Podcasts about sir charles mackerras

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

Brett Weymark is one of Australia's foremost choral conductors. Since 2003 Brett Weymark has conducted the Sydney Philharmonia Choirs throughout Australia and internationally. He has also conducted the Sydney, Adelaide, Queensland, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic and productions for WAAPA, Pacific Opera and OzOpera. He has performed with Opera Australia, Pinchgut Opera, Australian Chamber Orchestra, The Song Company and Musica Viva. He studied singing and conducting at Sydney University and the Sydney Conservatorium of Music and continued conducting studies with Simon Halsey, Vance George, Daniel Barenboim and Sir John Eliot Gardiner, amongst others. His performances have included Bach's Passions and Christmas Oratorio, the requiems of Mozart, Verdi, Duruflé and Fauré and Orff's Carmina Burana. He is champion of Australian composers and has premiered works by Matthew Hindson, Elena Kats-Chernin, Peter Sculthorpe, Ross Edwards and many others. He has prepared choirs for Sir Charles Mackerras, Zubin Mehta, Edo de Waart, Vladimir Ashkenazy and Sir Simon Rattle. He has recorded widely for the ABC and conducted film scores, including Happy Feet, Mad Max Fury Road and Australia. Recent highlight performances include Sondheim's Sweeney Todd (West Australian Opera), Paul Stanhope and Steve Hawke's Jandamarra (SSO), Michael Tippett's A Child Of Our Time (Adelaide Festival) and Carousel (State Opera South Australia). In 2001, Brett was awarded an Australian Centenary Medal. In 2021, he was awarded the Medal of the Order of Australia for services to the performing arts through music. Brett is passionate about singing and the role that music plays in both the individual's wellbeing and the overall health and vitality of a community's culture. Music can transform lives and should be accessible to all.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

Synopsis On today's date in 1862, while President Lincoln was fretting over General McClellan's unwillingness to confront Secessionist rebels, New York concert-goers could find some relief from Civil War headlines by attending a New York Philharmonic concert at Irving Hall. Conductor Carl Bergman had programmed some brand-new music by a Hamburg composer named Brahms, whose Serenade No. 2 in A Major received its American premiere at their February 1st concert—a concert that took place almost 2 years to the day after the Serenade's world premiere in Hamburg in 1860. Give the New York Philharmonic some credit for daring programming. After all, it would be another year before the same Serenade would be performed in Vienna. Moreover, in 1863, during the Vienna Philharmonic's final rehearsal of this "difficult" new music by a composer nobody there had ever heard of, open mutiny broke out. The first clarinetist stood up and declared that the music was too darn hard and the orchestra simply refused to play it. Conductor Otto Dessoff, who had programmed the Brahms, turned white with anger, laid down his baton, and resigned on the spot, joined by the Vienna Philharmonic's concertmaster and principal flutist. Alarmed at the threatened disintegration of their orchestra, the Viennese rebels capitulated; and the performance of Brahms' Serenade No. 2 took place as scheduled and was, to the mutineers' chagrined astonishment, a tremendous success. Music Played in Today's Program Johannes Brahms (1833 - 1897) Serenade No. 2 in A, Op. 16 Scottish Chamber Orchestra;Sir Charles Mackerras, conductor. Telarc 80522

Adult Swim's Ned Hastings continues his time on Thunder Talk with more anecdotes and insights from his storied carrier at Williams Street, including more on the upcoming film “Aqua Teen FOREVER: Plantasm”. As a senior sound editor, Ned discusses the creative DNA that indelibly bonds to any project the sound editor contributes to and, in many cases, lives on into the future. Though the comparison would be that of a world renowned maestro to a child spitting into a kazoo, Dan felt a profound association with Ned's explanation of the intimate connections he's formed with the actors, characters, and material during the sound editing process. Dan only realized this, however, while he was sound editing Ned for this episode. Oh, and they're both ridiculously addicted to Star Wars Toys! They talk about that too. Matt Rozo – FEVR, also returns with that sweet synth sound and continues to lend the sounds of his hopes & fears to the Exile on Williams St. soundtrack. In our second interview we take a deeper dive into his musical catalog and he drops the latest single off his new album, “Suffer”! All that, plus the whole gang keeps the geek-out going with caddy chit-chats ranging from The Walking Dead, Star Wars, streaming services, SC Comicon, etc… One person's trope is another person's identity, tonight on the second album of our Season 5 Premier: Exile on Williams St. LP2

