tenor que la interpreta por primera vez este domingo en el López de Ayala de Badajoz. Es Víctor Simón Jiménez Moral, que nos da las claves de su trabajo.

A year and a half ago, I posted an episode on Robert Massard, the finest French baritone of his era, and one of the finest French baritones of all time. Today, in honor of his upcoming hundredth birthday later this year, I present him in a different repertoire (and therefore a different light). As was very much the custom of the day in French opera houses, Massard sang many of his non-French roles in translation. This was also very much the standard in German-language opera houses in the 50s and 60s. Massard's recorded legacy includes Italian operas sung in the original language as well as in French translation. No matter what language he was singing in, Massard was a master of bel canto as well as buffo patter. This episode includes arias and duets from Il barbiere di Siviglia, I Puritani, Lucie de Lammermoor, Le Comte Ory, La Traviata, Don Carlos, Un bal masque, La bohème, Cavalleria rusticana, and Andrea Chénier, as well as extended scenes from both Rigoletto (in and out of French!) and Falstaff. I also include a clip of Massard's contemporary and compatriot Gabriel Bacquier singing an excerpt of one of his greatest Verdi parts, Iago in Otello. Massard's vocal colleagues in these excerpts include Alain Vanzo, Peter Glossop, and Renée Doria. 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 or yearly support at whatever level you can afford.

Award-winning director Michael Mayer has worked in a broad spectrum of media from theatre and opera to television and film. Current theatre: Swept Away, a new musical featuring songs of The Avett Brothers which opened November 19, 2024 on Broadway, the hit revival of Little Shop of Horrors now playing at the Westside Theatre, the national tour of his hit Broadway revival of Funny Girl (which starred Lea Michele) and the national tour of A Beautiful Noise: The Neil Diamond Musical, which recently ended its Broadway run.  Recent opera:  Jeanine Tesori and George Brant's new opera Grounded which opened the Metropolitan Opera season on September 23, 2024 with performances running until October 19. Upcoming opera: a new production of Aida at the Metropolitan Opera this season opening on December 31, 2024. Other Broadway credits include Adam Driver and Keri Russell in Burn This, Head Over Heels (featuring the songs of The Go-Go's), Neil Patrick Harris in Hedwig and the Angry Inch (Tony Award, best musical revival, also National Tour), Spring Awakening (Tony Award/Best Musical and Tony, Drama Desk and Outer Critics Circle Awards for Best Director; also London, National Tour, Vienna, Tokyo, and Seoul productions); Green Day's American Idiot (also co-author, Drama Desk Award for Best Director; also US, UK and Asia tours); Thoroughly Modern Millie (Tony Award/Best Musical also London and National Tour), Side Man (Tony Award/Best Play also London and Kennedy Center Productions),  A View from the Bridge (Tony Award/Best Revival),  Michael Moore's The Terms of My Surrender, Everyday Rapture, You're a Good Man, Charlie Brown, and Triumph of Love; off-Broadway credits include Lin-Manuel Miranda's 21 Chump Street (BAM), Chess (Kennedy Center), Love, Love, Love (Roundabout), Brooklynite (Also co-author, Vineyard), Whorl Inside A Loop (with Dick Scanlan, Second Stage), 10 Million Miles (Atlantic): Angels in America. London: a record-breaking West End run of Funny Girl and a UK tour. Tokyo: As You Like It (Toho Theatre). Film: A Home at the End of the World (Excellence in filmmaking, National Board of Review, GLAAD nomination), Single All the Way for Netflix, Flicka, The Seagull. He was featured in both the documentaries Those You've Known on HBO and Broadway Idiot. Television credits Include: SMASH (Pilot, producing director: Season One), two seasons of Alpha House (Amazon), and producer for the HBO film WIG. He made his Metropolitan Opera debut with a celebrated new production of Rigoletto, followed by a co-production (with the English National Opera) of Nico Muhly's Marnie, and a new production of La Traviata, which broke box office records. He directed the world premiere of Jeanine Tesori's Grounded at the Washington National Opera. Grounded  opened the Met's 24/25 season on September 23, 2024, and his new production of Aida will premiere at the Met on New Year's Eve 2024.  Additional Awards and fellowships: the inaugural Daryl Roth Creative Spirit award, Drama League Founders Award, Jefferson, Ovation, Alan Schneider, and Carbonell awards;  Fox Foundation, Drama League and TCG/NEA Directing Fellowships.   He serves on the Boards of SDC (Stage Directors and Choreographers Society) and the Arthur Miller. Photos by Sergio Villarini for Broadway.Com- assisted by BrookeBellPhoto Learn more about your ad choices. Visit podcastchoices.com/adchoices

