Podcasts about Salzburg Festival

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a unique and distinguished career as a soloist, chamber musician, educator, author and broadcaster.As a concerto soloist he appears regularly with the world's leading orchestras and conductors, including the Berlin Philharmonic, National Symphony Orchestra Washington, London Philharmonic and Zurich Tonhalle orchestras. He gives recitals every season in major musical centres, and plays with many of the world's foremost chamber orchestras, including the Australian, Mahler, Norwegian, Scottish, Zurich and St Paul Chamber Orchestras, as well as period-instrument ensembles such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra. Unusually, he also directs chamber orchestras from the cello in classical programmes.Recent and upcoming highlights include performances with the Gewandhausorchester Leipzig, Vienna Philharmonic Orchestra at the Salzburg Mozartwoche; the US premiere of Thomas Adès's Lieux retrouvés with the Los Angeles Philharmonic, following world and UK premieres in Lucerne and at the BBC Proms, and a further performance of the work in Amsterdam with the Britten Sinfonia, conducted by the composer; Prokofiev's Concerto Op. 58 with the London Philharmonic Orchestra under Vladimir Jurowski, in London and at the Dresden Music Festival; and Haydn's C major Concerto with the Orchestra of the Age of Enlightenment under Adam Fischer.As a chamber musician, he has curated series for many of the world's most famous festivals and venues, including the Wigmore Hall, the 92nd St Y in New York, and the Salzburg Festival. These specially devised programmes have included ‘In the Shadow of War', a major four-part series for the Wigmore Hall to mark the centenary of the First World War and the 75th anniversary of the Second World War; explorations of Czech music; the teacher-pupil line of Saint-Saëns, Fauré and Ravel; the affinity of the cello and the human voice; varied aspects of Robert Schumann's life and music; and the music of Sergei Taneyev (teacher of Steven's grandfather, Julius Isserlis) and his students. For these concerts Steven is joined by a regular group of friends which includes the violinists Joshua Bell, Isabelle Faust, Pamela Frank, and Janine Jansen, violist Tabea Zimmermann, and pianists Jeremy Denk, Stephen Hough, Alexander Melnikov, Olli Mustonen, Connie Shih, and Dénes Várjon.He also takes a strong interest in authentic performance. This season's projects include a recording of the Chopin Cello Sonata and other works with Dénes Várjon for Hyperion, using ones of Chopin's own piano; and a recital of Russian sonatas with Olli Mustonen. In recital, he gives frequent concerts with harpsichord and fortepiano. Recent seasons have featured a special performance with Sir Andras Schiff at the Beethovenhaus in Bonn, using Beethoven's own cello; and performances and recordings (selected for the Deutsche SchallplattenPreis) of Beethoven's complete music for cello and piano with Robert Levin, using original or replica fortepianos from the early nineteenth century. With harpsichordist Richard Egarr, he has performed and recorded the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti. This season, they tour together in the US.He is also a keen exponent of contemporary music and has premiered many new works including John Tavener's The Protecting Veil (as well as several other pieces by Tavener), Thomas Adès's Lieux retrouvés, Stephen Hough's Sonata for Cello and Piano, Left Hand (Les Adieux), Wolfgang Rihm's Concerto in One Movement, David Matthews' Concerto in Azzurro, and For Steven and Hilary's Jig by György Kurtág. In 2016, he gave the UK premiere of Olli Mustonen's of Frei, aber einsam for solo cello at the Wigmore Hall.

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.  

In our new CONVOCO! Podcast Corinne M. Flick speaks with Robert Carsen, theatre and opera director. He just did two new productions at the Salzburg Festival, La Clemenza di Tito and Jedermann.What Opera Can Tell us About Leadership

On Monday June 3, 2024, a new memorial plaque commemorating African American mezzo-soprano Vera Little (10 December 1928 – 24 October 2012) was unveiled at her former residence in Berlin's Charlottenburg neighborhood. Little is remembered today as the first Black singer to appear as Carmen on the stage of Berlin's Städtische Oper, soon to be renamed the Deutsche Oper Berlin. At the time of that appearance there were cries and protests about her hiring instead of an “equally capable” German singer. And yet, when Little returned to the stage of the Deutsche Oper in 1963, now singing the role of Amneris, she became one of the central singers in the ensemble of that company, being named a Kammersängerin there in 1970. This episode examines the life and career of Vera Little, from her birth in Memphis through her decades-long residence in Berlin. It is a fascinating, circuitous path, and one which is documented only sporadically on recording. On this episode, I play excerpts from Little's only solo recording, a 1957 Decca records release of spirituals recorded in France, as well as her recordings on Deutsche Grammophon of Der junge Lord by Hans Werner Henze, and Richard Strauss's Daphne. In addition, there are live recordings of Little singing Baba the Turk in Stravinsky's The Rake's Progress, Giovanna Seymour in Donizetti's Anna Bolena, and Beroe in Henze's Die Bassariden, which Little created in its 1966 world premiere at the Salzburg Festival. Vera Little was also an author, who published four books of memoir and poetry, and just yesterday I obtained a copy of her first book, 1978's Tears in My Eyes, from which I read a number of excerpts. I had known Little's name for decades, but had never fully explored her legacy before. It is here (and on an accompanying bonus episode) my honor and privilege to present a great (and somewhat forgotten) artist for your delectation. Today's vocal guest stars include Kostas Paskalis, Hilde Güden, Anneliese Rothenberger, and Teresa Żylis-Gara. 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.  

