Podcasts about sarastro

Jubilujúci operný spevák, sólista Opery Slovenského národného divadla - Jozef Benci. Absolvoval Konzervatórium a Vysokú školu múzických umení v Bratislave, je to žiak legendárneho operného speváka Sergeja Kopčáka. Hosťoval aj v pražskom Národnom divadle, v budapeštianskej Národnej opere, či v poľskom Krakowe. Vystupuje so Slovenskou i Českou filharmóniou. K jeho najvýraznejším rolám patrí Vodník v Dvořákovej Rusalke, Ferrando vo Verdiho Trubadúrovi, Sarastro v Mozartovej Čarovnej flaute alebo Mefisto v Gounodovej opere Faust, Veľký inkvizítor a Kráľ Filip vo Verdiho opere Don Carlos, Timur v Pucciniho opere Turandot, Boris Godunov v rovnomennej opere Modesta Petroviča Musorgského, Collin v Pucciniho Bohéme alebo Lucifer v Dvořákovej opere Čert a Káča. Spolupracoval aj s Editou Gruberovou. Pochádza z Kremnice, žije v Bratislave, je otcom dvoch dcér, manželka je klaviristka. Hrá šach, dokonca aj závodne, sleduje futbalové a hokejové dianie a rád pracuje okolo domu (príklad mu je jeho starý otec, ktorý bol veľmi zručný). | Hosť: Jozef Benci (sólista Opery Slovenského národného divadla). | Moderuje: Kata Martinková. | Tolkšou Nočná pyramída pripravuje Slovenský rozhlas, Rádio Slovensko, SRo1.

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Hoy en "La espuma de los días" nos acompañaron Rodrigo Caravantes, director de escena y productor de la Temporada de Ópera para niños, y Alejandra Gómez, mezzosoprano que interpreta a Cenicienta, para hablar sobre la temporada de Ópera para niños, en el Lunario del Auditorio Nacional.Se presentará La flauta mágica de Mozart, que sigue al príncipe Tamino en su misión de liberar a Pamina de Sarastro, solo para descubrir que la verdadera villana es la Reina de la Noche, producción que está inspirada en animaciones y cómics japoneses. Por otro lado, La Cenicienta de Rossini narra la historia de Angelina, quien supera las adversidades para encontrar el amor con el príncipe Ramiro, presentada con una estética art nouveau y art decó.

In the thirty-fifth year of his career, Daniel Sumegi has sung over one hundred operatic roles on many of the world's major stages – including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, Seattle Opera, as well as at Opera Australia.  He has also appeared in the opera houses of Bonn, Cologne, Frankfurt and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles and Houston among many others. Regarded also for his dynamic acting, his broad repertoire encompasses all periods of music – from Monteverdi and Mozart to Britten, Tippett and Puts.  Equally comfortable as Strauss' Baron Ochs, Mozart's Sarastro and Commendatore, Verdi's Grand Inquisitor and Sparafucile, Offenbach's Four Villains or Puccini's Scarpia, he has participated in Ring Cycles in New York, Los Angeles, San Francisco, Strasbourg, Cologne, Tokyo, Buenos Aires, Seattle, Melbourne and Adelaide, most notably as Hagen.  He has additionally performed Hunding in concert for the Hong Kong, Atlanta, Stuttgart and Melbourne Symphony Orchestras. Daniel's 2021/2022 engagements included Die Walküre (Singapore), Salome (Victorian Opera), Fidelio (Dublin) and Bluebeard's Castle, Aida and Lohengrin (Opera Australia). Among other roles, he has sung Die Meistersinger von Nürnberg (Pogner) for Opera Australia, Salome (Jochanaan) for New Israeli Opera, Der fliegende Holländer (title role) for Malmö Opera in Sweden and Carmen (Zuniga) for Seattle Opera.  He also undertook his music theatre debut, as Judge Turpin in Sondheim's Sweeney Todd, seen in Sydney and Melbourne.   Past highlights include Don Carlo and Madama Butterfly (Metropolitan Opera), Der Rosenkavalier (Scottish and Welsh National Opera), Luisa Miller (San Francisco), Billy Budd and Rigoletto (Los Angeles), Parsifal (Hamburg, Barcelona, Adelaide), Salome (Washington, Hamburg, Leeds, Hong Kong), Der fliegende Holländer, Aida, Beatrice and Benedict and Barbiere (Seattle), Manchurian Candidate (Minnesota, Austin), and more than 25 principal roles for Opera Australia. He has collaborated with noted conductors such as James Conlon, Sir Andrew Davis, Charles Dutoit, Dan Ettinger, Asher Fisch, Valery Gergiev, Nicola Luisotti, Sir Charles Mackerras, Yannick Nézet-Séguin, Renato Palumbo, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Nello Santi, Sir Jeffrey Tate, Edo de Waart, Sebastian Weigle, and Simone Young. Daniel Sumegi appears on CD in Beatrice di Tenda and Seattle Opera's acclaimed Ring Cycle, and on DVD in the San Francisco Opera Production of Capriccio, Opera Australia's Don Giovanni, and the historic condensed Ring Cycle from Teatro Colón, Buenos Aires. In December, he makes his role début as Wotan/The Wanderer in OA's new production of Der Ring des Nibelungen. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

In this radio special of “Every Voice with Terrance McKnight,” enjoy this season's journey into Mozart's "The Magic Flute," its investigation into the overlooked character of Monostatos, and what his portrayal teaches us about ourselves. With a legacy spanning over two centuries, "The Magic Flute" remains a beloved classic, captivating audiences in sold-out venues worldwide. But along with the opera's historic success, the character of Monostatos, a Moor and chief slave to the wizard Sarastro, stands out as one of the most famous and shameful stereotypes in opera — a genre with limited representation of characters of African descent. Monostatos's longing for Pamina, a white woman, is meant to be a source of comedy, but his experience of loneliness and feeling othered is one that many can relate to. Could future productions of “The Magic Flute” highlight the depth and complexity of this character?With the help of the Every Voice team, Terrance McNight investigates the history of this opera, tells stories from his own life, and enlists an ensemble of opera talents, including Chauncey Packer, Rodell Rosel, Raehann Bryce-Davis, Kevin Maynor, Sylvia McNair, and more to understand the messaging of modern stagings of this canonical work. This episode is hosted by Terrance McKnight and produced by David Norville and Tony Phillips with help from Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Alan Goffinski. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

A conversation with Richard Velkley about his recent book, Sarastro's Cave: Letters from the Recent Past (Mercer UP).