Oggi a Cult: Marco Baliani a Milano al Teatro Menotti con "Rigoletto. La notte della maledizione"; la mostra all'ADI Design Museum "Gianni Sassi. Gioia e rivoluzione"; Mario Gelardi firma con Roberto Saviano "Cuore puro" al Teatro Filodrammatici di Milano; la rubrica GialloCrovi a cura di Luca Crovi...

durée : 02:28:26 - France Musique est à vous du samedi 08 février 2025 - par : Gabrielle Oliveira-Guyon - Une romance de Tchaïkovski, un concerto pour violoncelle de Reinhold Glière, la voix du baryton Robert Massard dans Rigoletto de Verdi ou encore la Symphonie inachevée de Schubert : voici un petit échantillon de tout ce que vous nous avez proposé cette semaine ! - réalisé par : Emmanuel Benito

Rincón de la Victoria presenta una nueva edición del Festival de Música de la Cueva del Tesoro que se celebrará del 7 al 28 de febrero. Se trata, explica el concejal de Turismo, Antonio José Martín (PP), “de una cita ineludible con la cultura y la música con cuatro conciertos de estilos diferentes para un aforo de 80 espectadores en el interior de la cavidad que ofrece un marco muy íntimo y personal tanto para el artista como para el público”. La voz lírica de Mariola Cantarero será la encargada de abrir esta edición el 7 de febrero, para dar paso a Ginés González (14 de febrero), Erika Leiva (21 de febrero) y Muchopelo que cerrará la edición de este año en la festividad del Día de Andalucía”. El alcalde de Rincón de la Victoria, Francisco Salado (PP), ha destacado, “la experiencia única que supone disfrutar de un concierto musical en el interior de la gruta, en un marco incomparable como es la Cueva del Tesoro”. Además, Salado, ha valorado “la apuesta por la calidad musical de este festival que contará este año con actuaciones de diferentes géneros musicales”. “Estamos realizando una importante labor de promoción cultural desde la propia Cueva del Tesoro, y que durante el mes de febrero también se convierte en el mejor escenario posible para los amantes de la música”, añade. Todos los conciertos tendrán un precio de 10 euros por localidad. Las entradas podrán adquirirse a partir del martes 21 de enero a las 12:00 horas en el portal turístico de Rincón de la Victoria: https://entradas.turismoenrincon.es/ (por cada reserva se podrá adquirir un máximo de dos entradas). Para más información sobre el festival, pueden contactar a través del siguiente número de teléfono: 952406162. El festival cuenta con la colaboración de la Diputación Provincial de Málaga, y el apoyo de Turismo Costa del Sol. Sobre Mariola Cantarero Considerada uno de los máximos exponentes del repertorio belcantista de los últimos años, Mariola Cantarero ha obtenido también importantes triunfos en obras como Traviata, Rigoletto o Boheme, en la búsqueda continua de las obras más adecuadas a su evolución vocal, ampliando su repertorio con éstas y otras obras como María Stuarda, Lucrezia Borgia, Anna Bolena, así como Don Giovanni o Cosi fan Tutte. Granadina de nacimiento, comienza sus estudios musicales en el Conservatorio de su ciudad natal, y posteriormente los amplía con el Catedrático de canto Carlos Hacar, y ya en carrera se perfecciona con Ruthilde Böesch en Viena. Es premiada en diferentes concursos internacionales de canto como el “Francisco Viñas”, “Operalia´99”, “Pedro Lavirgen” y “A.S.L.I.C.O. 2000”. Recibe distintos premios por su trayectoria como “Premio ópera Actual”, “Revalación del círculo de amigos del Liceo”, “Premio Imagen de la Ciudad de Granada”, “Ojo Crítico de RNE”, “La Mención de Honor de la Diputación de Granada”, “La Medalla de Oro de la Ciudad de Granada”, así como “La Medalla de Oro de Andalucía”. Sobre Ginés González Ginés González es un talentoso cantante y compositor malagueño que está conquistando corazones con su voz. Ginés ha participado recientemente en el programa La Voz, donde logró llegar hasta las semifinales, con interpretaciones brillantes como se nos rompió el amor demostrando su pasión y calidad vocal y artística en cada actuación. Su última canción, "Loca de Remate", ha sido un éxito rotundo, alcanzando ya más de 100,000 visitas en plataformas digitales. Este tema combina su estilo flamenco pop con letras que conectan con el público. A día de hoy se encuentra ultimando fechas en salas, teatros y festivales para el próximo año 2025. Sobre Erika Leiva Erika Leiva, una talentosa cantante nacida en Tarragona (Cataluña) en 1985, ha cautivado al público con su voz y su pasión por la música. Aunque su familia de origen andaluz se estableció en Tarragona por motivos laborales, finalmente se trasladaron a La Línea de la Concepción, donde Erika creció y se desarrolló como artista. Erika saltó a la fama en la primera edición del programa «Se llama Copla» de Canal Sur TV en 2008, donde dejó una impresión duradera al obtener el tercer puesto. Sin embargo, su camino en la música comenzó mucho antes, habiendo participado en otros certámenes de copla y canción ligera. Hasta la fecha de 2009, Erika ha lanzado dos discos: una maqueta titulada «Erika Leiva», que contiene versiones de canciones conocidas, y otro álbum con temas originales llamado «Tras el cristal». Este último fue el resultado de su tercer premio en un concurso musical. Junto con los demás concursantes de «Se llama Copla», Erika ha realizado una gira por el sur de España durante 2008, desde Cádiz hasta Valdepeñas, llevando su música y su talento a diferentes escenarios. Con su voz emocional y poderosa, Erika Leiva ha dejado una marca en el mundo de la música, cautivando a los oyentes con su interpretación única. Su trayectoria prometedora y su talento innato la han convertido en una artista que no debes perder de vista. Sobre Muchopelo Alejandro Granizo es un malagueño cuyas dos profesiones, baterista profesional y pegador de carteles para eventos, se fulminaron este pasado marzo del 2020 con la llegada de la pandemia. Desde ese encierro comienza a forjarse la personalidad de su alter ego, @Muchopelo, lanzándose con su proyecto en solitario en el que no sólo compone y canta sus temas, si no que llega incluso a encargarse de toda la producción, además de tocar todos los instrumentos de las canciones. Muchopelo es el creador de lo que él ha denominado “POTAJE MODERNO”, una mezcla de estilos que fusiona el mestizaje y el rock con la electrónica. Él mismo lo cuenta: “Tras muchos años trabajando en la producción con otros artistas he decidido emprender mi proyecto en solitario. A mi estilo musical lo he denominado “potaje moderno” y en él intento combinar todas mis influencias venidas del rock, pop mestizaje o funk con sonidos electrónicos. Necesitaba mostrar todo el material que tenía elaborado y ha llegado el momento”.