Ausrine Stundyte is an opera star—a soprano from Lithuania. As Jay says in his introduction, “She is a phenomenal singer, and a phenomenal singing actress. She also has interesting things to say.” About singing and opera, yes. But about other things, too: such as emerging from Communism when she was about 14. Jay spoke with Stundyte before an audience at the Salzburg Festival last month. Enjoy. 

Kathryn Lewek is an American soprano, who, this summer, has been singing at the Salzburg Festival. That's where Jay caught up with her. They talk about her life, and voice, and other interesting things. “Katie” is especially known for portraying the Queen of the Night, in Mozart's “Magic Flute.” Mozart “is my sugar daddy,” she […]

Kathryn Lewek is an American soprano, who, this summer, has been singing at the Salzburg Festival. That's where Jay caught up with her. They talk about her life, and voice, and other interesting things. “Katie” is especially known for portraying the Queen of the Night, in Mozart's “Magic Flute.” Mozart “is my sugar daddy,” she says. “He's given me everything I've got. He bought my car, he bought my house. He feeds my kids . . .” A delightful woman, and a brilliant singer, Kathryn Lewek. 

Maestro Riccardo Muti is a fixture at the Salzburg Festival. This year, he conducted the Vienna Philharmonic in Bruckner's Eighth Symphony. Between rehearsals and performances, he sat down with Jay to discuss a variety of matters—musical and even social. What constitutes harmony in society? And what can music teach us about how to live together? […]

Maestro Riccardo Muti is a fixture at the Salzburg Festival. This year, he conducted the Vienna Philharmonic in Bruckner's Eighth Symphony. Between rehearsals and performances, he sat down with Jay to discuss a variety of matters—musical and even social. What constitutes harmony in society? And what can music teach us about how to live together? A session with Muti is informative, enriching—and, not least, fun. 

This week's “Forgotten Diva” is the mezzo-soprano / contralto Gwendolyn Killebrew (26 August 1941 – 24 December 2021), who made an indelible contribution to opera in particular during the active years of her career (1965 – 2009). Though the majority of her career was centered at the Deutsche Oper am Rhein in Düsseldorf, she sang the world over with some of the most important opera companies (including the Metropolitan Opera, San Francisco Opera, the Salzburg Festival, Bayreuth, Washington Opera, Santa Fe Opera, La Monnaie, and the Bayerische Staatsoper), conductors (Pierre Boulez, Gary Bertini, Michael Gielen, Herbert von Karajan, Zubin Mehta, Georg Solti), and stage directors (Patrice Chéreau, Jean-Pierre Ponnelle, August Everding, Giancarlo del Monaco, Christof Loy, and John Dew). She had an enormous repertoire from Monteverdi and Handel to Henze and Fortner, excelling in particular in various Wagner roles. She was also a superb actor, who, through the use minimal gestures and stage business, made an enormous impact. This episode presents her in a wide range of material, including both live and commercial recordings ranging from Cavalieri to Zimmermann, alongside such fellow singers as Teresa Stratas, Carlo Bergonzi, Hermann Prey, Stuart Burrows, Sherrill Milnes, and Gail Gilmore led by conductors Leonard Bernstein, Gary Bertini, Bohumil Gregor, Berislav Klobučar, James Levine, Heinz Wallberg, and Eve Queler. Of special interest is a rare live recording of her prize-winning performance of “Asie” from Ravel's Shéhérazade at the 1967 International Voice Competition in Montréal. The episode opens with brief memorial tributes to soprano Wilhelmenia Fernandez and pianist Thomas Muraco. 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.

When most people think of the pipe organ, they imagine its massive, majestic sound filling a large church during a wedding, funeral, or other Christian ceremonies. But as I learned in my recent conversation with the Austrian concert organist Lukas Hasler, we can trace the instrument's roots to ancient Egypt, thousands of years before the birth of Christ. And despite their prevalence in the church, organs have also played an important role in secular life. In the 19th century, for example, people in small villages or those who couldn't afford concert tickets could only hear new music when it was transcribed and performed by a local organist.  And for Hasler, bringing the organ back to the mainstream and helping people from all walks of life discover its beauty and expressive range has become a central component of his career. "Everyone thinks the organ is just in churches, which of course is a truth," Hasler says on the latest episode of the Classical Post podcast. "On the other side, every time you walk into concert halls or listen to film music, the organ plays a major part. I really want to create an awareness of this instrument — and sometimes it really helps to transcribe very famous scores for the organ." Hasler's ability to showcase the organ's remarkable versatility has made him a star on the rise. In addition to building a community of more than 80,000 fans on social media, he's performed in the opening ceremony of the Salzburg Festival, was the first touring classical musician to perform in Ukraine after the start of the Russian invasion, and his transcriptions of everything from Beethoven's Moonlight Sonata to the Super Mario Brothers theme have thrilled audiences across Europe and the U.S. In this episode, Hasler and I talk more about the organ's evolution over time and his latest digital release — an astounding reading of Franz Liszt's virtuosic Fantasy and Fugue on Bach. Plus, he shares what made him recently pack up his life in Austria and head to sunny southern California, how architecture and fashion inspire his creativity, and the importance of hearing protection when the instrument you play is very, very loud.Listen to Hasler's recording of Liszt's Fantasy and Fugue on Bach on Spotify, YouTube, or wherever you stream music. — ⁠⁠⁠Classical Post⁠⁠⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠⁠⁠Gold Sound Media⁠⁠⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

Adam Fischer is a noted Hungarian conductor (as is his brother, Ivan). He conducted at the Salzburg Festival in August. And, in an event hosted by the Salzburg Festival Society, Jay had a conversation with him. Very interesting man, Maestro Fischer. Bright, experienced, candid. One learns from him.

