Podcasts about royal opera house covent garden

Alain Lanceron est le Président de Warner Classics & Erato, seuls labels classiques d'une major du disque, poste qu'il occupe depuis 2014 suite au rachat d'EMI par le groupe Warner. Une multinationale au catalogue impressionnant : Maria Callas, Herbert Von Karajan, Nathalie Dessay, Martha Argerich, Gautier et Renaud Capuçon, Daniel Barenboim, Alexandre Tharaud, Laurence Equilbey, Elisabeth Schwarzkopg, Hélène Grimaud… Quand on l'interroge sur son enfance, on n'est pas surpris que ce Niçois d'origine de 75 ans ait fait une si longue carrière dans la musique classique. Musiques : Carmen “Habanera” Conchita Supervia “Overture” Verdi : Un Ballo In Maschera. Royal Opera House Covent Garden, Sir Colin Davis “Le Crépuscule des Dieux” de Richard Wagner, mis en scène par Patrice Chéreau et dirigé par Pierre Boulez à Bayreuth en 1980 Norma: Act I: Casta diva · Maria Callas, Orchestre National de l'Opéra de Paris dirigé par Georges Sebastian “Overture” d'Alcina de Handel, dirigé par William Christie avec les Arts Florissants Fauré: 3 mélodies, Op. 7, N°1, Après un rêve - Barbara Hendricks avec Michel Dalberto Grieg: Lyric Pieces, Book 2, Op. 38: N°1, Berceuse - Bertrand Chamayou Piano Concerto en ré majeur, Op. 61a. Allegro non troppo - Yehudi Menuhin, Sinfonia Varsovia, François-René Duchâble Musique originale : Léonie Pernet

Interpreten: Lisette Oropesa, Orquesta Titular del Teatro Real, Oliver Díaz Label: EuroArts EAN: 880242111173 Die letzte CD Empfehlung des vergangenen Jahres ist unsere erste CD der Woche des Neuen. Schwungvoll gehen wir hinein ins 2025er Jahr mit der Sopranistin Lisette Oropesa und ihrer Leidenschaft für Zarzuela. Auch im neuen Jahr begleitet Sie wieder Michael Gmasz Woche für Woche mit seinen CD Empfehlungen. Im zarten Alter von 22 hat sie als Susanna ihr Debüt an der New Yorker Metropolitan Opera gefeiert und in den vergangenen knapp 20 Jahren hat Lisette Oropesa ihre Liste an renommierten Opernhäusern weltweit um die Mailänder Scala, das Royal Opera House Covent Garden, die Bayerische Staatsoper oder auch die Wiener Staatsoper ergänzt, um nur einige der wichtigsten Stationen zu erwähnen. Noch weiter zurück liegen ihre ersten Erinnerungen an Zarzuela Musik, nämlich in der Kindheit, als ihr ihre Mutter die eine oder andere Arie vorgesungen hat bzw. als sie bei ihren Großeltern jene Musik kennengelernt hat, mit der diese in Havanna aufgewachsen sind. Und auch wenn Lisette Oropesa möglicherweise nie in einer Zarzuela auf der Bühne stehen wird, fühlt sie sich, ihrem eigenen kubanischen Familienerbe geschuldet, diesem Genre doch verpflichtet. Mis amores son las flores heißt ihr neues Zarzuela Album. Lisette Oropesa ist eine stimmgewaltige Frau, die es hier jedoch auch versteht, ihre Stimme dosiert einzusetzen, um so manchen Arien die nötige Leichtigkeit zu verleihen. Die verführerischen Rhythmen der spanischen und kubanischen Arien und ihre Melodien hat Lisette Oropesa quasi im Blut und so singt sie sich hörbar genussvoll durch das Repertoire von Ernesto Lecuona, Ruperto Chapí, Gerónimo Giménez, Pablo Sorozábal oder Federico Moreno Torroba. Für den nötigen Schwung und das passende Kolorit sorgt das Opernorchester des Teatro Real in Madrid unter der Leitung von Óliver Díaz. Nach Juan Diego Flórez zuletzt, ein weiteres ausgesprochen gelungenes Zarzuela Album. Vielleicht würde sich ja eine solche tatsächlich auch ganz gut auf der Bühne, eventuell sogar hier in Wien, machen … Lisette Oropesa würde sich als Hauptdarstellerin in so manchem der hier eingespielten Werke als wunderbare Hauptdarstellerin empfehlen. (mg)

Daniele Rustioni is a major presence at leading opera houses and symphony halls. In 2022, the International Opera Awards named him “Best Conductor.” His opera repertoire numbers over 70 works spanning over centuries and ranging from Italian to French, German to Russian, and more. This coming season he concludes his eight-year tenure as music director of Opéra National de Lyon.   He was principal guest conductor of the Bavarian State Opera until October 2023.Daniele has led performances at the nearly all of the most important international opera houses and festivals, including Aix-en-Provence Festival, BBC Proms, Berlin State Opera, Dutch National Opera, Paris Opera, Royal Opera House Covent Garden, Salzburg Festival, Teatro Real, Zurich Opera House and the Teatro alla Scala. In Italy, his homeland, he has also conducted at Opera di Roma, Teatro del Maggio Musicale Fiorentino (Florence), Teatro La Fenice (Venice), Rossini Opera Festival (Pesaro) and Teatro San Carlo (Naples).He was recently named principal guest conductor at the Metropolitan Opera, and as we spoke, he was preparing his debut concerts with the New York Philharmonic.  

La ópera de Händel es una producción del Teatro Real en colaboración con la Royal Opera House Covent Garden de Londres...