This Day in Legal History: Gary Gilmore ExecutedOn January 17, 1977, Gary Gilmore was executed by firing squad in Utah, becoming the first person to be put to death in the United States after a 10-year pause in capital punishment. This execution followed the Supreme Court's landmark 1976 decision in Gregg v. Georgia, which reinstated the death penalty under revised statutes that addressed prior concerns about arbitrariness and fairness. Gilmore had been convicted of two murders committed during robberies in Utah and notably refused to appeal his death sentence, demanding instead that it be carried out promptly.His case drew significant public and media attention, particularly as it coincided with the reopening of the death penalty debate in the U.S. After the Supreme Court's 1972 decision in Furman v. Georgia temporarily invalidated capital punishment, states had revised their laws to provide more structured sentencing guidelines. Gilmore's execution marked the first test of those reforms.The event reignited intense national debates over the morality, fairness, and efficacy of capital punishment. Proponents argued that it served as a deterrent and a just response to heinous crimes, while critics questioned its alignment with human rights principles and pointed to racial and socioeconomic disparities in its application. The firing squad method itself sparked further controversy over humane execution practices.Gilmore's case also influenced popular culture, inspiring Norman Mailer's Pulitzer Prize-winning book The Executioner's Song. His willingness to accept the penalty became a focal point in discussions about agency and justice within the death penalty system. The debates sparked by his execution continue to shape U.S. legal discourse, reflecting unresolved tensions over capital punishment in the American legal system.Pam Bondi, Trump's pick for attorney general, disclosed a net worth of $12.2 million, including nearly $3 million in Trump Media shares received after the public debut of Truth Social's parent company last year. Her financial disclosures, submitted during the Senate confirmation process, revealed significant earnings linked to Trump-related entities since leaving public service in 2019. Bondi earned $1.1 million as a lobbyist with Ballard Partners, a firm led by Trump fundraiser Brian Ballard, and $520,000 from the Trump-affiliated America First Policy Institute.She also reported earning $203,738 in 2024 as a lawyer with Panza, Maurer & Maynard, where her clients included Pfizer. Bondi's stake in Trump Media Technology Group includes $3 million in stock and warrants valued at $3.9 million as of December 2024, acquired as compensation for consulting services. Her financial disclosures showed $1.7 million in liabilities, largely from real estate mortgages and notes payable to relatives. Democrats expressed concerns about her close ties to Trump during her Senate hearing, questioning her independence if confirmed as attorney general.Trump AG Pick Bondi Discloses $3 Million in Truth Social StockDemocratic attorneys general are preparing to defend key Biden administration policies as Donald Trump is set to begin his second term as president. With Trump's plans to reverse rules on immigration, the environment, and transgender rights, AGs from over a dozen states, including California, New Jersey, and Michigan, have moved to intervene in legal cases. One major effort involves defending a Biden rule providing health insurance to immigrants brought to the U.S. as children, which is currently challenged by Republican AGs.These Democratic coalitions are also seeking to uphold Biden-era regulations on environmental protections, gun dealers, and firearm devices that allow rapid firing. New Jersey AG Matt Platkin emphasized their focus on protecting residents' rights and ensuring Trump's administration adheres to the rule of law. This strategy mirrors actions during Trump's first term when Democratic AGs filed 155 lawsuits against his policies, achieving an 83% success rate. However, the current legal landscape presents new challenges, with a more conservative judiciary shaped by Trump's earlier appointments. Democratic AG offices, however, are now more experienced, having honed their strategies in prior legal battles. Political experts anticipate numerous lawsuits targeting executive actions Trump may issue early in his term.Democratic states brace for Trump by launching defense of Biden policies | ReutersIn the latest development of the ongoing saga surrounding 97-year-old Judge Pauline Newman, the Federal Circuit's Judicial Council has dismissed her appeal against suspension as "meritless." In a brief filed with the DC Circuit, the Council, alongside the Department of Justice, argued that Newman's claim—that her suspension amounts to unconstitutional removal without impeachment—should be rejected under the Judicial Conduct and Disability Act.Judge Newman, the oldest active federal judge, was suspended after refusing to cooperate with an investigation into her mental fitness. Her second one-year suspension from hearing new cases remains in effect, though the government maintains it is not permanent and could be lifted if she agrees to participate in the inquiry. Newman