Adam Fischer is a noted Hungarian conductor (as is his brother, Ivan). He conducted at the Salzburg Festival in August. And, in an event hosted by the Salzburg Festival Society, Jay had a conversation with him. Very interesting man, Maestro Fischer. Bright, experienced, candid. One learns from him.

Marco Armiliato is a veteran conductor from Italy. He has spent most of his career in opera, and in Italian opera in particular. He is a regular at the Met, the Vienna State Opera, and other important venues. Last month, he conducted at the Salzburg Festival, and he was a guest in the series of […]

Marco Armiliato is a veteran conductor from Italy. He has spent most of his career in opera, and in Italian opera in particular. He is a regular at the Met, the Vienna State Opera, and other important venues. Last month, he conducted at the Salzburg Festival, and he was a guest in the series of conversations hosted by the Salzburg Festival Society. Jay does the questioning. In the course of their talk, Armiliato says that Luciano Pavarotti, the late tenor, was full of sunshine. Just the same is true of Maestro Armiliato. He is one of the most beloved people in all of music—for reasons that will be obvious when you listen to him.

SynopsisPiero della Francesca was a 15th century Renaissance painter, whose series of frescoes entitled Legend of the True Cross inspired one of the best orchestral works of a 20th-century Czech composer named Bohuslav Martinu.In 1952, Martinu made a trip to the Tuscan hill town of Arezzo, where he saw the frescoes and got the idea for a new symphonic work that would attempt to capture in music what Piero had captured in painting.What Martinu sought to replicate was, as he put it, “a kind of solemn, frozen silence and opaque, colored atmosphere… a strange, peaceful, and moving poetry.”Martinu linked the first movement of his score to one Tuscan fresco showing the Queen of Sheba and some women kneeling by a river; and the second to another depicting the dream of the Emperor Constantine. The third movement was intended, in Martinu's words, as “a kind of general view of the frescoes.”Martinu's orchestral triptych, entitled The Frescoes of Piero della Francesca, received its premiere performance on today's date at the 1956 Salzburg Festival in Austria, with the Vienna Philharmonic led by the eminent Czech conductor, Rafael Kubelik.Music Played in Today's ProgramBohuslav Martinu (1890 – 1950) Les Fresques de Piero della Francesca Vienna Philharmonic;Rafael Kubelik, conductor. Orfeo C521-991 (recorded August 26, 1956)

SynopsisIn 1980, the Estonian composer Arvo Pärt emigrated from his Soviet-controlled homeland and settled in Austria. Since the 1960's, Pärt's increasingly spiritual and overtly religious music, imbued with mystical and contemplative rituals of the Russian Orthodox Church, did not sit well with the communist authorities, and Pärt found it increasing hard to live and work in Estonia.On today's date in 1980, at the Salzburg Festival in Austria, another Baltic artist, the Latvian violinist Gidon Kremer, gave the premiere performance of a new violin-piano arrangement of Part's Fratres, or Brothers—an instrumental work from 1977 that Pärt subsequently rescored for a variety of ensembles. In the version commissioned by the Salzburg Festival, the original harmonic material resides in the serene piano part, while the violin plays virtuosic variations above it. That serenity is the result of Pärt's effort to—as he put it— “learn to walk again as a composer.” He came up with a term, tintinnabulation, for the simplicity and directness of expression he sought.“Tintinnabulation is like this,” writes Pärt. “I am alone with silence. I work with very few elements… The three notes of the triad are like bells. And that is why I called it tintinnabulation.”Music Played in Today's ProgramArvo Pärt (b. 1935) Fratres Gidon Kremer, vn;Keith Jarrett, p. ECM 1275

Adriana González is a star of the Salzburg Festival this year. She is a soprano from Guatemala—an unusual place for a classical musician to be from. Sitting on a terrace in Salzburg, Jay talks with her about her life and art. Adriana is a breath of fresh air.

Adriana González is a star of the Salzburg Festival this year. She is a soprano from Guatemala—an unusual place for a classical musician to be from. Sitting on a terrace in Salzburg, Jay talks with her about her life and art. Adriana is a breath of fresh air.