The New Zealand born opera singer Dame Kiri Te Kanawa is one of the world's greatest sopranos. She enjoyed a 50 year career singing lead roles in opera houses around the globe, and on dozens of studio recordings. Since retiring in 2017 she has focussed on leading her Kiri Te Kanawa Foundation which supports young opera singers from her home country.Dame Kiri talks to John Wilson about her early life in Gisborne and Auckland, New Zealand. Of Māori heritage, she was adopted as a baby and cites both her parents as a huge influence on her choice of career and work ethic. As a teenager she loved musical theatre, her favourite being Leonard Bernstein's West Side Story which she was later to record in an operatic version conducted by Bernstein himself. Moving to London in 1966 to study at the Royal Opera Centre, her education in opera began in earnest under her teacher Vera Rózsa. Her breakthrough role came in 1971 when she was cast as the Countess Almaviva in the Royal Opera House's production of The Marriage of Figaro. Her Metropolitan Opera House debut followed three years later when she was asked at the last minute to replace the soprano singing Desdemona in Verdi's Otello for the opening performance. Dame Kiri discusses the fame and attention she attracted when in 1981 she performed at the wedding of Prince Charles and Lady Diana Spencer, watched live by 600 million people. After over 60 years of performing, she also talks about her decision to finally retire in 2017.Producer: Edwina PitmanArchive used: Omnibus : Leonard Bernstein's West Side Story, BBC1, 10 May 1985 BBC Sound Archive, Kiri Te Kanawa interview with Andrew Sakley, 1966 Soprano Sundays, BBC2, 21 Dec 1975 Le Nozze di Figaro, Royal Opera House Covent Garden, 1971 Otello, Metropolitan Opera New York, 1974 BBC Sound Archive, The marriage service in St. Paul's Cathedral of Prince Charles and Lady Diana Spencer, 29 July 1981 Top Of The Pops, BBC1, 24 October 1991 Parkinson, BBC1, 18 March 1981 Going Live, BBC1, October 1991 Wogan BBC1, 25 Dec 1984

Neil Armfield AO is a leading Australian director of theatre, opera and film. Alongside Rachel Healy, Neil was Artistic Director of Adelaide Festival between 2017 and 2022. Prior to that, Neil was the inaugural Artistic Director of Belvoir St Theatre, which he also co-founded, for 17 years.   As Artistic Director of Belvoir, and for other companies, Neil has directed well over 100 productions, with a focus on new and Indigenous writing, Shakespeare, David Hare and Patrick White.  Some highlights include; The Tempest, Hamlet, Up the Road, Summer of the Seventeenth Doll, Keating!, Toy Symphony, Dallas Winmar's Aliwa, Angels in America, A Cheery Soul, Signal Driver, The Blind Giant is Dancing and Things I KnowTo Be True. Neil's production of Arthur Miller's Death of a Salesman opened in late 2023 to glowing reviews. Produced by GWB Entertainment and Red Line Productions at Her Majesty's Theatre in Melbourne, it starred Anthony LaPaglia and Alison Whyte. After the success of the Melbourne season, the play will be presented at the Theatre Royal Sydney in May/June 2024.   In 2022, Neil directed the world premiere of the oratorio Watershed: The Death of Dr Duncan by Joseph Twist at the Adelaide Festival, and Glyndebourne Festival's production of Brett Dean's Hamlet at the Metropolitan Opera in New York. Neil directed the same production of Hamlet at Munich's Bayerische Staatsoper in July 2023. For the 2021 Adelaide Festival, Neil directed the Australian premiere of A German Life by Christopher Hampton, starring Robyn Nevin, as well as Britten's A Midsummer Night's Dream in the Festival Theatre. Later that year he directed an acclaimed production of Rameau's comic masterpiece Platée for Pinchgut Opera. In addition to his extensive work in Australia, many of Neil's productions have played internationally. These include Cloudstreet (toured to London, Dublin, Zurich, New York), The Diary of a Madman (with Geoffrey Rush, toured to Moscow, St Petersburg, New York), Exit The King (Broadway), The Book of Everything (toured to New York), The Judas Kiss (toured Australia with Bille Brown, London, New York and Toronto with Rupert Everett), The Secret River (adapted by Andrew Bovell, toured to Edinburgh Festival and London) and the world premiere of David Hare's I'm Not Running for National Theatre in London. Neil frequently collaborates with major opera companies, having directed productions at The Metropolitan Opera, English National Opera, Royal Opera House Covent Garden, Chicago Lyric Opera, Zurich Opera, Bregenz Festival, Washington National Opera, Opera Australia, Pinchgut, Canadian Opera, Welsh National Opera, and Houston Grand Opera. In addition to classics by Mozart, Britten and Wagner, Neil directed the premieres of Frankie and The Eighth Wonder by Alan John, Whitsunday by Brian Howard, Love Burns by Graeme Koehne and Bliss and Hamlet by Brett Dean. For screen, Neil directed and co-wrote the feature film Candy, starring Heath Ledger and Abbie Cornish, which screened at over twenty international films festivals including In Competition at the Berlinale. Neil was awarded Best Adapted Screenplay at the AFI Awards and an AWGIE for Best Screenplay. Neil's second feature film Holding the Man premiered at Sydney Film Festival in 2015. For television, Neil directed miniseries Edens Lost for ABC (AFI Award Best Director and Best Mini-Series), The Fisherman's Wake (by Andrew Bovell), which won an ATOM Award for Best Original TV Production, and Coral Island (by Nick Enright). Over his distinguished career, Neil has received 2 AFI Awards, 12 Helpmann Awards and several Sydney Theatre, Victorian Green Room and Sydney Theatre Critics Circle Awards. He holds Honorary Doctorates from Adelaide, Sydney and NSW Universities, and in 2007 was appointed Officer of the Order of Australia. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts.