has challenged the suspension through administrative proceedings and an appeal in the DC Circuit, where her court, known for its jurisdiction over patent cases, is also located.The brief, representing Chief Judge Kimberly A. Moore and the Judicial Council, asserts that Congress distinguishes temporary suspensions from removal. Newman's legal team, the New Civil Liberties Alliance, continues to argue her case.97-Year-Old Judge's Suspension Appeal 'Meritless,' Council SaysThe Biden administration will leave enforcement of the TikTok ban to the incoming Trump administration, signaling no immediate action to force the app offline when a new law targeting the platform takes effect. While TikTok itself could shut down to highlight the law's impact on its 170 million U.S. users, the Biden administration stated it will not enforce the ban, instead emphasizing that TikTok should operate under American ownership. The law imposes penalties on tech companies like Apple and Google if they continue providing services to TikTok while it remains under ByteDance's ownership, exposing them to significant financial risk. However, any delay in enforcement would require the president to grant an extension under strict conditions, none of which TikTok has met. Efforts in Congress to extend the deadline have stalled, with security concerns raised by lawmakers like Senator Tom Cotton blocking attempts to provide ByteDance with more time to divest.President-elect Trump has signaled openness to negotiating a resolution to keep TikTok operational, citing its value to his campaign and young voters. Discussions within his team include a potential executive order to delay the ban while exploring ways to safeguard user data. The Supreme Court has yet to issue a ruling on the law, though justices have expressed concerns about national security risks tied to TikTok's Chinese ownership. Meanwhile, Democratic leaders, including Senator Chuck Schumer, are urging further action to balance security, privacy, and the platform's continued availability.Biden administration will leave it to Trump to implement TikTok ban - ABC NewsThis week's closing theme is by Giuseppe Verdi (1813-1901). Verdi is one of the most celebrated composers in the history of opera, renowned for his ability to blend dramatic storytelling with deeply emotive music. A central figure in 19th-century Italian opera, Verdi's works, including La Traviata, Rigoletto, and Aida, remain staples of the repertoire worldwide. His music often reflected his passion for Italian nationalism and human emotion, making his operas timeless in their appeal. Among his earliest triumphs was Nabucco (1842), a work that established him as a leading composer and marked the start of his long and illustrious career.Nabucco, Verdi's third opera, tells the story of the plight of the Israelites under the rule of the Babylonian King Nebuchadnezzar (Nabucco). Its overture, a brilliant instrumental prelude, captures the opera's dramatic intensity and stirring themes. The piece begins with ominous, foreboding chords that hint at the struggles to come, followed by a sweeping and heroic melody that reflects the resilience and hope central to the story. The overture's dynamic shifts and richly textured orchestration showcase Verdi's ability to infuse orchestral music with the same dramatic power found in his vocal writing.Notably, Nabucco became a symbol of Italian unification during the Risorgimento, with its famous chorus "Va, pensiero" resonating as an anthem of liberation. While the overture does not include this iconic melody, it captures the essence of the opera's emotional and political undertones. As this week's closing theme, the Nabucco overture offers a perfect blend of drama, passion, and triumph, embodying Verdi's mastery and the timeless power of his music.Without further ado, Giuseppe Verdi's overture from Nabucco. Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for his audio described theatre review of the year plus a couple of highlights of shows he is looking forward to seeing in 2025.  Audio described theatre highlights of 2024 included - The reimagining for the stage at the RSC of Mark Ravenhill's 2013 radio play' Ben and Imo', which told the true story of the passionate partnership between Benjamin Britten and Imogen Holst. The touring production of the Lawrence Olivier award winning comedy musical retelling of Jane Austen's ‘Pride and Prejudice (Sort Of)' with only a cast of five women on stage playing all the characters of Pride and Prejudice.  Welsh National Opera's production of Verdi's Rigoletto at the Wales Millennium Centre in Cardiff which had a bit of a Jacobean feel to the costumes and maybe some influences of Shakespeare coming through too. At the Birmingham Repertory Theatre and a musical that is all about first love and finding your voice with ‘Becoming Nancy' based on the novel of the same name by author songwriter, music producer and singer Terry Ronald. Staying with Musicals at the Birmingham Hippodrome with Lin-Manuel Miranda's multi award-winning cultural phenomenon that is Hamilton.  Vidar also mentions a few highlights of shows that he is looking forward to seeing in 2025 too.  (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