Fredrich Kuhlau was admired by Beethoven and is known as "the Beethoven of the flute." He wrote his gorgeous Fantasy in D major for solo flute in 1820 during a four-month stay in Vienna. Perhaps the Danube river provided inspiration for this silky, rippling Romantic music...Georg Philip Telemann, Fantaisie No. 12, performed by Karen KevraFredrich Kuhlau, Fantasy, Op. 38 in D major, Adagio, performed by Karen Kevra J.S. Bach, Fantasia in G minor, BWV 542, performed by Hans-André Stamm-organ  Beethoven, Choral Fantasy, Op. 80, performed by Singapore Symphony Chorus and Youth Choir, Eudenice Palaruan, Choral Director, Tengku Irfan, piano https://www.youtube.com/watch?v=8AXnA7-TD4QBeethoven, Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight" - I. Adagio sostenuto performed by Maurizio Pollini-piano Beethoven, Symphony #6 "Pastorale" - Royal Liverpool Philharmonic Orchestra, Sir Charles Mackerras, conductorPlease support the show.Artwork: Danube landscape near Regensburg, by Albrecht AltdorferSupport the show

Synopsis Contemporary composers may bemoan that their newly-composed opera or concerto might languish unperformed for years. “Haydn was lucky,” they whine, “His stuff got played right away!” Well, it's true that Haydn DID have his own orchestra at Prince Esterhazy's estate and got his music played while the ink was still wet. But even Haydn had to wait for a premiere on occasion—in two instances, for a very, VERY long time. Consider the last opera Haydn wrote, entitled L'anima del filosofo, ossia Orfeo ed Euridice –or, in plain English, The Soul of the Philosopher, or Orpheus and Euridice. This was supposed to premiere in 1791 in London. But a spat between the Prince of Wales and his pop, King George III, meant the performance was off. The opera was eventually premiered 160 years later – on today's date in 1951, at the Teatro della Pergola in Florence, with a cast including Maria Callas and Boris Christoff, led by the German conductor Erich Kleiber. And the public premiere of a Cello Concerto in C, a work some think Haydn wrote at Esterhazy in the 1760s, took place in the 1960s. Haydn's score was presumed lost until 1961, when it was discovered at the Prague National Museum and finally played by cellist Milos Sádlo and the Czech Radio Symphony, led by Sir Charles Mackerras, on May 19, 1962. Music Played in Today's Program Franz Joseph Haydn (1732 - 1809) –Orfeo ed Euridice Franz Joseph Haydn (1732 - 1809) –Cello Concerto in C

从2019年5月到现在，《和平精英》已经走过了3个年头。而3周年之际，《和平精英》带来了太多让玩家甚至泛大众耳目一新的尝试。吴京队长回归、数字代言人吉利亮相央视、主播玩家微综艺派对……而这次更令人惊讶的是，游戏的卡通角色IP——“光子鸡小队”也正式亮相。1个硬核的战术竞技游戏与4只小萌星之间会擦出什么样的火花？今天，我们邀请到了《和平精英》光子工作室群市场总监Leo、《和平精英》IP文创负责人Lucia参加本次电台，从光子鸡的3周年亮相到各具特色形象设计，以及光子鸡角色的价值，来和大家讲讲这个IP诞生背后的精彩故事。 参与人： Leo、Lucia、FJ、小乌贼歌单：IV. Allegro assai (Symphony No.40 in G minor, K.550) - Scottish Chamber Orchestra&Sir Charles Mackerras&Wolfgang Amadeus MozartII. Vivace (Mazurkas op. 33 B. 115) - Murray Perahia

Thrilling, chilling, but still somehow delighting in its brilliance, Dvořák's Noon Witch packs a punch and leaves you stunned. Also in this episode, free parenting advice and some musings on Dr Suess! Listen to the complete piece here on Apple Music, Youtube, or Spotify, in fab live-in-concert recordings from the Czech Philharmonic Orchestra and conductor Sir Charles Mackerras. Unfortunately you can't get these as a download. So if you want to buy it, try this recording from the Bavarian Radio Symphony Orchestra and Rafael Kubelik for only 55p.   If you enjoyed this, check out previous episodes for more excellent Dvorak and if you like Witches head for Musorgsky's Night on Bare Mountain.   Let me know what you think! Ways to get in touch bellow: Comment at cacophonyonline.com, Facebook or Twitter or now you can leave me a voice message  If you'd like to support Cacophony there are four great ways: - share this episode - share the 100 second trailer - buy us a cuppa at  ko-fi.com - subscribe and keep listening!     Thanks for listening!      