A singer with a distinguished career which spans four continents, Helpmann-nominated Simon Lobelson has established himself as a one of the most versatile baritones of his generation. He's performed over 90 operatic roles spanning the baroque to the contemporary, with companies including the Royal Opera House Covent Garden, the English National Opera, as well as our own Opera Australia and Pinchgut Opera. In concert, he's performed with the Sydney Symphony, the Sydney Philharmonia Choirs, and many ensembles overseas. In this conversation, Simon explores his musical inspirations and shares some personal reflections on life and the evolution of his illustrious career. Simon Lobelson performs with Music @ VJs on 7 April.

Demnächst ist Bryn Terfel wieder als Richard Wagners Fliegender Holländer am Royal Opera House Covent Garden in London zu erleben. Eine Paraderolle für den walisischen Bassbariton. Um die Seefahrt geht es auch in seinem jüngsten Studioalbum „Sea Songs“, nur deutlich entspannter als auf der Opernbühne. Der begeisterte Sportfischer Bryn Terfel hat mit illustren Gästen in seiner walisischen Heimat in einer umgebauten Kapelle in Pentrych bei Cardiff „salzwassergetränkte Volkslieder“ aufgenommen. Mehr dazu von Ursula Magnes.

01 - V. Bellini, Norma “Svanir le voci... Me protegge”, Franco Corelli, dir. Antonino Votto Teatro Regio di Parma, 29.12.197102 – G. Donizetti, Lucia di Lammermoor “Verranno a te” Joan Sutherland e Alfredo Kraus (Ariel Bybee Alisa) Metropolitan di New York, il 13 novembre 1982. The Metropolitan Opera Orchestra diretta da Richard Bonynge.03 – G. Rossini Otello Recitativo e terzetto - San Carlo 2016 Direttore Gabriele Ferro, Othello - John Osborn, Desdemona - Nino Machaidze, Rodrigo - Dmitry Korchak, Jago - Juan Francisco Gatte.04 - Fidelio – Quartetto Atto I “Mir ist so wunderbar”. Antonio Pappano direttore. Amanda Forsythe, Lise Davidsen, Georg Zeppenfeld and Robin Tritschler perform. Royal Opera House Covent Garden.05 – W. A. Mozart Die Zauberflöte Atto I, Quintetto – “Hm! Hm! Hm! Hm!” • Orchestra di Budapest Failoni Chamber Orchestra, direttore Michael Halasz, Wilfried Gahmlich, Elisabeth Norberg-Schulz, Georg Tichy, Hellen Kwon, Herbert Lippert, Kurt Rydl, Lotte Leitner.06 - Don Giovanni – Sestetto. Edita Gruberova (Donna Anna), Ann Murray (Donna Elvira), Susanne Mentzer (Zerlina), Francisco Araiza (Don Ottavio), Claudio Desderi (Leporello), Natale De Carolis (Masetto) | Teatro alla Scala, 1987 direttore Riccardo Muti.

Am 20. Oktober waren 900 Kinos weltweit mit dem Royal Opera House Covent Garden in London verbunden. Puccinis "La Bohème" ging dort über die Bühne und gleichzeitig weltweit über die Leinwand. Andreas Resch war im neuen Rex in München dabei.

Gestern hat die letzte Premiere der Ära Robert Meyer an der Wiener Volksoper stattgefunden. radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet: Robert Meyer verabschiedet sich mit der weltstädtischen Inszenierung von David McVicar, die in Zusammenarbeit mit dem Royal Opera House Covent Garden entstanden ist. David McVicar ist sich nicht zu gut, die Geschichte zu erzählen wie sie Benjamin Britten komponiert hat und Myfanwy Piper sie geschrieben hat. Auch in der im Stil von 1900 gekleideten Gesellschaft gibt es Angst, Verwirrung und Tod. Vicki Mortimer steuert ein stimmiges Bühnenbild und passende Kostüme bei. Vordergründig geht es um die homoerotische Neigung des Dichters Gustav von Aschenbach, die sich wohl auch Thomas Mann in seinem Roman von der Seele geschrieben hat; vor allem aber geht es um den Konflikt zwischen Schönheit und Leidenschaft, um das apollinische und um das dionysische Prinzip. Bei Thomas Mann und bei Benjamin Britten siegt der leidenschaftliche Chaot Dionysos. Diese Auseinandersetzung gestalten Thomas Lichtenecker und Martin Winkler. Nicht nur die tragischen Szenen und der Traum mit der Vision des Apollo sondern auch die heiteren sind fein herausgearbeitet. Die Friseurszenen und der Auftritt der Straßensänger werden zum erheiternden Ereignis. Der Erzkomödiant Martin Winkler hat dabei einen großen Anteil. Seine Charakterisierungen der verschiedenen Figuren sind unübertrefflich. Besser geht das nicht. Rainer Trost singt und spielt den Gustav von Aschenbach ebenso prägnant. Man sieht Thomas Mann leibhaftig vor sich. Ich habe jedes Wort verstanden und die Gefühle mitgelebt. Victor Cagnin tummelt sich als Tadzio mit dem gleichaltrigen Staatsballett wie sich eben junge Leute bewegen. Diese Tanzszenen verlängern allerdings den Abend beträchtlich. Sie geben allerdings Gerrit Prießnitz und dem Volksopernorchester Gelegenheit, Benjamin Brittens Musik ausführlich zu interpretieren und so deren Schönheit hervorzuheben. Ich habe das Orchester bewundert. Die zahlreichen Nebenrollen sind aus dem Haus rollendeckend besetzt. Alle erfüllen ihre Aufgaben bestens. Ein großer Abend und ein würdiger Abschied für Robert Meyer. Aber auch eine Herausforderung für die Nachfolgerin auf demselben Niveau weiterzuarbeiten. Solche Abende braucht die Musikstadt Wien. Wertnote: 9,2/10 Punkten der Schmitz-Scala.