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Today is World Opera Day!Seán Boylan, who will be appearing as Marullo in RIGOLETTO at the Bord Gáis Energy Theatre from December 1 - 7, joins Andrea in the studio to give us the history of Opera, and attempt to coach her on how to sing like an opera singer!

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio theatre reviews. This week Vidar was reviewing Welsh National Opera's production of Verdi's Rigoletto at the Wales Millennium Centre in Cardiff with description by Professional Audio Describers Julia Grundy and Jonathan Nash. About Welsh National Opera's production of Verdi's Rigoletto Depravity and deceit: a life disintegrating... Step into the raucous court of the Duke of Mantua where Rigoletto, the court jester, uses vicious wit to conceal his tormented heart. In a world teetering on the edge of debauchery and deceit, his only joy is his daughter, Gilda. When the charming but womanising Duke sets his sights on Gilda, his actions set in motion a tragic chain of events where a father's love and treachery collide in a crescendo of passion and heartbreak. Set against the backdrop of a decadent and ruthless court, this heart-wrenching tale explores the intricate web of love, betrayal, and the consequences of power. Verdi wrote that Rigoletto was his best opera, and with its rich tapestry of emotions and unforgettable melodies – including opera's most famous quartet and the instantly recognisable La donna è mobile – it's easy to see why it transcends time and continues to resonate long after the curtain falls. Welsh National Opera's tour of Verdi's Rigoletto continues until 16 November 2024 and for more about the tour including details of audio described performances do visit the following pages of the WNO's website - https://wno.org.uk/whats-on/rigoletto#venues-and-tickets https://wno.org.uk/access (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Last week, absorbed in preparations for my own birthday, I passed over the birthday of the great Giuseppe Verdi, born 10 October 1813. Two years ago I produced a pair of Verdi episodes, and today I feature the one first published as a bonus episode at that time, which features duets from Luisa Miller, Il Trovatore, La Traviata, Rigoletto, Otello, and Falstaff. In the spirit of my two recent episodes “Requiescat” and “In Pace,” I had the brilliant idea of highlighting great Verdi singers (and one conductor) who died in Octobers past, including: Joan Sutherland (October 10, 2010); Eleanor Steber (October 3, 1990); Montserrat Caballé (October 6, 2018); Vladislav Piavko (October 6, 2020); Rosanna Carteri (October 25, 2020); Leonard Bernstein (October 14, 1990); Walter Berry (October 27, 2000); Franco Bonisolli (October 30, 2003); Edita Gruberová (October 18, 2021); Ingvar Wixell (October 8, 2011); and Rolando Panerai (October 22, 2019). Heard alongside these musicians are the blazingly talented John Alexander, Sherrill Milnes, Leonard Warren, Irina Arkhipova, Mario del Monaco, Anselmo Colzani, Regina Resnik, Margherita Rinaldi, Giorgio Zancanaro, Luigi Alva, Judith Raskin, and Mattiwilda Dobbs. Live performances are featured alongside soundtrack recordings from three different operatic films, as well as a few rare studio recordings ensure that the great Giuseppe receives sufficient, if belated, accolades. 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.