El 7 de octubre de 1748 el Tratado de Aix-la-Chapelle puso fin a la guerra por la sucesión de la Corona de Austria y la paz volvió momentáneamente a Inglaterra. Meses después el rey Jorge II ordenó que se realizara una gran celebración, ostensiblemente en honor de la paz pero en realidad para distraer a sus súbditos. Así, nació la Música para los reales fuego artificiales de Handel. Esta pieza realizada para acompañar el espectáculo pirotécnico organizado en Londres en 1749 para celebrar este tratado declarando el fin de la Guerra de Sucesión Austríaca a petición del rey debía evitar el uso de violines. Handel odiaba prescindir de los instrumentos de cuerda, pero intentó satisfacer los gustos del rey escribiendo para una enorme banda militar de 18 instrumentos de metal, 37 maderas y tres timbales. Los relatos contemporáneos hablan de más de 100 músicos en la celebración, así que tal vez Handel pudo colar algunos "violines" en su orquesta. Hoy escucharemos de esta obra La réjouissance de manos de la London Symphony Orchestra dirigida por Sir Charles Mackerras.

Références de l'émission :KEZAKOPERA FLASH Chant à la lune - Renée Flemingpar Audrey Marchalsoprano, coach vocal et en prise de parole, voix offwww.audreymarchal.com• Extraits n°1 et n°2 : Antonín Dvořák, Rusalka, Act I: « Měsíčku Na Nebi Hlubokém » / CzechPhilhamronic Orchestra, Sir Charles Mackerras, 1998, Decca / Renée FlemingDocumentation:- Partition: Antonín Dvořák, Song to the moon from Rusalka, Conductor's score, manuscript- Livret de Rulsaka (La naïade) de Jaroslav Kvapil- « Le grand entretien », Renée Fleming, François Busnel, France Inter- Dossier pédagogique Rusalka, Opéra National du Rhin, saison 2019-2020- Ondines et roussalkas : littérature et opéra au XIXe siècle en Allemagne et en Russie, WalterZidaric, Dans Revue de littérature comparée 2003/1 (n° 305), pages 5 à 22- Le long chemin de Rusalka. L'entente parfaite de Kvapil et Dvořák dans Rusalka : le contexte, lerésultat artistique et la réaction du monde de l'opéra, David R. Beveridge- Opera star Renée Fleming discusses her Czech roots, singing in the language, and a plannedduet with Lou Reed in Prague in November, Radio Prague International- Renée Fleming à Český Krumlov, Radio Prague International- Photo extraite du site www.reneefleming.com• Générique début émission: Offenbach. Les Contes d'Hoffmann. Acte 1. Prélude. OrchestreNational de France. Seiji Ozawa + accord orchestre.• Générique fin émission: « Bacchanale » - Camille Saint-Saens. Samson et Dalila. Acte 3.Orchestre de Paris. Barenboim.Technique: Tiphaine Le MennRemerciements: Jacques Lavergne, Jean-Luc Palévody, Pierre-Emmanuel Triffault, Tania Dovgal,Lucie Žáková

durée : 00:58:44 - Le van Beethoven du lundi 07 juin 2021 - par : Aurélie Moreau - Australia Now, une année d'événements pour célébrer l'Australie en France. C'est l'occasion pour nous de rendre hommage au chef d'orchestre australien, Sir Charles Mackerras. - réalisé par : Vivian Lecuivre

Den superoriginelle kompositören som ville få musiken att bokstavligen tala tjeckiska. En het kärlekspassion på ålderns höst förlöste en sällan skådad kreativitet. Lyssna på alla avsnitt i Sveriges Radio Play. Låtlista Mähriska danser för piano, nr 15 – Thomas Adès The Wandering Madman – Nederländska Kammarkören, Barbara Borden, Jetse Bremer, David Barick, Reinbert De Leeuw (Philips, 1993) In the mists – Leif Ove Andsnes (Virgin Classics, 1990) Jenufa: Uvertyr – Wienerfilharmonikerna, Elisabeth Söderström, Charles Mackerras m fl (Decca, 1982) Jenufa: Necham jeste The Diary of One Who Disappeared, JW V - 12 - No. 22, Sbohem, rodny kraju – Pavol Breslik Den listiga lilla räven, förspel – Wienerfilharmonikerna, Sir Charles Mackerras, Lucia Popp, Eva Randová, Dalibor Jedlička. (London Records, 1982) Den listiga lilla räven, ”1/19” Den listiga lilla räven, ”2/8” Kreuzersonaten – Mandelring Quartet (Audite, 1999) Sinfonietta, första satsen – Wienerfilharmonikerna, Claudio Abbado (DGG, 1987)