In Mozart's "The Magic Flute," Monostatos is smitten by the white princess Pamina, whom he is supposed to be guarding under the orders of the high priest Sarastro. His desire to love and belong is the source of anguish, as he feels unworthy of Pamina due to his race and enslaved status. Rather than serve as a commentary on the harsh racial realities of 18th century society, Monostatos instead serves as the comic relief of the opera, embodying the loud, threatening, and childish caricature which became the template for American minstrelsy.This episode is hosted by Terrance McKnight and produced by David Norville and Tony Phillips with help from Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Sapir Rosenblatt. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

At over 200 years old, “The Magic Flute” remains a classic opera which continues to be taught, studied, and performed in sold-out venues around the world. But with more than two centuries of history since “The Magic Flute's” conception, how do we best shed light on the stereotypes each staging continues to portray?In this episode of Every Voice with Terrance McKnight, get to know the character of Monostatos, the enslaved overseer of Sarastro's temple, whose longing for Pamina, a white woman, is meant to be a source of comedy. Despite the stereotypes that inform this character, his experience of loneliness and feeling othered is one that many can relate to. Could future stagings of “The Magic Flute” highlight the depth and complexity of Monostatos's character – and provide an important teaching moment?This episode is hosted by Terrance McKnight and produced by David Norville and Tony Phillips with help from Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Sapir Rosenblatt. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

「因為有黑暗，我們才能夠在彼此的生命裡靠岸。」 這段話是海苔熊的新書名，意外蠻適合今天的故事的。 相信有上過音樂課的大家，一定都對《魔笛》這個故事印象深刻，但長大之後再重看一次，才發現裡面的每個角色都充滿了寓意。究竟這些兩兩相對的角色，象徵著我們心裡什麼樣的對應面呢？ 《魔笛》角色列表： 1. 王子─塔米諾(Tamino) 2. 公主─帕米娜(Pamina) 3. 夜之后 4. 大祭師─薩拉斯托(Sarastro) 5. 捕鳥人─帕帕基諾(Papageno) 6. 捕鳥女─芭芭吉娜(Papagena) 7. 摩爾人 8. 三位侍女 9. 三位童子 本集參考連結： EP220｜解析《李爾王》-當所相信的一切，都被推翻了…請接受那感到罪惡的自己吧 https://bit.ly/3fFrNqd 《十二兄弟》有苦難言的日子，該如何撐過去？ https://bit.ly/3LYD013 EP288｜世界上有不會過期的鳳梨罐頭嗎？我相信有，你也最好相信！解析王家衛經典電影《重慶森林》 https://bit.ly/3C4xbKK EP289｜「向沒有借東西」：把遺憾活成祝福，那些傷心就不再那麼痛苦 feat.火星爺爺 《我在地球的奇異旅程》 https://bit.ly/3ybbVC4 -- - - - -

"Being part of an ensemble taught me to look not just at my line but at all the music. The composer gives you so much information in the orchestra that you don't get from just the vocal line. That really informs your character. It allows me to be more fun and more creative if I can focus on being part of the whole at any given time."Bass Benjamin Sieverding of Minneapolis, MN has gained notice for his “resonant, expressive bass” (StarTribune). He most recently made his Metropolitan Opera debut as one of the Offstage Voices/Jury in Brett Dean's Hamlet. In 2022, he also made his Intermountain Opera Bozeman debut as Mr. Noble (Pish-Tush) in The Montana Mikado. In 2021, he made his Tulsa Opera debut as Betto in Gianni Schicchi and his Omaha Symphony debut performing excerpts from Mozart's Requiem and Handel's Messiah. In 2020, he was slated to return to Minnesota Opera to sing the roles of Bull and Neal in the world premiere of Edward Tulane, to make his Austin Opera debut as the Mandarin in Turandot, reprise the Dough's Mate in Companionship with Virginia Arts Festival, reprise Doctor Grenvil in La traviata with Out of the Box Opera, and return to Mill City Summer Opera as Sparafucile/Ceprano in Rigoletto. Mr. Sieverding has performed several roles with Minnesota Opera including Alfred Austrian in The Fix, Prison Warden George Benton in Dead Man Walking, Colline in La bohème, Frère Laurent in Roméo et Juliette, Sacristan in Tosca, and Sarastro in Die Zauberflöte. Other recent performances include appearances with South Dakota State Symphony, Madison Opera, Glacier Symphony, Pacific Symphony, Fort Worth Opera, Opera in the Heights, Opera South Dakota, Lakes Area Music Festival, and Madison Symphony Orchestra. In the upcoming season, Mr. Sieverding returns to Minnesota Opera, The Metropolitan Opera, and Madison Opera.To get in touch with Ben, you can visit his website: www.benjaminsieverding.com.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from Pexels