durée : 00:21:48 - Disques de légende du lundi 14 octobre 2024 - Enregistrée en septembre 1955, au terme d'un marathon de trois intégrales discographiques en six semaines, Maria Callas enregistre ici une Gilda d'anthologie.

[@ 4 min] It's time to retire George's number. That's right, it's his final episode after nine years as a cohost on the OBS. The team say their goodbyes and reminisce about the good times (and a few of the bad...) [@ 25 min] Then… It's a 'Free Throw' from Javier Camarena who is set to make his Lyric Opera of Chicago debut as the Duke in "Rigoletto"... [@ 41 min] Plus, in the ‘Two Minute Drill'… George would come back for one more episode as an encore, but Angela Gheorghiu might object... Season Ten of the OBS starts now! GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Unless by some miracle you know him already, the Swedish baritone Hugo Hasslo (1911 – 1994), is almost certainly the greatest baritone you never heard of. I discovered him entirely by accident years ago when Tower Records was going out of business and I, like a jackal picking the carcass of an unfortunate water buffalo, grabbed up scads of opera and vocal CDs that other customers / scavengers had passed over. The second that I heard Hasslo's voice, I knew I had discovered vocal gold. Initially it was the voice that impressed me the most: clarion yet dark-timbred, solid from bass-baritonal low range to an almost Heldentenor-like top (I was later to discover that Hasslo had dabbled in tenor repertoire, going so far as to sing Cavaradossi on stage!) But it was when I discovered a live 1959 recording of Hasslo singing the title role of Rigoletto with his home company, the Royal Swedish Opera, that I encountered his true greatness: here was a Rigoletto that combined the sheer animal power of a Bastianini with the dramatic insight of a Gobbi with an unmatched humanity and compassion for the character. And to think that, with few exceptions, his career, like that of a handful of other Swedish baritones from that era, was based almost entirely in Sweden, and at the Royal Opera, where he sang from 1940 to 1964. Here is a baritone considered by many cognoscenti to be perhaps the finest Swedish baritone that ever lived, a compleat artist, represented however by only a smattering of studio, live, and television recordings, which it is my honor to share with you. Welcome to the Hugo Hasslo Fan Club! 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.  

This upcoming season, LA Opera presents 5 exciting works, Madame Butterfly, Romeo and Juliet, Cosi fan tutte, Ainadamar and Rigoletto. Listen in as Richard Seaver Music Director Maestro James Conlon shares his insights into these operatic treasures in this pre-recorded conversation, a part of Opera for Educators. Tickets are available now at LAOpera.org.