Born in Inverness in 1976, Stuart MacRae has established himself as one of the most distinctive of contemporary composers. Stuart's music has been performed at the Royal Opera House Covent Garden, the BBC Proms and the Edinburgh International Festival, by ensembles including the Scottish Chamber Orchestra, Scottish Ensemble and London Sinfonietta. Often inspired by aspects of natural landscape, Stuarts music draws on various strands of European modernism including the music of Stravinsky, Carter, Xenakis and most significantly, Maxwell Davies.   I am Prometheus Ursa Minor Cladonia bellidiflora Dark Liquid With special thanks to performers: Hebrides Ensemble   Ear to the Ground keeps you in the loop with interviews and gig alerts from Scotland's top-notch composers. Hosted by Aileen Sweeney and Ben Eames. Sound edited by Mia Eames. Website Links: https://www.eartothegroundscotland.com/ https://stuartmacrae.com  

You may not think you know the opera “Carmen,” but you probably do. It's full of catchy tunes that are easy to hum. In the same way, you may not think you know Denyce Graves, but you probably have heard her powerful voice. Graves is regarded as one of the greatest “Carmen” singers of all time and one of the great mezzo-sopranos of the 21st century.  She's performed around the world with The Three Tenors. In 2020, she sang in the rotunda of the U.S. Capitol where the late Supreme Court Justice Ruth Bader Ginsburg lay in state. The first time Graves sang the role that made her famous was in the Minnesota Opera's 1991 production of “Carmen.” The 19th century French opera by composer Georges Bizet tells the story of a soldier's possessive infatuation for a Romani factory girl that leads to his downfall. This spring, Graves has returned to the Twin Cities, not to sing, but to direct the company's production of “Carmen,” which opens in May.  At 9 a.m. Wednesday, MPR News host Angela Davis spoke with Graves about opera, growing up in Washington, D.C. and what it's been like to be a Black woman singing her way to the top of a traditionally white, European musical art form. Guests:  Denyce Graves is recognized as one of the great mezzo-soprano opera singers of our time. She's performed at Metropolitan Opera, Vienna Staatsoper, Royal Opera House – Covent Garden, San Francisco Opera and on many other stages around the world. She is directing Minnesota Opera's “Carmen,” which opens in May. Ryan Taylor is president and general director of the Minnesota Opera. Subscribe to the MPR News with Angela Davis podcast on: Apple Podcasts, Google Podcasts, Spotify or RSS. Hear their conversation using the audio player above and read the highlights below. “The one thing that we reached for, that everybody reached for during COVID, were the arts,” Graves said. “And we could see how vital and essential the arts were… We're watching movies, we're watching plays, we would listen to opera. Listening to music, reading books – that was the anchor that everybody held onto. And that's what opera has the power to do: to unite people.” Graves grew up in Washington, D.C. and, with her mother's guidance, she sang at church. Opera came later. “In the neighborhood that I grew up in, nobody was listening to opera,” Graves said.  A music teacher encouraged Graves throughout her early years – first as she expressed a love for music in kindergarten, then through junior high school chorus and finally as a student at a performing arts high school, where she discovered opera. And she has distinct ties to Minnesota. “The relationship that I've had with Minnesota Opera has just been one that has defined my whole career,” she said. She landed her first role, as Carmen, with Minnesota Opera. She said that role took her everywhere. “And I mean everywhere – there wasn't an opera house that I didn't sing in all over the world, with everybody. And now here I am, 30-something years later, directing…” Once again, Graves will debut with Minnesota Opera, now as a director. “This first experience has changed the whole trajectory of how I see myself and where I'm going to go and what lies ahead. And so I'm just really, really grateful,” she said. Besides directing “Carmen” for the Minnesota Opera, Graves keeps busy with her foundation, which invests in education to share the stories of African American musical figures. Graves said that work is inspired by opera singer Mary Cardwell Dawson, who, unable to find work in an environment permeated by racism after graduating from a conservatory in 1925, established her own music school and opera company.

Herself.On this episode we are joined by Phyllida Lloyd. Phyllida Lloyd, CBE is an English film director and producer, best known for Mamma Mia! and The Iron Lady. Her theatre work includes directing productions at the Royal Court Theatre and Royal National Theatre, and opera director for Opera North and the Royal Opera House Covent Garden.Please support the Mark and Me Podcast via Patreon here: https://www.patreon.com/Markandme or you can buy me a coffee here: https://ko-fi.com/markandme or you can even treat yourself to a sticker over at my store here: https://www.etsy.com/uk/shop/MarkandMeStore

Phyllida Lloyd, is an English theatre and film director and producer, best known for Mamma Mia! (2008) and The Iron Lady (2011). Her theatre work includes directing productions at the Royal Court Theatre and Royal National Theatre, and opera director for Opera North and the Royal Opera House Covent Garden. As this episode goes out Phyllida's third theatrically released film, Herself, will be available in cinemas across the UK.The music for the podcast is Twiggy's version of "Waterloo Sunset" by the Kinks and can be found on Apple Music at this link https://music.apple.com/gb/album/romantically-yours/693460953If you've enjoyed listening to “Tea With Twiggy” please give take a moment to give us a lovely 5 STAR rating on Apple Podcasts. It really helps other people to find the show. If you haven't done so already please subscribe to this podcast so you auto-magically get the next episodes for free and do tell all your friends and family about it too. If you want to connect with me I'd love to hear from you.You can find me on Twitter @TwiggyOr you can find me on Instagram @TwiggyLawsonMy thanks go to all the people that have helped this podcast happen:● Thanks to all the team at Stripped Media including Ben Williams, who edits the show, my producer Kobi Omenaka and Executive Producers Tom Whalley and Dave CorkeryIf you want to know more about this podcast and others produced by Stripped Media please visit www.Stripped.media or email Producers@Stripped.Media to find out! See acast.com/privacy for privacy and opt-out information.