"WIEN - Beethoven delayed" lautet das Motto der diesjährigen Ausgabe des Gstaad Menuhin Festivals. Mit etwas Augenzwinkern rettet das Festival damit Programme, die für 2020 geplant waren und stellt WIEN in den Mittelpunkt. Musikchefin Ursula Magnes berichtet vom zweiten Festivalwochenende aus dem Berner Oberland mit einem Ausblick auf die kommenden 3 Jahre, für die sich das Gstaad Menuhin Festival einiges vorgenommen hat. Gstaad ist ein internationales Dorf. Die beeindruckende Naturkulisse trifft auf Gäste aus aller Welt. Die perfekte Idylle. Die Festivalzentren sind zum einen die Kirche im benachbarten Saanen und das Festivalzelt in Gstaad. Die Geigerin Patricia Kopatchinskaja wirbelte gemeinsam mit Giovanni Antonini und Il Giardino Armonico Musik von Antonio Vivaldi gehörig durch die Musikgeschichte. Zwischen den Violinkonzerten serviert Kopatchinskaja Zeitgenössisches und Improvisiertes und geigt und tanzt diesem Konzertabend in der Kirche in Saanen jegliche Routine aus den Noten. Manch Konzertbesucher nahm auch mit, dass Antonio Vivaldi relativ unbemerkt in Wien 1741 verstorben ist. Während die Mutter von Cecilia Bartoli Silvana Bazzoni Bartoli im Rahmen der Gstaad Vocal Academy ihre Gesangstechnik und ihre Erfahrung an Teilnehmer und -innen der Meisterklasse weitergibt, musiziert der junge Koreaner und Gewinner des Internationalen Van Cliburn Klavierwettbewerbes 2017 Yekwon Sunwoo in der Matinée des Jeunes Etoiles Schubert-Bearbeitungen von Franz Liszt. In der Kapelle Gstaad mitten auf der Promenade gelegen, wo sich Radfahrer, Bergsteiger, Wanderer und flanierende Urlauber in lockerer Atmosphäre mischen. Am Abend dann Mozarts Zauberflöte in einer halbszenischen Aufführung mit auf den Bühnenwänden projizierten Visuals vom Videodesigner und Regisseur Benoît Bénichou. Christophe Rousset und Les Talens Lyriques führten ein internationales Ensemble durch das Werk, das immer wieder begeistert. Das Orchester auf der Bühne bot die seltene Möglichkeit Mozarts Orchesterfarben sehr unmittelbar zu erleben. Eine Klangvielfalt, die sonst oft im Orchestergraben untergeht. Erfreulich: der junge österreichische Bariton Christoph Filler ist für den angekündigten Georg Nigl als Papageno eingesprungen und überzeugte das Publikum als lustiger Naturbursch. Rocío Pérez gab eine Lady Gaga gleiche Königin der Nacht mit sicheren Rache-Höhen. Sandrine Piau als ausdrucksstarke Pamina und Jeremy Ovenden als nicht immer leicht verständlicher Tamino bestanden auch in Gstaad die Prüfungen der tugendhaften gestrengen Tempelwelt Sarastros. Sowohl stimmlich als auch darstellerisch beeindruckend war der junge Bassbariton Alexander Köpeczi als Sarastro. Seine schlanke und edle Stimme muss man sich merken! Viel Applaus im Festivalzelt, das sich zwischenzeitlich durch einen heftigen Regenguss auch akustisch bemerkbar machte, was das musikalische Geschehen auf der Bühne aber nicht weiter störte. Spannend zu hören was Festivalindendant Christoph Müller für die nächsten drei Jahre plant. Der Zyklus Wandel umfasst für die Jahre 2023 bis 2025 die Themen Demut, Tranformation und Migration. Dafür wurde Patricia Kopatchinskaja als Botschafterin und Patin gewonnen. Mit dieser Programmierung will das Festival Impulse kreieren und Neues wie Notwendiges anpacken, so Intendant Christoph Müller. Nächstes Jahr mit den vertiefenden Schwerpunkten Demut und Natur, Demut und Glaube sowie Demut und Vorbilder. Wie kling

Den Inhalt der „Zauberflöte“ stringent zu erzählen, ist gar nicht so leicht. Emmanuel Schikaneder hat anno 1791 eine Wiener Vorstadtmischkulanz gemischt aus Märchen, exotischer Tierwelt und Freimaurerriten. Dazu die geniale Musik von Wolfgang Amadé Mozart. Die amerikanische Regisseurin Lydia Steier hat ihre Inszenierung aus 2018 kräftig überarbeitet. Am Pult der Wiener Philharmoniker stand nach der erfolgreichen „Così fan tutte“ der letzten beiden Jahre Joana Mallwitz. Die „Zauberflöte“ ist vom Großen Festspielhaus ins Haus für Mozart übersiedelt. Und das hat dieser Produktion mehr als gut getan. Die Erzählperspektive bleibt die gleiche wie vor vier Jahren: In einer wohlhabenden gutbürgerlichen Familie in einem Wiener Innenstadtpalais der Jahrhundertwende am Vorabend des Ersten Weltkrieges erzählt der Großvater seinen drei Enkelsöhnen die Geschichte der Zauberflöte. Burgschauspieler Roland Koch übernimmt diese Rolle in der Dialogfassung von Ina Karr und Lydia Steier und damit auch die meisten originalen Sprechtexte der Partitur. Die Zauberflötenfiguren entschlüpfen der häuslich gewohnten Umgebung und sind doch luzide Träume. Aus der hysterischen Mutter fährt die Königin der Nacht samt kolossalem Tischtuch mit ihrer ersten Arie förmlich in die Höhe und aus der Haut. Eine packende Szene. Tamino ist ein erwachter Zinnsoldat und der Papageno „ist doch der Sohn vom Fleischer“ rufen die Buben. Tenor Stefan Vitu rührt derweilen im Unterstock als dicke Köchin und spätere alte Papagena kräftig im Suppentopf. Eine geschickt ausgedachte Drehbühne von Katharina Schlipf erzählt die Geschichte räumlich weiter bis im zweiten Akt die geschlossene Welt der strengen Tugend Sarastros erreicht wird. Hier gibt es keinen Auf- und Einstieg ohne Prüfungen. Videoprojektionen von Momme Hinrichs werfen am Ende die Schrecken des Ersten Weltkrieges auf diese Männerwelt in Anzug und Melone inmitten von Karriertreppen und ebensolchen Türen. Hingegen dürfen bunte Schmetterlinge erscheinen, wenn es um die Liebe geht und die Kuscheltiere der drei Knaben spazieren ebenso überlebensgroß durch die zweigeteilte Bühne, mit einem Oben der Herrschaft und einem Unten der Dienstboten. Sängerisch weiß vor allem Regula Mühlemann als Pamina zu berühren. Die große Abschiedsarie „Ach ich fühl es“ in Mozart‘schem g-Moll gehört zu den musikalischen Höhepunkten des Abends. Mauro Peter als Tamino wirkt in der Höhe etwas verhalten und unsicher. Der junge Wiener Michael Nagl gab einen launig frischen Papageno, der mit Maria Nazarova schließlich auch seine Papagena findet. Tareq Nazmi als Sarastro und Brenda Rae als Königin der Nacht erfüllen ihre Aufgaben. Hervorzuheben sind unbedingt die luxuriös besetzten drei Damen, gesungen von Ilse Eerens, Sophie Rennert und Noa Beinart. Peter Tantsits als Monostatos sah furchterregender aus als er kaum hörbar sang. Die drei Knaben aus den Reihen der Wiener Sängerknaben sind ständig auf der Bühne und meistern ihre zentrale Rolle in dieser Inszenierung schauspielerisch und gesanglich bravourös und erhalten dafür vom Premieren-Publikum auch tosenden Applaus. Joana Mallwitz leitet die Wiener Philharmoniker absolut Sänger und Sängerinnen freundlich, wobei sich die berührende Schwerelosigkeit der Musik Mozarts gelegentlich etwas vermissen lässt.