Sigismond Thalberg - Souvenir de Rigoletto de VerdiFrancesco Nicolosi, pianoMore info about today's track: Naxos 8.555503Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

When Erika Simons went to Germany in 2012 to sing with the Cologne Opera, she had no idea that one year would turn into ten. She's a lyric-coloratura soprano, which means she has a very agile light voice with a high upper extension, typically distinguished by agile runs, leaps and trills. She's played roles like Gilda from Verdi's Rigoletto, Eliza Doolittle in My Fair Lady, and Susanna in The Marriage of Figaro. And like the words she sang for Qantas back in the 90s, she's still calling Australia home, recently returning with her two best German souvenirs, her husband Ziggy and little boy Lawrence.  Erika and I were art and music buddies throughout high school. Learning the recorder, analysing musical genres, learning oil painting, and getting up early to for choir practise. She was turning heads back then, and she's still doing it now, attracting reviews like this one by Jenny Camilleri from Bachtrack: On stage, Erika Simons is the emotional fulcrum of the experience. She moves with feline grace and sings with unbroken intensity. In this chat she shares stories of how creativity has helped her in times of adrenaline and changed plans, the vulnerability of being on stage and managing feedback, and how she's seen creativity and innovation in the arts applied in different countries.  Your ears are going to love this one, and you might learn a few new things about Opera like I did. Please enjoy my chat with Erika Simons.  ---- Connect with us: www.instagram.com/trishjohnstone www.instagram.com/oathandstonedesigns www.oathandstone.com.au www.instagram.com/theerikathatsings www.erikasimons.com

WE nod and brought Rigoletto who is just here to slander Shrek 1 and 2 (while praising 3). WE also become the greatest directors of all tim.   Here's the link to the song Ethan brings up from An Inconvenient Truth: https://www.youtube.com/watch?v=JUVqUz8m2PQ   Quiz: Little Miss Sunshine Review (51:14): Little Miss Sunshine   Facebook:@WEAintSeenIt Ethan: @ethangoose.bsky.social; letterboxd: egeese Wesley: @weswee.bsky.social; letterboxd: babyweswee

Te has hinchando a comer. Pero mucho mucho. La pregunta es ¿has comido también cultura en estas fechas tan señaladas? ‘El Criticón' de La Cultureta Gran Reserva te lanza en su pieza semanal unas cuantas críticas favorables (o no tanto) que puedes canjear por recomendaciones (o no tanto). Como parte del delicioso menú (o no tanto), la docuserie de Isabel "Preysler" en Disney+, la de "Pombo" en Prime Video, la precuela de "Yellowstone" ("1883"), la temporada 3 de "White Lotus", la serie "The Night Of" en HBO, un libro alrededor de Charlie Manger (la mano derecha de Warren Buffet), "Berlín" de Netflix, "Wonka", "Rigoletto" en el Teatro Real, lo nuevo de Fargo, la última de Ken Loach, "Fallen Leaves" de Aki Kaurismäki, la surcoreana "Decission to Leave"… o el docu “Orlando, mi biografía política” de Paul B. Preciado. Buen provecho.  

Te has hinchando a comer. Pero mucho mucho. La pregunta es ¿has comido también cultura en estas fechas tan señaladas? ‘El Criticón' de La Cultureta Gran Reserva te lanza en su pieza semanal unas cuantas críticas favorables (o no tanto) que puedes canjear por recomendaciones (o no tanto). Como parte del delicioso menú (o no tanto), la docuserie de Isabel "Preysler" en Disney+, la de "Pombo" en Prime Video, la precuela de "Yellowstone" ("1883"), la temporada 3 de "White Lotus", la serie "The Night Of" en HBO, un libro alrededor de Charlie Manger (la mano derecha de Warren Buffet), "Berlín" de Netflix, "Wonka", "Rigoletto" en el Teatro Real, lo nuevo de Fargo, la última de Ken Loach, "Fallen Leaves" de Aki Kaurismäki, la surcoreana "Decission to Leave"… o el docu “Orlando, mi biografía política” de Paul B. Preciado. Buen provecho.  

There's nothing like singing in an opera chorus. Marc Eliot Stein and Ted Shulman talk about their participation in Regina Opera's production of Verdi's "Rigoletto" in Sunset Park, Brooklyn, and the special ways a chorus can illuminate or enliven a classic opera. We chat about "Nabucco", "Turandot", "Parsifal", "Les Contes d'Hoffmann", "Orfeo ed Euridice", "HMS Pinafore" and "Aida", and the conversation also turns to amateur singing, drinking songs, offensive operas, gender of choruses, teamwork, the disastrous 2023 Israel/Gaza war, Lance Loud, reality TV, New York City's 1970s CBGBs punk scene and a mostly (but not completely) forgotten punk band called The Mumps.