Hailed by the New York Times as a soprano of “gleaming sound, free and easy high notes, agile coloratura runs and lyrical grace,” Jessica Pratt is considered one of today's foremost interpreters of some of bel canto's most challenging repertoire.Since her European debut in 2007 as Lucia di Lammermoor, Ms Pratt's schedule has included performances at opera theatres and festivals such as the Teatro alla Scala of Milan, Zurich Opera, Deutsche Oper Berlin, the Vienna State Opera and the Royal Opera House Covent Garden, working with conductors such as Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Christian Thielemann, Donato Renzetti, Pier Giorgio Morandi, Carlo Rizzi, Antonino Fogliani, Wayne Marshall and David Parry.The 2012/13 season brought several acclaimed debuts at Festival Verdi in Parma, including Gilda to Leo Nucci's Rigoletto, at Deutsche Oper Berlin as Lucia, at Vlaamse Opera in New Year's Eve Concert, at Teatro de la Maestranza in Sevilla (Gilda, once more next to Leo Nucci), in the role of Matilde in Guillaume Tell next to Juan Diego Florez interpreting Arnold in Lima, Giulietta in I Capuleti e i Montecchi in Reims, in the role of Lisinga in Demetrio e Polibio of Rossini in Neaples, and in the role of the protagonist in Giovanna d'Arco at Festival della Valle d'Itria in Martina Franca.In the 2013/14 season Ms Pratt could be heard in new productions of Lucia di Lammermoor at La Scala and in Amsterdam, as Amina in La sonnambula in Bari, Gilda in Padova, in the season opening of La Fenice as Inès in Meyerbeer's L'Africaine, as Musetta in La Bohème in Salerno, in her role debut as Violetta in La Traviata in Melbourne, as Zenobia in Aureliano in Palmira at the Pesaro Rossini Opera Festival as well as in recitals in Tokyo and Florence with Vincenzo Scalera.In 2014/15 the soprano made her role debuts as Cleopatra in Handel's Giulio Cesare at the Teatro Regio in Turin and as Amenaide in Rossini's Tancredi at the Opéra de Lausanne. Other performances included Donna Anna in Don Giovanni and Giulietta in I Capuleti e i Montecchi at the Teatro La Fenice in Venice; Elvira in I Puritani in Florence and in Melbourne; Lucia di Lammermoor at the Rome Opera House and at the Festival Granda in Lima; her role and festival debut as Rosina in Il barbiere di Siviglia at the Arena di Verona, where she could also be heard as soprano soloist in Carmina Burana; the soprano solo in Rossini's Messa di Gloria alongside Juan Diego Florez and La morte di Didone at the Rossini Opera Festival; as well asconcerts in Milan, Bonn, and London.Performances of the 2015/16 season included Jessica Pratt's returns to Florence, Turin and Melbourne as Lucia di Lammermoor, her debuts at the Gran Teatre del Liceu Barcelona as Desdemona in Rossini's Otello, at the Palau de les Arts Reina Sofia Valencia in Mozart's Davidde penitente and at the ABAO Bilbao as Amina in La sonnambula, her role debuts as Semiramide at the Opéra de Marseille and later at the Washington Concert Opera and as Linda di Chamounix at the Rome Opera House; and concerts in Oviedo and Moscow.More recently, Semiramide and Rosmonda d'Inghilterra at the Florence Opera House, a concert with the Queensland Symphony Orchestra, Rosmonda d'Inghilterra at the Donizetti Festival Bergamo, her debut at the Metropolitan Opera House New York as Queen of the Night in The Magic Flute, and Rigoletto in Oviedo.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

In deze aflevering vertelt Francis hoe Benjamin Britten als eenling opstond tegen de massa. Over Brittens' geweldige muziek én over een van zijn opera's die ze tientallen keren zelf heeft gezongen. The Young Person's Guide to the Orchestra  BBC Symphony Orchestra o.l.v. Andrew Davis Four Sea Interludes – Deel I “Dawn”  BBC Symphony Orchestra o.l.v. Andrew Davis  Albert Herring – Florence!  Royal Northern Sinfonia o.l.v. Steuart Bedford Frank Bridge - The Sea – deel II “Sea-Foam. Allegro Vivo” BBC National Orchestra of Wales o.l.v. Richard Hickox  Peter Grimes – Interlude “Dawn” Chorus & Orchestra of the Royal Opera House o.l.v. Benjamin Britten Peter Grimes – Mr. Swallow! I Want the Lawyer Swallow! Lauris Elms, Chorus & Orchestra of the Royal Opera House Covent Garden o.l.v. Benjamin Britten Peter Grimes – Who Holds Himself Apart Lauris Elms, David Kelly, Geraint Evans, Marion Studholme, Raymond Nilsson, Chorus & Orchestra of the Royal Opera House Covent Garden o.l.v. Benjamin Britten Peter Grimes – To Those Who Pass the Borough James Pease, Owen Brannigan, Raymond Nilsson, Chorus & Orchestra of the Royal Opera House Covent Garden o.l.v. Benjamin Britten The Rape of Lucretia – Lucretia! O, Never Again Must We Two Dare to Part Christopher Purves, Angelika Kirchschlager, Aldeburgh Festival Ensemble o.l.v. Oliver Knussen Albert Herring – Well tried Albert!  Peter Savidge, Royal Northern Sinfonia o.l.v. Steuart Bedford  A Midsummer Night's Dream – Over Hill, Over Dale Choirs of Downside School & Emanuel School, London Symphony Orchestra o.l.v. Benjamin Britten Owen Wingrave – Sirrah! How Dare you! Opera Trionfo, Nieuw Ensemble o.l.v. Ed Spanjaard Death in Venice – Ouverture  English Chamber Orchestra o.l.v. Steuart Bedford Gloriana – Prelude  Orchestra of the Welsh National Opera o.l.v. Charles Mackerras