SynopsisThere was a time when German opera houses would have fought over the chance to premiere a brand-new opera by Richard Strauss. But by 1940, when Strauss finished a mythological opera entitled The Love of Danae, there was a war on and Strauss had fallen out of favor with Germany's Nazi rulers.A scheduled premiere in Dresden had to be cancelled. In Leipzig, the orchestral parts for the new opera were lost in a fire, and in Munich an Allied air raid damaged the opera's sets and scenery. By the summer of 1944, when conductor Clemens Krauss was rehearsing handpicked vocal soloists and the Vienna Philharmonic for the opera's belated premiere at the Salzburg Festival, the collapse of the Third Reich was imminent. On August 1st, an order was issued from Berlin canceling all music festivals and closing all theaters. Somehow Salzburg managed to get a dispensation, and rehearsals for Strauss's opera were allowed to continue. A private dress rehearsal of The Love of Danae took place in Salzburg on August 16, 1944. The 80-year old composer attended, and, with tears in his eyes, thanked the performers with these words: “Perhaps we shall meet again in a better world.”Music Played in Today's ProgramRichard Strauss (1864 – 1949) Die Liebe der Danae (Symphonic Fragment), Op. 83 Toronto Symphony; Andrew Davis, conductor. CBS 45804

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SynopsisOn today's date in 1877, the Vienna Philharmonic performed for the first time in Salzburg, the birthplace of Mozart, during a three-day music festival that included works by Mozart and others, including two living composers of that day, a 44-year old fellow named Brahms and a 64-year old named Wagner.The Philharmonic would return to Salzburg six more times for mini-festivals through 1910, some led by composer-conductors like Richard Strauss and Gustav Mahler.In 1925, an annual “Salzburg Festival” was established, with the Vienna Philharmonic and Vienna State Opera as the main musical participants. The Second World War disrupted the Festival in the 1940s, but soon after it reestablished itself among the most prestigious of international musical happenings. Traditionally, a familiar brass fanfare opens each Salzburg Festival radio broadcast, but probably few music lovers know the name of its composer. It was written by Joseph Messner, who wrote over 700 works. He was born in 1893 in the Austrian Tyrol and died in 1969 in a village near Salzburg, where he had served as church organist, conductor and composer for decades, leading many Festival concerts featuring sacred music by Mozart and others.Music Played in Today's ProgramWolfgang Mozart (1756 - 1791) Menuetto and Trio, fr Haffner Symphony Vienna PhilharmonicRafael Kubelik, conductor. Seraphim 68531Joseph Messner (1893 - 1969) Salzburg Festival Fanfare Salzburg Mozarteum Orch;Ivor Bolton, conductor. Oehmns CD 734

Following numerous accolades, Christian Thielemann's landmark Bruckner symphony cycle with the Vienna Philharmonic - the orchestra's first under a single conductor - continues with the composer's final, unfinished symphony captured live at the Salzburg Festival in the summer of 2022.Track Listing:1 Bruckner Symphony No. 9 in D Minor / I. Feierlich, misterioso2 II. Scherzo. Bewegt, lebhaft - Trio Schnell3 III. Adagio. Langsam, feierlichHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

See pictures and read more on materiallyspeaking.comIn this, the second of our Venice series, Mike Axinn and I met Austrian born shoemaker Gabriele Gmeiner who makes high quality made-to-measure shoes in her workshop at Campiello del Sol. She speaks of her craft, her journey from Austria and why she chose Venice.As we turned into Gabriele's courtyard we found her sitting at a large wooden desk by her shop window, wearing a work apron, and smiling. A shoe was jammed between her knees as she filed the base of it. In front of her were a wide selection of hammers, tapes, knives and glues.Leather ribbons were stapled on the walls and dozens of wooden handled tools were slotted inside their curves. Above her head, suspended from the ceiling, was a forest of wooden shoe lasts.Gabriele studied at Cordwainers College in London, and in Paris at the Centre Formation Technologique Grégoire for saddlery. She honed her skills over ten years working throughout Europe before she came to Italy and made her home in Venice.Every July Gabriele directs the shoemaking workshop of the Salzburg Festival making shoes to measure for opera singers and actors to support their performances.She talks us through the process of creating the perfect shoe: from measuring the client, crafting the shoe, to the final fitting. She keeps the original last and also repairs shoes, ensuring they have a long life, and that their beauty grows with wear.Gabriele talks about sustainability and explains how she tries to source sustainable cowhides from the food industry.gabrielegmeiner.cominstagram.com/gabrielegmeiner

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Thomas Bernhard, (born Feb. 9/10, 1931, Cloister Heerland, Neth.—died Feb. 12, 1989, Gmunden, Austria), was an Austrian writer who explored death, social injustice, and human misery in controversial literature that was deeply pessimistic about modern civilization in general and Austrian culture in particular. Bernhard was born in a Holland convent; his mother, unwed at the time, had fled there from Austria to give birth. After a year, she returned to her parents in Vienna, where her father, writer Johannes Freumbichler (1881–1949), became the major influence on Bernhard. After surviving a life-threatening coma and repeated hospitalizations (1948–51) in tuberculosis sanatoriums, he studied music and drama in Salzburg and Vienna.Bernhard achieved little success with several collections of poetry in the late 1950s, but in 1963 he gained notoriety with his first novel, Frost (Eng. trans. Frost). In such novels as Verstörung (1967; “Derangement,” Eng. trans. Gargoyles), Das Kalkwerk (1970; The Lime Works), and Korrektur (1975; Corrections), he combined complex narrative structure with an increasingly misanthropic philosophy. In 1973 Bernhard withdrew his drama Die Berühmten (“The Famous”) from the prestigious Salzburg Festival because of a controversy over staging. After its publication in 1984 his novel Holzfällen(Woodcutters, or Cutting Timber: An Irritation) was seized by police for allegedly criticizing a public figure. Even before its premiere in November 1988, Bernhard's last play, Heldenplatz(“Heroes' Square”), a bleak indictment of anti-Semitism in contemporary Austria, provoked violent protests. His other plays include Ein Fest für Boris (1968; A Party for Boris), Die Jagdgesellschaft (1974; The Hunting Party), Die Macht der Gewohnheit (1974; The Force of Habit), and  Der Schein trügt(1983; Appearances Are Deceiving). Bernhard's memoirs were translated in Gathering Evidence(1985), a compilation of five German works published between 1975 and 1982.From https://www.britannica.com/biography/Thomas-Bernhard. For more information about Thomas Bernhard:Concrete: https://www.penguinrandomhouse.com/books/12747/concrete-by-thomas-bernhard/“The Art of Extinction: The bleak laughter of Thomas Bernhard”: https://www.newyorker.com/magazine/2006/12/25/the-art-of-extinction“Between the Rare Oases of Thought: On Thomas Bernhard and the Mind”: https://lareviewofbooks.org/article/rare-oases-thought-thomas-bernhard-mind/“Thomas Bernhard is Dead at 58”: https://www.nytimes.com/1989/02/17/obituaries/thomas-bernhard-is-dead-at-58-his-last-play-enraged-austrians.html