DescriptionThe ‘Queen of the Night' aria, "Der Hölle Rache kocht in meinem Herzen" ("Hell's vengeance boils in my heart"), is a coloratura soprano part, in the second act of Mozart's opera The Magic Flute (Die Zauberflöte). Take a minute to get the scoop!Fun FactThe story is a mixture of fun and high ideals, of Masonic philosophy and high jinx, of brotherhood and love affairs, of melodrama and serious thought.  Within this context Mozart sent his final message of personal conviction and standards of living, which had been confirmed by his membership in the Freemasons, on January 7, 1785, admitted into the Zur Wohltätigkeit Lodge in Vienna. There, he was in familiar company. Other contemporary members of this Lodge were Joseph Haydn, his patron Prince Lichnowsky, his father Leopold, Michael Puchberg and Gottfried van Swieten, two of his most important patrons, Anton Stadler (clarinetist) and Angelo Solimon, a good friend.About Steven, HostSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more. Member of the Canadian League Of Composers.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show

On this episode of the podcast we've got a hip hop team up from producer John Sarastro and rapper Dell Wells. The track has a golden era feel to it, akin to A Tribe Called Quest or something from the school of Native Tongues. Wells attacks it with a Phife-like cadence that works quite well over Sarastro's funky lighthearted keys and minimalist drums. “Spoils” is just one of a few of their team ups on Sarastro's new project ‘Obsidian Lanes', available now on bandcamp: https://johns1.bandcamp.com/album/obsidian-lanes • follow folks: @johnserastro @dell_wells @studymusicgroup • The track can also be found in Study Music Group's ‘Single Spotlight Playlist' on Spotify: https://spoti.fi/3CljEhN • this episode is supported in part by Public & the Public app - Easy mobile investing on iOS and Android: http://share.public.com/studymusicgroup - Get $300 in a stock of your choice FREE with our link & use code ‘studymusicgroup' at signup. --- Send in a voice message: https://anchor.fm/studymusicgroup/message

Mozarts letzte Oper ist ein Wunder: aus einem Textbuch voller Ungereimtheiten schuf der Komponist unsterbliche Musik und ein vielschichtiges Werk voller Rätsel und Mysterien, das Kinder und Erwachsene gleichermaßen begeistert. (Autor: Vratz / Lohse)