LISZT/THALBERG/PIXIS/HERZ/CZERNY/CHOPIN: Hexameron S392 R131 (Grandes variaciones de Bravura sobre la marcha de “I Puritani” de Bellini) (18.12). L. Howard (p.). Gran Fantasía y Variaciones sobre motivos de “I Capuleti” Op. 10 (17.01). F. Nicolosi (p.). BELLINI: Aria “Son vergin vezzosa” (Acto I, “I Puritani”) (3.03). J. Sutherland (sop.), Orq. de la Royal Opera House Covent Garden. Dir.: F. Molinari-Pradelli. Escuchar audio

In this Episode of Magic Talks I talk to Marika Rauscher about how we can look after our voices, what you are actually paying for when you book entertainment, the importance of reading a room, tips on pricing, how she has adapted during covid, and lots more.  Marika is a Global Award Winning Opera Crossover Soprano and Coach. She was the in-house opera singer at Harrods, has sung for the Royal Family, performed at The Royal Opera House Covent Garden and enjoys an international career as a performer. Her vast experience as a session singer and voiceover artists, has led her to record for Xbox, BBC, Katherine Jenkins, The English National Opera, Cameron MacIntosh, David Ian and on Hollywood film soundtracks and trailers for Hans Zimmer. Marika is also the Musical Director of The London Stroke Choir, The Chelsea Theatre Choir and wellbeing ‘Sing to Live, Live to Sing' Choirs in London. you can follow here on social media just visit  http://www.facebook.com/marika.rauscher.singer http://www.twitter.com/marikarauscher http://www.instagram.com/marikarauscher http://www.linkedin.com/in/marikarauscher http://www.marikarauscher.com http://www.youtube.com/marikarauscher http://www.soundcloud.com/marikarauscher

Katharina Kastening is a freelance stage director and works as a staff director at Oper Frankfurt. She staged, among others, Offenbach's Daphnis et Chloë at the Opera Northern Ireland and Rodrigo for children at the Göttingen International Händel Festival. Further engagements led her to the Grange Festival in Hampshire and the Abu Dhabi Festival in the Emirates Palace in Abu Dhabi. As a staff director, she was involved in the new productions of Menotti's The Medium (director: Hans Walter Richter), Faurés Pénélope and Rossini's Otello (director: Damiano Michieletto) in Frankfurt. She has assisted Keith Warner several times, including at the Royal Opera House Covent Garden in London (The Ring of the Nibelung), at the Semperoper Dresden (La Forza del Destino), at the Theater an der Wien (Egmont, Der Besuch der alten Dame, Elegie für junge Liebende) and at the Cantiere Internazionale d'Arte Montepulciano (Passion). Born in London, she completed a Bachelor's degree in theatre studies at Royal Holloway University of London, followed by a Master's degree in Text and Performance (specializing in directing) at the Royal Academy of Dramatic Art. Connect with Katharina on Instagram: @katharinaek Website: katharinakastening.com  

Alexander Lewis is currently rehearsing for our production of The Merry Widow, returning as Count Danilo after originating the role in this production to great acclaim in 2017. The Australian tenor, known both for his performances in opera and musical theatre, has performed in some of the world’s most prestigious opera houses, including The Royal Opera House Covent Garden, The Metropolitan Opera and Komische Oper Berlin. In this interview with our Artistic Director, Lyndon Terracini, Lewis talks about growing up with Australian operatic royalty, returning to rehearsals after an eight-month break, and finding his own way into the world of music.

In this episode of Composer Focus, Sir Antonio Pappano, Music Director of the Royal Opera House Covent Garden, guides us through the life and music of Gustav Mahler.Subscribe to Nothing Concrete on Acast, Spotify, iTunes or wherever you find your podcasts. See acast.com/privacy for privacy and opt-out information.