Synopsis On today's date in 1938, two works by the American composer Samuel Barber received their very high-profile premiere performances on a live, coast-to-coast broadcast by the NBC Symphony conducted by Arturo Toscanini. Toscanini was impressed by Barber's First Symphony, which was performed at the 1937 Salzburg Festival, so Toscanini asked the 25-year old composer for a short orchestral piece, which Toscanini might perform with the newly-formed NBC Symphony. Barber offered Toscanini his pick of two short pieces, and must have been surprised when Toscanini agreed to perform BOTH of them: a newly-composed Essay for Orchestra and Barber's arrangement for full string orchestra of a movement from a String Quartet he had written in 1936. Re-titled Adagio for Strings, it was destined to become Barber's best-known work. Barber's “Adagio” acquired a special resonance during World War Two, as a threnody for America's war dead. It was also performed at the funeral of wartime President Franklin D. Roosevelt. More recently, Barber's Adagio has been used to great effect in several successful films, including “The Elephant Man” and “Platoon.” In a memorial tribute to Barber, American composer Ned Rorem wrote, “If Barber [25 years old when the ‘Adagio' was completed] later aimed higher, he never reached deeper into the heart.” Music Played in Today's Program Samuel Barber (1910-1981) First Essay for Orchestra, Op. 12 Detroit Symphony; Neeme Järvi, cond. Chandos 9053 Samuel Barber (1910-1981) Adagio for Strings, Op. 11 Berlin Philharmonic; Semyon Bychkov, cond. Philips 434 108

Deutsche Grammophon releases a double-disc album of Evgeny Kissin's sensational recital at last summer's Salzburg Festival. The Salzburg Recital builds dramatic tension across a compelling program of music by Berg, Chopin, Gershwin, and Khrennikov.Purchase the music (without talk) at:Evgeny Kissin - The Salzburg Recial (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katlyn Morahan from Morahan Arts and Media.andThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

[@ 5 min] It's the Season 7 finale of the OBS, with another double-play from Oliver's trip to Santa Fe Opera. He goes ‘Inside the Huddle' with Ryan Speedo Green to talk about the bass-baritone's debut at the festival on the heels of recovering from Covid… [@ 46 min] And Oliver also gets mezzo-soprano Isabel Leonard to take a few ‘Free Throws' in our brand-new, short-form segment… [@ 58 min] And then… The OBS team hit the ups and downs of Season 7… [@ 1 h 6 min] Plus, in the ‘Two Minute Drill'… “Live performance is back, but audiences have been slow to return”, says the New York Times. We crunch the numbers… We're off next week as we celebrate Labor Day, but we're back on September 15 for the home opener of Season 8… Join us! SHOW NOTES Isabel Leonard in Claus Guth's take on 'Cosí fan tutte' from the 2009 Salzburg Festival... https://www.youtube.com/watch?v=HSe7t6UkYwE operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

It was an emotional evening at the Grosses Festspielhaus in Salzurg.  The audience soaked up the Pittsburgh Symphony Orchestra, Manfred Honeck and Anne-Sophie Mutter, providing rhythmic applause before their encore.  Hear that, along with a conversation with PA State Representative Rob Mercuri and his wife Kelsey; and Florian Wiegand - who went to school at CMU, but is now the Director of Concerts for the Salzburg Festival.   

Synopsis The fact that a new opera might debut at the Salzburg Festival in Austria is not in itself an unusual occurrence. But in August of the year 2000, the new opera in question was "L'Amour de Loin" or "Distant Love" by the Finnish composer Kaija Saariaho – making it the first opera by a female composer ever to be staged at the prestigious international Festival, and one that opened to rave reviews. Born in Helsinki in 1952, Saariaho now lives with her husband and children in Paris. She has said that though she loves Helsinki, she's more comfortable in a city where she is not a celebrity. "I'm too well recognized in Finland," says Saariaho. "When I say this to colleagues in America, they think it's fantastic that there is a country where contemporary music composers can be esteemed public personalities." Speaking of summer-time opera premieres, Richard Wagner's "Die Walküre" had its first performance as part of his "Ring Cycle" on today's date in 1876, at Wagner's own theater in Bayreuth, a small town in Southern Germany. Some early critics thought building a big theater in such an out-of-the-way place was a monumental act of folly, but Wagnerites have been making the midsummer pilgrimage there for over 125 years – despite the lack of air-conditioning in Wagner's theater. Appropriately, it's some of the warmest music from "Die Walküre" – the "Magic Fire" scene that brings the opera to its close. Music Played in Today's Program Kaija Saariaho (b. 1952) –…à la fumée (Petri Alanko, f; Anssi Karttunen, vcl; Los Angeles Philharmonic; Esa-Pekka Salonen, cond.) Ondine 804 Richard Wagner (1813-1883) –Magic Fire Music, fr Die Walküre (Cleveland Orchestra; George Szell, cond.) CBS/Sony 46286