Donald Macleod finds connections between Mozart’s operas and the composer’s own life Born in 1756, the theatre was a life-long passion for Mozart. Starting at the tender age of just 11, in the space of 22 years he produced an astonishing 24 theatrical works. His destiny was to follow in his father’s footsteps, as a court musician. Instead, by 1781, after a disagreement over his frequent absences from court, Mozart parted ways with his employer, the Elector of Cologne. He left Salzburg and servitude behind, to set himself up in Vienna, a thriving centre for music. The following year he triumphed with his comic singspiel, Die Entführung aus dem Serail. The succession of works that followed include many of the mainstays of operatic repertory, among them The Magic Flute, which was completed in the year of his death, at the age of 35 in 1791. This week Donald Macleod finds connecting points between the characters Mozart created for the stage and the composer's own experiences in life. He examines how Mozart struggled to be a dutiful son, and how he tackles honour and duty in Idomeneo, Lucio Silla and Mitridate. The ideas of enlightenment that influenced Mozart's own views find expression in the balance of power he depicts between servants and the ruling classes in The Marriage of Figaro. The composer’s thorny path to marriage with Constanze also finds him examining the complexities of love in Die Enführung aus dem Serail and Così fan tutte. Donald ends with Mozart's masterly representation of temptation and evil, as characterised by the ultimate bad boy Don Giovanni and the scheming and manipulative Queen of the Night. Music Featured: Overture to Le nozze di Figaro Le nozze di Figaro, Act 1: Cinque, dieci …. Se vuol ballare, Signor Contino La finta giardiniera, Act 1: Appena mi vedon Così fan tutte, Act 1: Scene 3 (excerpt) Don Giovanni , Act 1: Notte e giorno faticar Don Giovanni, Act 1: Ah! Chi mi dice mai...Madamina, il catalogo è questo Don Giovanni, Act 1: Champagne Aria Die Entführung aus dem Serail, Act 2: Martern aller Arten Le nozze di Figaro, Act 2: Esci ormai, garzon malnato …Signore! Cos’è quell’stupore? Le nozze di Figaro, Act 3: Hai già vinto la causa….. Vedró, mentr’io sospiro Don Giovanni, Act 1: Finale, Riposate, vezzose ragazze La clemenza di Tito, Act 1: Parto, parto Die Zauberflöte, Act 1: Bei mannern, weiche Liebe fühlen Idomeneo, Act 1: Estinto e Idomeneo ….tutte nel cor vi sento ..Pieta! Numi pieta! Così fan tutte, Act 1: Finale, Ah che tutta in un momento … Dammi un bacio Le nozze di Figaro, Act 2: Porgi Amor Die Entführung aus dem Serail, Act 2: Wenn der Freude Tränen fliessen … Ach Belmonte! ach mein Leben! Don Giovanni, Act 1: O sai che l’onore Lucio Silla, Overture Lucio Silla, Act 1: Dall sponda tenebrosa; E tollerare io posso; Il desio di vendetta Mitridate, Rè di Ponto, Act 2: Lungi da te, mio bene La Clemenza di Tito, Act 1: Come ti piaci imponi La Clemenza di Tito, Act 2: Deh per questo istante solo; Ove s’intese mai più contumace; Se all’impero, amici Dei Die Zauberflöte, Act 2:Der Hölle Rache kocht in meinem Herzen Die Entführung aus dem Serail, Act 1: Solche hergelauf’ne Laffen Le nozze di Figaro, Act 1: La Vendetta… via, resti servita Idomeneo, Act 3: Ha vinto amore …. d’Oreste, d’Aiace Die Zauberflöte, Act 1: Finale, Wie stark ist nicht dein zauberton ...Es lebe Sarastro! Sarastro soll leben Don Giovanni, Act 2: Finale II, Già mensa è preparata ... Ah dov’è il perfido? Presented by Donald Macleod Produced by Johannah Smith for BBC Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Wolfgang Amadeus Mozart (1756-1791) https://www.bbc.co.uk/programmes/m000s8w7 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Pas de débat aujourd’hui, mais vos chroniques habituelles : - Franc-maçon célèbre : Marie-José Freling et Gaspard-Hubert Lonsi Koko ont choisi d’évoquer aujourd’hui, Marie Béquet de Vienne, féministe, militante sociale et franc-maçonne. - Je suis franc-maçon, et alors : Allons à la rencontre de Cécile, jeune Apprentie dans une loge parisienne du Grand Orient de France. Elle nous parle du lien qu’elle fait entre musique et franc-maçonnerie. Ce témoignage, recueilli par Claire Donzel, sera suivi de la diffusion d’un extrait de la Flûte enchantée de Mozart, l’air de Sarastro qui résonne selon Cécile avec ce qu’elle est venue chercher en franc-maçonnerie. - La chronique d’Alain Vordonis : Alors que près de trois milliards d’humains ont eu à subir depuis le printemps dernier un confinement plus ou moins contraignant, se protégeant au mieux des effets directs et indirects de cette redoutable pandémie, un vaste repli s’est opéré dans notre univers privé, contribuant à l’isolement de catégories importantes de la population, avec toutes les conséquences que cela engendre. Face à ce mouvement de retour sur soi-même, quelle analyse pouvons-nous avoir ? Cela ne représente-t-il pas pour les Francs – Maçons que nous sommes une nouvelle épreuve ? Comment devons-nous l’interpréter et quels enseignements en tirer ? C’est l’objet de la chronique d’Alain VORDONIS : « L’épreuve du confinement… » - Michel Baron : Épisode n°3 de la vie d’Abd El Kader, à la fois guerrier, penseur mystique et franc-maçon. - Pierre Yana nous propose d’entamer une nouvelle série sur les intellectuels dans le siècle. Première partie ce dimanche : les intellectuels dans l’engagement. - Chronique internationale : Christiane Vienne a choisi de s’intéresser cette semaine à la vaccination, et en particulier à la tuberculose. Le titre de cette nouvelle chronique : « Histoire inachevée : la vaccination ». - La république vue par MT : cette semaine, Marc Tullepois nous propose le thème : « Quelle autorité pour demain ? » - Le coup de cœur littéraire : Françoise Lacout a choisi de nous parler de l’ouvrage de Francis Camus-Pichon, « une machine contre-moi », publié chez Gallimard. Merci à Gilles Saulière de prêter sa voix à cette nouvelle chronique. Conception & animation: Eliz Ovart Baratte Production: Gilles Sauliere - RadioDelta déroulé de l'émission : 00:00:00 Présentation de l'émission - Élise Ovart-Barrat 00:00:36 Chronique Franc-maçon célèbre : Marie Bequet de Vienne - Marie-Josée Freling et Gaspard-Hubert Lonsi Koko 00:05:17 Chronique Je suis franc-maçon et alors ? : Cécile Auzolle - Claire Donzel 00:11:37 Chronique L'épreuve du confinement - Alain Vordonis 00:17:31 Musique : Relax, take it easy - Mika 00:21:03 Chronique Psycho-philo : Abd El-Kader, guerrier, penseur mystique et franc-maçon - 3/4 - Michel Baron 00:29:14 Chronique Les intellectuels dans le siècle : Dans l'engagement - Pierre Yana 00:36:47 Musique : Bella Ciao - Yves Montand 00:38:40 chronique internationale : Histoire inachevée : la vaccination - Christiane Vienne 00:45:55 Chronique : La République vue par MT : Quelle autorité pour demain ? - Marc Tullepois 00:49:16 Musique : Science-fiction - Christine and the Queens 00:52:53 Chronique : Coup de cœur littéraire : Une machine contre-moi, Francis Camus-Pichon - Françoise Lacout, lue par Gilles Saulière 00:56:54 Fin de l'émission - remerciements - Élise Ovart-Barrat 00:57:39 Musique : Quand on est seul en décembre - Florent Plagny

Stentorian Bass, Harold Wilson discusses high notes and low notes, bass repertoire, and common mistakes of young bass singers. Harold has performed with companies such as the Metropolitan Opera, Santa Fe Opera, Palm Beach Opera, Deutsche Oper Berlin, and Staatsoper Berlin, in roles such as Basilio, Sparafucile, Ramfis, Sarastro, and Baron Ochs.