Vad är ett eget uttryck, en egen röst i musiken? Hur manifesterar sig den egna rösten hos en sångare eller hos en operachef? Jag känner att min röst har fått en speciell plats här i världen. En gåva som har landat i mig, säger svenska sopranen Elin Rombo, som värnar om sin naturliga och mjuka röstklang, tryfferad med en skvätt mörkt vemod. Plötsligt öppnar sig ett nytt register i hennes röst och Elin Rombo kan sjunga fyra toner ovanför höga C. Det är som att hoppa höjdhopp. Som att ha en liten ventil som pyser! Det är en underbar känsla, säger Elin Rombo, som sjöng Susanna i Mozarts Figaros bröllop på operan i Stockholm. Elin Rombo spås en lysande internationell karriär. Elin Rombo har lagt tre nya roller till sin repertoar, Sophie i Rosenkavaljeren, Fiordiligi i Così fan tutte och Mimì i La Boheme, alla vid Kungliga Operan i Stockholm. Elin Rombo har mottagit en rad stipendier och utmärkelser, bland dem Birgit Nilsson-stipendiet 2009. I november 2013 utnämndes Elin Rombo till hovsångerska och 2016 tilldelades hon medaljen Litteris et Artibus. Hur märks den egna rösten hos en operachef?   Jag har avlivat min inre kontrollfreak och tar råd av sångare. Det förstärker mitt regi-jag, förklarar Kasper Holten, tidigare operachef vid Det Kongelige Opera i Köpenhamn och Royal Opera House - Covent Garden i London. Vid tiden för denna intervju var Kasper Holten aktuell med två uppsättningar av Poul Ruders opera Dancer in the Dark efter Lars von Triers film: en i Köpenhamn och en på Norrlandsoperan. Nyligen hade Holtens film Juan premiär. Med operan Don Giovanni som förlaga gör Holten brutala förkortningar i Mozarts musik och låter sångarna sjunga live på engelska, på location, i en modern, rå stadmiljö. - Den rastlösa, maskulina sexualiteten och destruktiviteten är filmens centrala tema, berättar Kasper Holten.   Spellista:   Silver Moon aria ur operan Rusalka Dvorak Renée Fleming, sopran. London Symphony Orchestra. George Solti, dirigent. DECCA 475 094-2     Mens jeg venter Grieg Elin Rombo, sopran. Magnus Svensson, piano. SR P2 Live klassiskt Sopranos 20080823     Ständchen Brahms Elin Rombo, sopran. Magnus Svensson, piano. SR P2 Live klassiskt Sopranos 20080823     Pärlfiskarna Comme autrefois dans la nuit sombre Bizet Elin Rombo, sopran Folkoperans kör och orkester. Joakim Unander, dirigent.     Figaros bröllop Duet Crudel! Perché finora Mozart Elin Rombo, sopran. Ola Eliasson,  baryton. Kungliga Hovkapellet  Kungliga Operans Kör. M fl Kungliga Operan, 27 mars 2010 Inspelad av Sveriges Radio     Figaros bröllop Susannas aria Giunse alfine il momento - Deh vieni, non tardar Mozart Elin Rombo, sopran. Kungliga Hovkapellet  Kungliga Operans Kör. M fl Kungliga Operan, 27 mars 2010 Inspelad av Sveriges Radio     Dionysos Wolfgang Rihm, musik. Text av Wolfgang Rihm after Friedrich Nietzsche's Dionysus Dithyrambs Elin Rombo, sopran. Mojca Erdmann, sopran. Deutsches Symphonie-Orchester Berlin Salzburg Festspiele Inspelad av ORF Österrikiska radion     Tannhaüser AKT 1, "DIR TÖNE LOB"  /TANNHÄUSERS SÅNG/ Richard Wagner Lauritz Melchior, tenor. John Barbirolli, dir. London Symphony Orchestra. Inspelad England 29-05-1930     Winterstürme ur Valkyrian Wagner Stig Fogh Andersen, tenor. Ruse Filharmoniska orkester. Niels Borksand, dirigent. Stig Andersen-Wagner-Ring-Live in Ruse CLASSICO, CLASSCD 755     Ur filmen Juan efter Mozarts opera Don Giovanni Mozart Regi: Kasper Holten Concerto Copenhagen. Lars Ulrik Mortensen, dirigent. Christopher Maltman (Don Juan), Mikael Petrenko (Leporello), Maria Bengsson (Donna Anna), Elizabeth Futral (Elvira), Katja Dragojevic (Zerlina), Audun Ivers (Masetto) og den danske tenor Peter Lodahl som Don Otavio.

"Es hat keinen Sinn Filme zu drehen, wenn man sich auf Zeit und Material beschränken muss" - Johannes Schaafs Sicht auf die Filmproduktion Auf sein Konto gehen unzählige Theater- und Operninszenierungen auf vielen internationalen Bühnen, und sein Debüt als Spielfilmregisseur ebnete ihm den Weg zur Leitfigur des Jungen Deutschen Films. Der Regisseur und Schauspieler Johannes Schaaf gehört heute zur Riege der Größten im europäischen Kunstbetrieb. Abgebrochenes Medizinstudium Das Licht der Welt erblickte Johannes Schaaf am 7.4.33 in Stuttgart-Bad Cannstatt. Zunächst studierte er Medizin, doch nach einigen Semestern sollte sich herausstellen, dass eigentlich das Theater für ihn das richtige Metier ist. Also nahm er zunächst eine Stelle als Regieassistent in Stuttgart an – es begann nun eine Karriere, die Johannes Schaaf zu einem "der wichtigsten deutschen Regisseure" machte, wie es ihm "Die Zeit" vom 23.11.73 bescheinigte. Weitere Stationen waren der Südwestfunk Baden-Baden, die Städtischen Bühnen Ulm und das Theater der Freien Hansestadt Bremen. Er betätigte sich aber nicht nur als Regisseur: immer häufiger war er auch als Schauspieler in Fernseh- und Filmproduktionen gefragt. Und schließlich sollte Johannes Schaaf mit einem Streifen als Spielfilmregisseur debütieren, der dann auch mehrfach ausgezeichnet wurde. Prämiertes Debüt Das Filmband in Gold in den Kategorien "Abendfüllende Spielfilme"; "Beste Regie" und "Darstellerische Leistung" – das war die Bilanz des Deutschen Filmpreises 1968, mit dem der Film „Tätowierung“ von Johannes Schaaf geehrt wurde. Es ist die Geschichte eines Sechzehnjährigen, der von einem Jugendheim in eine bürgerliche Fabrikantenfamilie adoptiert wird und schließlich seinen Adoptivvater erschießt. Die Kritik war voller Lob für den Film. So bezeichnete etwa “Der Spiegel“ am 3.7.67 Schaafs Kino-Debüt als "ein technisch perfektes Farbspiel" und schrieb weiter: "Die geschmäcklerische Mischung von Pubertäts-Trübsal und Sozial-Unmut übertrug Schaaf in einen brillanten Bilderfluß…". Und es sollte nicht bei dem einen Meisterwerk bleiben: auch die Filme "Trotta" und "Traumstadt“ bleiben dem Kinopublikum tief in Erinnerung. Bei der Verfilmung des Kinohits "Momo", eines Märchenromans von Michael Ende, führte Johannes Schaaf ebenfalls Regie. Insgesamt kann er derzeit auf eine Filmografie von ca. zwei Dutzend Filmproduktionen zurückblicken, in denen er entweder vor oder hinter der Kamera stand. Doch Anfang der 70er-Jahre beglückte Johannes Schaaf wieder das Theater- und Opernpublikum mit zahlreichen Inszenierungen. Weltenbummler auf Europas Szenen Im Verlauf der Jahre arbeitete Johannes Schaaf an diversen großen Bühnen im In- und Ausland. Unter den unzähligen Häusern, an denen der Regisseur engagiert war, seien solche genannt wie das Düsseldorfer Schauspielhaus, die Salzburger Festspiele, die Salzburger Oper, die Wiener Staatsoper, das Royal Opera House Covent Garden in London, die Staatsoper Stuttgart oder auch das Wiener Burgtheater. An der Hamburger Staatsoper wurde ihm der Posten des Intendanten als Nachfolger von Peter Ruzicka angeboten, doch Johannes Schaaf lehnte diesen ab. Unvergessen bleiben solche Operninszenierungen von Johannes Schaaf wie "Wozzeck" von Alban Berg, "Lady Macbeth von Mzensk" von Dmitri Schostakowitsch oder auch der "Rosenkavalier" von Richard Strauss, um nur einige wenige zu nennen. Die meisten Inszenierungen von ihm erhielten lobende und positive Kritiken. Anlässlich seines achtzigsten Geburtstages schrieb etwa die "Frankfurter Allgemeine Zeitung" am 2.4.13 unter anderem: „In seinem feinzeichnenden Realismus behielten die Figuren immer ihre Glaubwürdigkeit. Das ist leider selten geworden.“ Im Juni 1967 sprach für die DW Christine Kaiser mit Johannes Schaaf über seinen Film "Tätowierung" und weitere künstlerische Pläne. Autor: Andreas Zemke Redaktion: Diana Redlich