Freddie De Tommaso is a graduate of the Royal Academy of Music and won First Prize, the Plácido Domingo Tenor Prize and the Verdi Prize at the 2018 Francisco Viñas International Singing Competition in Barcelona. He was a member of the Young Singer Academy at the Salzburg Festival in 2018 and went on to join the studio of the Bayerische Staatsoper for the 18/19 season. Purchase the music (without talk) at:Passione (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson).

Salzburg Festival 28 May 2012 Broadcast Piotr Beczala Symphonieorchester des Bayerischen Rundfunks Conductor: Sir John Eliot Gardiner

Today's guest and my very first guest on the Thriving singer podcast is non-other than the great David Jones, who has developed an international career as an author, vocal pedagogue, teacher of singers, and teachers in Europe and the U.S.  David is celebrating 50 successful years of teaching the fall of 2022 He has trained singers performing at opera houses and festivals such as the New York City Opera, San Francisco Opera, the Metropolitan Opera, Chicago Lyric Opera, Berlin Staatsoper, Vienna Staatsoper, Opera North U.K. the Royal Opera House at Covent Garden, the Glyndebourne Opera Festival, Salzburg Festival, and L'Opera Bastille in Paris. David Jones is a graduate of Texas Christian University with graduate research at the University of North Texas. Having also researched at the Groningen University Hospital (Groningen, The Netherlands) and the Laboratoire de la Voix Voice Clinic in Paris, he has had the opportunity to study how Old World concepts can be therapeutic in treating voice disorders. He also works in conjunction with the practice of Laryngologist Dr. Benjamin Asher in New York. In 1979, he studied with internationally known vocal pedagogue Allan R. Lindquest (1891-1984), founding member of NATS and the Amercian Academy of Teachers of Singing. It was through Mr. Jones' study with Lindquest that he learned the concepts of Lindquest's teachers, which included Enrico Caruso, Mme. Ingebjard-Isene (teacher of Flagstad), Joseph Hislop, Maestro Rosati (teacher of Gigli), and Mme. Novikova. Additional instructors of the Lindquest concepts with whom David Jones studied include Virginia Botkin, Dr. Suzanne Hickman, and Dr. Barbara Mathis, who performed scientific research on the therapeutic benefits of the exercises. It was through this study that Mr. Jones studied the concepts of the Swedish-Italian School of singing. In 1982, Mr. Jones studied with Dixie Neill, the primary teacher of Ben Hepner, and later with Dr. Evelyn Reynolds. Dr. Reynold's teachers included Lola Fletcher (student of Herbert Witherspoon), tenor Hollis Arment, William Vennard, author of “Singing: The Mechanism and the Technique”, and Ralph Erolle, instructor of the well-known soprano Arleen Auger. David Jones has trained singers performing at such opera houses and festivals as the New York City Opera, San Francisco Opera, the Metropolitan Opera, Chicago Lyric Opera, Berlin Staatsoper, Vienna Staatsoper, Opera North U.K. the Royal Opera House at Covent Garden, the Glyndebourne Opera Festival, Salzburg Festival, and L'Opera Bastille in Paris. Mr. Jones has been published by both European NATS and Classical Singer Magazine. Presenting seminars for teachers twice yearly in New York City and in Europe, he now dedicates his energy toward sharing information with teachers, writing articles, and teaching in his New York Studio and in Europe. In our interview we travel far and wide, exploring how he got into the world of singing and how he gathered and refined the concepts he now teaches.  We talk about vocal trauma and what causes it, the importance of sensations in singing, diagnosing Fach, and what a voice type consists of. We talk about collaborative teaching, and problem-solving together with the student, making them aware of the process.  We dive into the realm of feeling safe in a voice lesson and what not to put up with. How some teachers might be qualified in their information but not in the psychology of teaching. Connecting mind and body through work such as Feldenkreis or Alexander Technique and the importance of identifying and releasing tension whatever the cause may be. And last but not least how to work with different coaches while keeping your technique. And many other things connected to healthy singing. Links to resources mentioned: Connect with David Jones david@teacher.com | Facebook : The David Jones Voice Studio | Website : voiceteacher.com Article: Taking a professional coaching and protecting your voice David's Book: A modern guide to old world singing Janet William's Book: Nail your next audition David's CD: An introductory lesson with David Jones Ingela Onstad's website: courageousartistry.com Carl Stough: Dr.Breath - Breathing Coordination Lynn Martin: perriinstitute.com/lynn-martin Shirley Tennyson: https://www.rosemarydesloge.com/provider/shirley-tennyson-ma-edm-ccc-slp Because we talked a great deal about breath I would like to recommend the book "Breath" by James Nestor for anyone interested in diving deeper into the subject!