SynopsisOn today's date in 1871, the Opera House of Cairo, Egypt, presented the world premiere of Giuseppe Verdi's Aida. The khedive of Egypt commissioned the opera for his new theater, which had opened in 1869 with a production of Verdi's Rigoletto.Here's how Verdi described it to his publisher, in Verdi's customary laconic fashion: “I was invited to write an opera for a very distant country. I replied, ‘No'. I was approached again and offered a very large sum. I still said, ‘No'. A month later, I was sent a printed synopsis and told it was the work of a person in high authority (which I don't believe). Even so, I found it excellent and replied that I would set it to music on such and such terms. Three days later, I received a telegram that read: Accepted.”For his efforts, the 58-year-old Verdi received four times his usual fee — and the honorary title of Commendatore of the Ottoman Order. The Cairo premiere was a great success, even though Verdi chose to spend his Christmas Eve at home, arranging for the Italian premiere of his Egyptian opera at Milan's La Scala opera house early the following year.Music Played in Today's ProgramGiuseppe Verdi (1813-1901) Grand March, from Aida; New York Philharmonic; Leonard Bernstein, cond. Sony 48226

Se acerca a nuestros micrófonos el tenor mexicano Javier Camarena, encargado de dar vida con su voz al Duque de Mantua en el Rigoletto de Verdi que estará en el Teatro Real hasta el próximo 2 de enero.  Con él charlamos sobre esta producción que cuenta con una dirección musical a cargo de Nicola Luisotti y Christoph Koncz, y que tiene como director de escena a Miguel del Arco. Escuchar audio

I WENT TO THE OPERA! and it was amazing, and i love my job and i have so much to say and i cannot wait to tell you about it. read the text version of this here: thewhitepube.co.uk/art-reviews/rigoletto-royaloperahouse/ & if i don't see u until next year, MERRY CHRISTMAS AND HAPPY NEW YEAR! love you, hope you've had a nice 2023, and that u get to spend a bit of time having a lil rest and a mince pie w the people u love. hope u have a nice 2024 too! hope u r cosy and happy and warm love love love u!

Harpist to Queen Victoria, the Welsh composer John Thomas (1826–1913) also wrote prolifically for his own instrument, both for solo harp and for duos of two harps or harp and piano – a combination where the different sounds of the two instruments enhance the clarity of the texture. Thomas' original works use the elegant Romantic style of his own day, but he also left a generous legacy of transcriptions, especially of operatic favorites. Although some of his music was intended for the Victorian drawing room, other pieces require a virtuoso technique – and all of it has a thoroughly engaging melodic appeal.TracksCharles Gounod, arr. John Thomas Soldiers' Chorus from Gounod's Faust (2:48)Charles Gounod, arr. John Thomas and Julius Benedict Duet on Subjects from Gounod's Faust (1869) (8:41)Giuseppe Verdi arr. John ThomasSix Gems from Verdi's Operas (publ. 1857) (32:41) No. 1 ‘Miserere' and ‘Tu vedrai che amore in terra' from Il trovatore (7:24) No. 2 ‘Il balen' and ‘Di tale amor' from Il trovatore (4:25) No. 3 ‘Or co' dadi', ‘Squilli, echeggi la tromba' and ‘Sì, la stanchezza m'opprime' from Il trovatore (6:19) No. 4 ‘D'amor sull'alo rosee' and ‘Di quella pira' from Il trovatore (5:36) No. 5 ‘Un dì, se ben rammentomi' (Quartet) from Rigoletto (5:16) No. 6 La Sicilienne (Boléro) from Les vêpres siciliennes (3:41) Gioachino Rossini arr. John Thomas Prayer from Mosè in Egitto (arr. 1884) (5:22)John Thomas Le Désir. Rhapsody (1892) (4:41) Coronation March (1902) (3:57) Luigi Venzano arr. John Thomas La Gassier Valse (arr. 1858) (2:45)First RecordingsHelp 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.

Beverly Lee, founding member of The Shirelles, discusses the new book, “BUT WILL YOU LOVE ME TOMORROW? An Oral History of the ‘60s Girl Groups.” Plus, Alex Spitzer takes the spotlight in our series, “Speaking of Dance,” and Atlanta Opera's artistic director Tomer Zvulun details their production of Verdi's “Rigoletto,” on stage at the Cobb Energy Performing Arts Centre November 4 through 12.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.