Millions around the world heard the soaring tenor voice of Kenneth Tarver just a few weeks ago, singing as tenor soloist in the Mozart Coronation Mass and other music at the Royal Wedding of the Prince and Princess of Monaco.  Kenneth Tarver has appeared at the world’s most prestigious opera houses, including the Royal Opera House Covent Garden and the Metropolitan Opera, among numerous others.  Recent successes include the role of Orfeo in Haydn’s L’Anima del Filosofo at the Budapest Festival conducted by Adam Fisher, Gluck’s Orphèe et Euridice at Staatsoper Stuttgart, Mozart’s Idomeneo at La Monnaie with Jeremie Rhorer, Haydn’s Orlando Paladino at the Concertgebouw Amsterdam with the Hilversum Radio Orchestra conducted by Alessandro De Marchi and Haydn’s L’Infedelta Delusa at the Musikverein Vienna conducted by Nikolaus Harnoncourt.   Tarver is a distinguished graduate of Interlochen Arts Academy, The Oberlin College Conservatory of Music and holds a Masters of Music Performance from Yale University School of Music, where he received the Dean’s Award for the Most Outstanding Student in the graduating class. He is a past winner of the Metropolitan Opera National Council Auditions and was a member of the Metropolitan Opera's Young Artist Development Program and the Staatsoper Stuttgart Ensemble.

Elisabetta: Nelly Miricioiu; Sara: Sonia Ganassi; Roberto: Jose Bros; Nottingham: Roberto Frontali; Gualtiero: Graeme Broadbent; Cecil: Robin Leggate. Chorus and Orchestra of the Royal Opera House Covent Garden; Maurizio Benini. July 8, 2002. Bonus: a scene from Donizetti's Anna Bolena.

Elisabetta: Nelly Miricioiu; Sara: Sonia Ganassi; Roberto: Jose Bros; Nottingham: Roberto Frontali; Gualtiero: Graeme Broadbent; Cecil: Robin Leggate. Chorus and Orchestra of the Royal Opera House Covent Garden; Maurizio Benini. July 8, 2002. Bonus: a scene from Rossini's Ermione.

Elisabetta: Nelly Miricioiu; Sara: Sonia Ganassi; Roberto: Jose Bros; Nottingham: Roberto Frontali; Gualtiero: Graeme Broadbent; Cecil: Robin Leggate. Chorus and Orchestra of the Royal Opera House Covent Garden; Maurizio Benini. July 8, 2002.

On the Guest List this week Anne-Marie Minhall talks to legendary singer Andy Williams about life on the road and how he’s still pulling in the crowds on his current UK tour….Also on the show are Rose Gray and Ruth Rogers who tell Annie all about bringing Italian cuisine to London with their Riverside Cafe and the phenomenal success of their series of books. We also talk to Italian tenor Salvatore Licitra about stepping into the shoes of the great Luciano Pavarotti at the Met for a performance of Tosca , a role he is currently undertaking at the Royal Opera House Covent Garden…Also the composer of the new soundtrack to the latest Harry Potter movie , Nicholas Hooper talks to the Guest List.

Of Adele Leigh, a critic once said that she put paid to the myth that to be good, a soprano had to look like a Hoffnung cartoon. The youngest principal of the Royal Opera House Covent Garden when she joined in 1948, she became a television star in the 1960s with the show All Kinds of Music and appearances on Eric Robinson's Music For You. After leaving Covent Garden she married a diplomat and settled in Vienna where she began singing the operetta roles that were to bring her fame at the Volksoper there. In conversation with Michael Parkinson she looks back over her life and her career in music.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Let's Do It by Noel Coward Book: Alice In Wonderland by Lewis Carroll Luxury: Loofah

Of Adele Leigh, a critic once said that she put paid to the myth that to be good, a soprano had to look like a Hoffnung cartoon. The youngest principal of the Royal Opera House Covent Garden when she joined in 1948, she became a television star in the 1960s with the show All Kinds of Music and appearances on Eric Robinson’s Music For You. After leaving Covent Garden she married a diplomat and settled in Vienna where she began singing the operetta roles that were to bring her fame at the Volksoper there. In conversation with Michael Parkinson she looks back over her life and her career in music. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Let's Do It by Noel Coward Book: Alice In Wonderland by Lewis Carroll Luxury: Loofah