Seit über fünfzig Jahren singt und spielt der Finne Matti Salminen auf allen bedeutenden Bühnen dieser Welt: als Hagen, Titurel, Sarastro, Rocco oder Boris Godunow. Am 7. Juli feiert er seinen 75. Geburtstag.

New Zealand born Samoan, Samson Setu, is a bass-baritone who is normally based in London, United Kingdom studying at the Royal College of Music, London, completing a Post-Graduate Diploma in Classical Voice. Setu is a former student in the Dame Kiri Te Kanawa Programme for Young Singers and credits part of his success to Dame Kiri, her trustees and all the opportunities they have provided him. Samson understands the importance of commitment and consistency and truly believes that his successes so far are also a result of hard work. Samson is also a recipient of a Dame Kiri Te Kanawa Scholarship which has given him the opportunity to study at the Royal College of Music. Samson is a former Freemason’s New Zealand Opera Artist and the Dame Malvina Major Emerging Artist of 2018 for New Zealand Opera. As an emerging artist Setu was given the opportunity to be a rehearsal cover and understudy for roles during the New Zealand Opera, 2018 season. Firstly, in L’elisir D’Amore, Samson was given the opportunity to study closely the role of Dulcamara. In the next opera, La Bohème, Samson was the rehearsal cover for the role of Colline. Later in the year, Samson performed in a revival of Gilbert and Sullivans ‘Trial By Jury’, in the prominent role of the Usher, under the direction of Stuart Maunder. Setu is very grateful for those opportunities as he strongly believes the best way to learn is through hands-on experience and performing under pressure. Samson’s most recent accomplishments include competing as a finalist in the annual IFAC HANDA Australian competition in September of 2019. Setu won an array of awards, a three-week programme at the State Opera House in Saarbrücken, a four-week intensive course at any Goethe Institut centre in Germany and an opportunity to participate in the International Vocal Arts Institute (IVAI) Summer Program in New York in 2020. Earlier in 2019 he won the annual Dame Sister Mary Leo scholarship at the 2019 NZ Opera School. In conjunction with this award, he was also awarded the initial Guy and Sue Haddleton Scholarship award which includes $5,000 a year for the next five years to assist Samson on his pursuit of an opera career. Through the Royal College of Music, Samson was casted as Simeon in Debussy’s, L’enfant Prodigue. After weeks and weeks of rehearsing and preparing the role the shows were cancelled due to COVID-19. Setu was also set to play the Sprecher and Sarastro in Mozart’s, Die Zauberflöte, but was also cancelled due the virus. Although the performances were cancelled Samson now knows three new roles and has gained more experience in his chosen field. Nominations for the Arts Pasifika Awards for 2020 close this week Friday 10th July at 1pm.  There are seven awards categories and artists can also nominate themselves for more information you can go to the creative nz website: www.creativenz.govt.nz  

Praised for his "commanding stage presence" and "rich, resonant bass," Kenneth Kellogg is quickly gaining recognition as a sought after young artist.  Born and raised in Washington, D.C, music has been a part of his life since grade school. Nurtured in the public school system by amazing music teachers, he participated in choirs throughout the city and began formal training at the Duke Ellington School of the Performing and Visual Arts as a Vocal and Visual Arts student.  Among his roles, many are staples of opera repertoire:  The title role, in Mozart’s Don Giovanni,  as well as Leporello and  Il Commendatore,  Mephistopheles in Gounod’s Faust, Don Alfonso in Mozart’s Cosi fan tutte, Ramfis and Il Re in Verdi’s Aida, Colline in Puccini’s La Boheme, the title role of Handel’s Hercules, The King in Handel’s Ariodante, Osmin in Mozart’s Die Entführung aus dem Serail, Sarastro and the Speaker in Mozart’s Die Zauberflöte, Sparafucile in Verdi’s Rigoletto, Fasolt in Wagner’s Das Rheingold. He led the cast in the west coast premier of Terence Blanchard’s Champion: An Opera in Jazz, as the champion boxer,  Young Emile Griffith, to rave reviews with Opera Parallele.  He in an Alumnus of the Adler Fellowship Program at San Francisco Opera and the Caftriz Young Artist Program at Washington National Opera.  He also trained at the Academy of Vocal Arts, Wolf Trap Opera and holds degrees from the University of Michigan and Ohio University.

durée : 01:58:41 - Été Classique Après-midi du dimanche 04 août 2019 - par : Priscille Lafitte - Au rythme de la marche des prêtres de Sarastro, suivons la Flûte enchantée de Mozart ! Elle nous invite à danser la pavane avec Maurice Ravel, une gavotte en rondo avec Jean-Sébastien Bach, jusqu'au ballet des furies de Gluck. - réalisé par : Patrick Lérisset

Im zweiten Teil ihrer Serie über Stimmfächer erzählt Sopranistin Eleonore Marguerre über die tiefgründigsten aller Opernsänger - die Bässe! Charakterlich oft problematisch, aber stimmlich balsamisch sind die Figuren, die in Opern von Bässen gesungen werden und du wirst viele wieder erkennen. Sarastro in Mozarts „Zauberflöte“ ist ein sogenannter „seriöser Bass“ und so geht es entsprechend weiter.. Und wer ein grandioses Duett von ZWEI Bässen auf einmal hören will - hier zwei YouTube Links zu Giuseppe Verdis „Don Carlo“ - König Philipp II. und der Großinquisitor schreien sich singend an - Herrlich!auf deutsch - https://youtu.be/Sdmjz_WBr1wUnd auf italienisch https://youtu.be/bNS_-jP5DN8

Join Kentucky Opera and acclaimed lecturer, Dr. John Hale, as he explores the historical and mythological background of Mozart's beloved The Magic Flute. We go into the woods with Prince Tamino and his irreverent bird catcher pal, Papageno, in search of the perfect girl to marry. But not before being saved from a dragon, outsmarting the duplicitous Queen of the Night, and proving himself worthy through an epic set of challenges set forth by the mysterious high priest Sarastro!While most baroque and classical operas are based on Greek or Roman mythology, Mozart ventured into less explored territory by setting The Magic Flute in ancient Egypt. The gods Isis and Osiris dominate the world of Sarastro and his fellow priests, and the ancient world's emphasis on the supernatural power of music lies behind the use of the magic flute itself as the opera's most important symbol.