From jumping in as a rehearsal pianist at the Salzburg Festival, through taking on ENO at the age of thirty-one, and onto the legacy of the LPO , Ed Gardner gives a refreshingly honest insight into his journey from a young chorister to the multi award-winning conductor that he is today. Nina chats to Ed about nurturing and sustaining his musical - and managerial - relationships, his approach to collaboration, and why cross words in a rehearsal room isn't always a bad thing Find out more about the London Philharmonic Orchestra and their upcoming season here and the Bergen Philharmonic Orchestra here.

Nick Schlieper has designed lighting for all of the major performing companies in Australia and works regularly in Europe and the U.S.Recent engagements include Nick's debut at, and return to, the prestigious Salzburg Festival, designing the lighting for Aribert Reiman's Lear in the Felsen Reitschule, and for Cherubini's Medeé; as well as Mosquitos, Cat on a Hot Tin Roof, The Real Thing, Still Point Turning, Harp in the South, A Cheery Soul, The Resistable Rise of Arturo UI, Chimerica, Three Sisters, All My Sons, Speed the Plow, A Flea in Her Ear and Switzerland for Sydney Theatre Company; Macbeth, Twelfth Night and Photograph 51 (also set design) for Melbourne Theatre Company; Packer and Sons, Ghosts and Twelfth Nightfor Company B Belvoir.Nick also returned to the National Theatre of Norway for Private Confessions, directed by Liv Ullman, and to New Zealand Opera for The Elixir of Love. He also lit Sydney Theatre Company's revival of The Present with Cate Blanchett on Broadway, and The Space Between the Notes (Emma Matthews' one woman show).Nick's work in Music Theatre includes First Wives Club The Musical at the Oriental Theatre, Chicago, Priscilla Queen of the Desert, The Musical in Australia, New York, Toronto, London, Sao Paolo and throughout Europe; Love Never Dies in Hamburg, Tokyo, Sydney and Melbourne for The Really Useful Company.His extensive work in opera in Australia includes Don Giovanni, Nabucco, Tannhäuser, Il Trovatore, L'elisir d'amore, Andrea Chenier, Freischütz, Falstaff and Seraglio for Opera Australia; Salome (and set design) and Parsifal for State Opera of South Australia; Flying Dutchman, Don Giovanni, and Ken Russell's Madam Butterfly for Victorian State Opera; Macbeth (and set design) for Opera New Zealand and Don Giovanni (and set design) for Opera Queensland. He was also lighting and associate set designer of the first Australian production of Wagner's Ring Cycle in Adelaide in 2004.Nick has also designed lighting for Scheherazade for the Australian Ballet, the acclaimed Cinderella for Royal New Zealand Ballet, and several pieces for Bangarra Dance Company, including Bush, Bennelong and Patyegarang.The year commences for Nick with lighting designs for productions of Wudjang: Not the Past (Bangarra Dance), North By Northwest (Kay & McLean Productions) and The Phantom of the Opera (Opera Australia) on Sydney Harbour. With such a full schedule it was a treat for STAGES to examine the art of Lighting Design with one of the country's most prolific and eloquent artists; Nick Schlieper.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

In the current issue of the magazine, Jay has a chronicle on the 2021 Salzburg Festival. In this episode, he plays some of the music he discusses: from Bach to Mozart to Gershwin. (There are seven composers in all.) A marvelous array of pieces and performers. Bach, Keyboard Partita No. 1 in B flat, Gigue Handel, “Lascia la spina, cogli la rosa,” from “Il trionfo del Tempo e del Disinganno” Bach, Keyboard Partita No. 5 in G, Gigue Mozart, Exsultate, jubilate Cimara, “Stornello” Gershwin, Preludes Massenet, “En fermant les yeux,” from “Werther” Beethoven, Missa solemnis

In the current issue of the magazine, Jay has a chronicle on the 2021 Salzburg Festival. In this episode, he plays some of the music he discusses: from Bach to Mozart to Gershwin. (There are seven composers in all.) A marvelous array of pieces and performers. Bach, Keyboard Partita No. 1 in B flat, Gigue […]

In the current issue of the magazine, Jay has a chronicle on the 2021 Salzburg Festival. In this episode, he plays some of the music he discusses: from Bach to Mozart to Gershwin. (There are seven composers in all.) A marvelous array of pieces and performers. Bach, Keyboard Partita No. 1 in B flat, Gigue Handel, “Lascia la spina, cogli la rosa,” from “Il trionfo del Tempo e del Disinganno” Bach, Keyboard Partita No. 5 in G, Gigue Mozart, Exsultate, jubilate Cimara, “Stornello” Gershwin, Preludes Massenet, “En fermant les yeux,” from “Werther” Beethoven, Missa solemnis

Regula Mühlemann is a “bright and rising and wonderful young soprano,” as Jay says in his introduction. She is from Switzerland. And she performed at the Salzburg Festival this summer. Jay interviewed her, in the series of public conversations hosted by the Salzburg Festival Society. Get to know this appealing young artist (Regula, that is—no offense to Jay). Source

Regula Mühlemann is a “bright and rising and wonderful young soprano,” as Jay says in his introduction. She is from Switzerland. And she performed at the Salzburg Festival this summer. Jay interviewed her, in the series of public conversations hosted by the Salzburg Festival Society. Get to know this appealing young artist (Regula, that is—no offense to Jay). 