Join Kentucky Opera and acclaimed lecturer, Dr. John Hale, as he explores the historical and mythological background of Mozart's beloved The Magic Flute. We go into the woods with Prince Tamino and his irreverent bird catcher pal, Papageno, in search of the perfect girl to marry. But not before being saved from a dragon, outsmarting the duplicitous Queen of the Night, and proving himself worthy through an epic set of challenges set forth by the mysterious high priest Sarastro!While most baroque and classical operas are based on Greek or Roman mythology, Mozart ventured into less explored territory by setting The Magic Flute in ancient Egypt. The gods Isis and Osiris dominate the world of Sarastro and his fellow priests, and the ancient world's emphasis on the supernatural power of music lies behind the use of the magic flute itself as the opera's most important symbol.

If you've walked up Drury Lane chances are you'll have noticed a corner with lush and extravagant greenery, where the building has extended tentacles of foliage right across the pavement. Venture inside and you'll find Sarastro, where Arabian Nights meets shabby chic, the perfect setting for some great Turkish food. Music: Between Worlds (Instrumental) by Aussens@iter (c) copyright 2017 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/tobias_weber/56664 Ft: (Smiling Cynic)

On this episode, we meet our Queen of the Night and Sarastro, principals in THE MAGIC FLUTE. Soprano Jeni Houser and bass Kevin Langan share their ideas of who these enigmatic characters are and how they are interpreted in this production. Jeni reveals how she approaches singing such famous music, and Kevin unpacks the opera's history and traditions. While they may not appear onstage together, the Queen and Sarastro represent the big powerful ideas governing THE MAGIC FLUTE.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at CentralCityOpera.org.

The gang returns from hell to Cantara, but their comms devices aren’t working so Tamino takes them to meet Sarastro nearby to track the Queen of the Night The post Cantara S01E06 appeared first on Scapi Magazine.

On today's episode of Opera for Everyone we listen to The Magic Flute, also known as Die Zauberflöte, by Wolfgang Amadeus Mozart. It's an opera in two acts, first performed in Vienna in 1791. In this opera the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity in the Temple of Wisdom under the high priest Sarastro. Tamino is accompanied on his quest to the Temple of Wisdom by the earthy Papageno, a bird-catcher, who is also looking for true love. Together they learn the high ideals of Sarastro's community and seek to join it. Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, and with the Queen and her cohorts vanquished. Papageno fails the trials completely but is nevertheless rewarded with the hand of his ideal female companion, Papagena. Image courtesy of Texas A&M University- Commerce Marketing Communications Photography

Prinz Tamino hat sich im Wald verirrt und trifft auf eine giftige Schlange. So beginnt die "Zauberflöte". Was dann passiert? Hier hört ihr die ganze Geschichte über Tamino, Pamina, Papageno, Papagena, Sarastro und die Königin der Nacht.

En enkel sagoberättelse och ett djupt filosofiskt familjedrama - Mozarts Trollflöjten talar till alla generationer och grupper. Kärlek, glädje, sorg och hämnd samsas i den omåttligt populära operan. Programledaren och producenten Britta Svanholm Maniette och Birgitta Forsberg, producent och programledare på SR P2, reder ut vem som har ihop det med vem i Trollflöjten, har Nattens drottning och Sarastro till exempel haft en flört?! Var kommer frimurarna in i berättelsen? Och var Mozart feminist?Dessutom avhandlas om Papageno är ett bevingat väsen eller en människa och hur musiken låter hos olika roller.TROLLFLÖJTENS LÅTLISTA:Trollflöjtens SpotifylistaLåtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan.Operaguiden operaguiden@sverigesradio.se

En enkel sagoberättelse och ett djupt filosofiskt familjedrama - Mozarts Trollflöjten talar till alla generationer och grupper. Kärlek, glädje, sorg och hämnd samsas i den omåttligt populära operan. Lyssna på alla avsnitt i Sveriges Radio Play. Programledaren och producenten Britta Svanholm Maniette och Birgitta Forsberg, producent och programledare på SR P2, reder ut vem som har ihop det med vem i Trollflöjten, har Nattens drottning och Sarastro till exempel haft en flört?! Var kommer frimurarna in i berättelsen? Och var Mozart feminist?Dessutom avhandlas om Papageno är ett bevingat väsen eller en människa och hur musiken låter hos olika roller.TROLLFLÖJTENS LÅTLISTA:Trollflöjtens SpotifylistaLåtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan.Operaguidenoperaguiden@sverigesradio.se

En enkel sagoberättelse och ett djupt filosofiskt familjedrama - Mozarts Trollflöjten talar till alla generationer och grupper. Kärlek, glädje, sorg och hämnd samsas i den omåttligt populära operan. Programledaren och producenten Britta Svanholm Maniette och Birgitta Forsberg, producent och programledare på SR P2, reder ut vem som har ihop det med vem i Trollflöjten, har Nattens drottning och Sarastro till exempel haft en flört?! Var kommer frimurarna in i berättelsen? Och var Mozart feminist?Dessutom avhandlas om Papageno är ett bevingat väsen eller en människa och hur musiken låter hos olika roller.TROLLFLÖJTENS LÅTLISTA:Trollflöjtens SpotifylistaLåtlistan innehåller dels musik som spelas i podden, dels fler betydelsefulla avsnitt ur operan.Operaguiden operaguiden@sverigesradio.se