Paula grew up with traditional Irish Music in County Kerry, but despite immersing herself in music and performance at the National Folk Theatre of Ireland, she didn't yet think of it as a viable career choice. But one day, looking after her younger sisters while her parents were away, Paula sent off the ‘change of mind' form, changing her option from Primary School Teaching to Music Performance. Paula went on to train in Dublin, then onto the New England Conservatory in Boston, and onto a whole series of Young Artist and Apprenticeship Programmes from Britten Pears to the Merola Opera Programme among others, building the stamina and experience that would stand her in good stead in the future. When she felt she was probably done with Young Artist programmes, she was noticed by Bernd Loebe at the Neue Stimmen, and was offered a place in the newly-formed Studio at Oper Frankfurt. This led to her being a full time soloist at Oper Frankfurt, where she was able to explore a huge variety of roles, and take risks in a way she hadn't been able to before. Now, Paula graces some of the world's most fabulous stages, from her iconic performance in Barry Kosky's Carmen in Frankfurt to the Bolshoi in Moscow where she is currently singing the title role in Ariodante, to the Salzburg Festival, to the Met and Santa Fe Opera among many brilliant others. Read more about Paula on her agent's website here and follow her on Instagram here

One of Jay's favorite conductors – and favorite conductor-interviewees – is Manfred Honeck, the Austrian who leads the Pittsburgh Symphony Orchestra. He played in the Vienna Philharmonic Orchestra for some years. His brother Rainer is still there: as a concertmaster. Jay had a conversation with Maestro Honeck – Manfred Honeck – at the Salzburg Festival last week. They discussed music and his life. Source

As Jay says, Anne-Sophie Mutter is not just one of the great violinists of our time, she is one of the great musicians of our time. She is also a fascinating – fascinating – interviewee. Smart as a whip, for one thing. From the Salzburg Festival, she and Jay talk about a number of things, including a number of personalities: André Previn (to whom she was married), Herbert von Karajan (who launched... Source

Sir John Tomlinson is a veteran, marvelous singer, a bass. He is now appearing at the Salzburg Festival. As Jay says, Sir John speaks almost as beautifully as he sings. In this conversation, they talk about the vocal life and many other things. Sir John does some singing, including the beginning of “Boris Godunov.” All free of charge. A splendid listen, the whole thing. Source

Jay is at the Salzburg Festival, performing his annual tasks, which include a series of conversations for the Salzburg Festival Society. One of the guests in the series is Rosa Feola, a soprano from Italy. She is a delightful, sparkling woman, as you will hear. Also an interesting one – as you will also hear. As a bonus, Rosa does a little singing – a little demonstrating. You will eat her up... Source

At the Salzburg Festival this summer, Herbert Blomstedt was a big hit. He was a big hit onstage with the Vienna Philharmonic, and, an hour afterward, a big hit on a smaller stage with Jay. Blomstedt quoted Picasso: “It took me many years to become youthful.” And he described music as a “search for truth.” An inspiring – and fun – conversation (complete with plenty of singing). Source

Javier Camarena is one of the leading tenors in the world. He is a guest at the Salzburg Festival, and participated in a series of conversations hosted by the Salzburg Festival Society. The moderator of this series is Jay. This episode of “Q&A” gives you excerpts of the conversation with Camarena. Jay actually had an encounter with this tenor in an opera house years ago – a story that Jay tells... Source

Yefim “Fima” Bronfman is one of the greatest pianists of our time. He has been playing at the Salzburg Festival, where Jay has been working. The two of them sat down for a “Q&A,” covering a range of topics: composers, pianists, and the musical life. A fine opportunity to hear words from someone famous for notes. P.S. The podcast goes out with Bronfman in Prokofiev's famous, fearsome “Precipitato,”... Source

Baritone, Peter Kálmán, and Marie Ross chat at the Salzburg Festival in part 2 of their interview. Peter discusses the opera characters that he creates on stage and how he gets his inspiration from real life experiences. Theater and acting in opera is about gestures that make up character traits and the slightest color or how an emotion plays through the voice, and Peter Kalman is a master of these qualities. On stage, Peter is like a fish in water. He got his education and training back stage, watching from the wings, learning by doing, experiencing in theater and in life. You'll get a chance now to hear him talk about it. To see videos of some of the roles that Peter has created on stage, or to hear clips from his audio recordings, visit his website: peterkalman.com

Internationally renowned baritone, Peter Kálmán, joins the podcast from the Salzburg Festival where he was singing Schubert's opera, Fierrabras, with Ingo Metzmacher and the Vienna Philharmonic. Peter chats with Marie about how he came to opera through his love of acting and the theater. He is the bass-baritone of choice for Cecilia Bartoli – the one she insists on singing next to when she does an opera production or makes a recording. Peter has sung all over the world. He was a member of the Zurich Opera Company, and since then has been singing in all the biggest opera houses and most prestigious festivals – Paris, Vienna, Salzburg – just to name a few.  He loves to play character roles – the buffo or the bösewicht – two common operatic characters, the comic relief or the villain. He talks with me about his favorite roles, life in the opera world today, and how he gets inspiration for characters through real life experiences – good or bad – and by simply watching people.