Soloman Howard joins the show to speak about his trajectory in the arena of opera.  The Morgan University and Manhattan School of Music graduate is currently one of Washington National Opera's rising stars and is set to make his Metropolitan Opera debut this fall!  Currently a member of Washington National Opera’s Domingo-Cafritz Young Artist Program,a program of the John F. Kennedy Center for the Performing Arts, Soloman Howard is garnering superlatives from the press for his vivid performances on the opera and concert stages.  His voice is called “sonorous” by TheNew York Times, “superhuman” by The Denver Post, and “spectacular” by Maryland Theatre Guide.  Performances of the 2013-14 season include Sarastro in The Magic Flute conducted by Washington National Opera’s Music Director Philippe Auguin, Moser in Verdi’s I Masnadieri with Washington Concert Opera led by Music Director Antony Walker, Mendelssohn’s Die erste Walpurgisnacht at Carnegie Hall with Kent Tritle and the Oratorio Society of New York, and a role debut as Colline in La bohème with North Carolina Opera conducted by Robert Moody.  Read more  

Georg Hann (January 30, 1897 - December 9, 1950) was an Austrian operatic bass-baritone, particularly associated with the comic (singspiel) German repertory. Born in Vienna, he studied at the Music Academy there with Theodor Lierhammer. He joined the Munich State Opera in 1927, and remained with this theatre until his death. He also appeared regularly at the Vienna State Opera and the Salzburg Festival, quickly establishing himself as a leading buffo interpreter, notably in roles such as Leporello, Falstaff, Kecal, Ochs, La Roche (role he created in 1942), etc. He made guest appearances at the Berlin State Opera, La Monnaie in Brussels, the Paris Opéra, the Royal Opera House in London, La Scala in Milan. He did not limit himself to comic roles but also sang Sarastro, Pizzaro, Gunther, Amfortas, Daland and tackled a few Italian roles as well notably Wurm, Alfio, Tonio, as well as Mefistophele in Gounod's Faust. Hann died in Munich aged only 53.    Hann sings arias and scenes from: Zar und Zimmermann (Lortzing), Der Wildschutz (Lortzing) w. With Wolfgang Windgassen and Res Fischer, Barber of Bagdad (Cornelius), w.Lorenz Fehenberger, Nabucco, Falstaff, Gypsy Baron, Die Bettelstudent(Millocker).

 A tribute to Jerome Hines, a great artist. The selections are anounced and biographical material is included. (73 min.) The American Jerome A. Hines (November 8, 1921 – February 4, 2003) was a well-known basso opera singer who was associated with the Metropolitan Opera for many years. His height (6ft 6 inches, or 2m), stage presence and stentorian voice made him ideal for such roles as Sarastro in The Magic Flute, Mephistopheles in Faust, Ramfis in Aida, the Grand Inquisitor in Don Carlos, the title role of Boris Godunov and King Mark in Tristan und Isolde. Hines was born Jerome Albert Link Heinz in Hollywood, California. He studied mathematics and chemistry at the University of California, while also taking vocal lessons. Hines made his operatic debut at the San Francisco Opera in 1941, singing Monterone in Rigoletto. He changed his surname to Hines at the suggestion of his manager Sol Hurok to avoid the anti-German feelings prevalent during World War II.[1] In 1946, Hines made his debut at the Met as the Sergeant in Boris Godunov. He went on to sing forty-one seasons there, longer than any other Met singer, encompassing forty-five roles in thirty-nine operas. During this time he pursued further voice studies with Samuel Margolis and Vladimir Rosing. In 1953, Hines made his European debut with Glyndebourne as Nick Shadow at the Edinburgh Festival in the first British performances of Stravinsky's The Rake's Progress. In 1958, he made his debut at La Scala in the title role of Handel's Hercules. From 1958 to 1963, he sang at Bayreuth in the roles of Gurnemanz, King Mark and Wotan. In 1961, he first appeared at the San Carlo in the title role of Boito's Mefistofele. In 1962, he sang Boris Godunov at the Bolshoi in Moscow, famously for Soviet leader Nikita Khruschev on the eve of the resolution of the Cuban Missile crisis. Hines turned to coaching later in his career, founding the Opera-Music Theatre Institute of New Jersey in 1987, but he continued performing virtually until the end of his life; among his last appearances was a concert performance as the Grand Inquisitor with the Boston Bel Canto Opera in 2001 at the age of 79. A born-again Christian and member of the Salvation Army, Hines composed an opera on the life of Jesus, I Am the Way. He sang the role of Jesus at the Met in 1968 and performed the work many times around the world. Hines wrote a memoir, This is My Story, This is My Song (1969) ISBN 0-8007-0313-8, and two books on singing, The Four Voices of Man (1997) ISBN 0-87910-099-0 and Great Singers on Great Singing (1982) ISBN 0-87910-025-7. Hines died of undisclosed causes in 2003, at age 81 at a Manhattan hospital. Hines was married to the soprano Lucia Evangelista from 1952 until her death from amyotrophic lateral sclerosis in 2000. They had four children, David, Andrew, John and Russell. For most of his life, he lived in South Orange, New Jersey. [edit] External links

24.07.1791: Der Naturforscher Ignaz von Born arbeitete im kaiserlichen Naturalienkabinett in Wien als Malakologe. Das ist die feine und kleine Truppe der Spezialisten für Schnecken und andere knochenlose Weichtiere. Wolfgang Amadeus Mozart legte in der Oper "Die Zauberflöte" die Figur des weisen Sarastro nach dem Vorbild des Schneckensammlers an ...