One of Britain's leading casting directors, Sarah Playfair chats through her formative years - from running away from her boarding school to catch Saturday matinees in London, to being Ian McKellen's dresser, onto her casting discussions with Lord Harwood and Sir Charles MacKerras.  Drawing from her vast range of experience, Sarah shares her extraordinary path through many of the UK's major opera companies, alongside some tips for what catches her eye on a CV and how she feels singers can best present themselves in auditions.  A unique insight into a journey which spans a time of extraordinary change in the landscape of the opera industry. http://sarahplayfair.com/

For the next two weekends, every aspect of the composer Frédéric Chopin will be examined at the annual Bard Music Festival, up the Hudson. It has WNYC's Sara Fishko considering the sources of that composer's inspiration, in this edition of Fishko Files. "Chopin and His World" opens tomorrow at Bard. For more details, visit their website. Jan Lisiecki's Chopin: Works for Piano & Orchestra is available on Amazon. Featured Music: Frédéric ChopinÉtude Op. 10, No. 5 in G flat minorJan Lisiecki, piano Johann Sebastian BachCapriccio in B flat major, BWV 992 – III: AdagissimoWilhelm Kempff, piano (1976) Gaetano DonizettiAl Dolce Guidami (from “Anna Bolena”)Maria CallasConducted by Nicola Rescigno Frédéric ChopinNocturne Op. 15, No. 1 in F majorMaria João Pires, piano Vincenzo BelliniCasta Diva (from “Norma”)Renée FlemingConducted by Sir Charles Mackerras Frédéric ChopinMazurka Op. 33, No. 2 in D majorVladimir Ashkenazy, piano Frédéric ChopinVariations on “Là ci darem la mano” from Mozart’s Don Giovanni, Op. 2 – Var. IJan Lisiecki, piano Frédéric ChopinÉtude Op. 10, No. 11 in E flat majorJan Lisiecki, piano Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Bill MossEditor: Karen Frillmann

Antonin Dvorak fell in love with the story of Rusalka as soon as he laid eyes on the libretto, and it was an immediate success when it premiered at the National Theater in Prague in 1901. Based primarily on two fairy tales (Hans Christian Andersen's "The Little Mermaid" and Friedrich de la Motte Fouque's "Undine"), it tells the story of a water nymph who falls in love with a prince and trades her voice to become human. Contrary to the Disney version, the story ends tragically for Rusalka. She is betrayed by the man she loves and she is doomed to spend the rest of her life trapped between the immortal world of the water nymphs and the mortal human world.  Rusalka's journey is one of extraordinary transformation — from nymph to human, from mortal to immortal, from water to land, from family to isolation, from love to betrayal, and from longing to resignation. We hear it all in Dvorak's lush score and we quickly understand why this opera is considered a national treasure in the Czech republic. In this episode, Merrin Lazyan and Julian Fleisher speak with WQXR overnight host Nimet Habachy about Dvorak's supernatural masterpiece. We also hear from soprano Kristine Opolais about her special connection to this role, about the betrayals we face and about the sacrifices we make for love.  Nimet's YouTube pick (Frederica von Stade):  Julian's YouTube picks:  This episode features excerpts from the following album: Dvorak: Rusalka (London/Decca, 1998)— Renée Fleming, soprano; Ben Heppner, tenor; Franz Hawlata, bass-baritone; Ivan Kusnjer, baritone; Livia Aghova, soprano; Dana Buresova, soprano; Hana Minutillo, mezzo-soprano; Czech Philharmonic Orchestra conducted by Sir Charles Mackerras

On this week's episode of He Sang/She Sang, hosts Merrin Lazyan and Mike Shobe are joined by WQXR morning host Jeff Spurgeon to discuss Englebert Humperdinck's opera Hansel and Gretel. Hear how the Brothers Grimm's fairy tale became an opera, why it's often performed at Christmastime and which musical moments are truly magical. Also on the show, opera and theater director Mary Birnbaum shares how she first fell in love with Hansel and Gretel. Jeff Spurgeon's YouTube pick (Angelika Kirschlager, Diana Damrau, and Pumeza Matshikiza): Merrin Lazyan's YouTube pick (Alice Coote, Christine Schäfer, and Sasha Cooke): Mike Shobe's YouTube pick (Robert Brubaker):    This episode features excerpts from the following album: Humperdinck: Hansel and Gretel (Chandos, 2007)— Jennifer Larmore, mezzo-soprano; Rebecca Evans, soprano; Jane Henschel, mezzo-soprano; Rosalind Plowright, mezzo-soprano; Robert Hayward, baritone; Diana Montague, mezzo-soprano; the Philharmonia Orchestra and the New London Children's Choir conducted by Sir Charles Mackerras  

James Jolly and Rob Cowan discuss Sir Charles Mackerras - The Gramophone Classical Music Awards 2010 (part 1)

Interviews with George Benjamin and Sir Charles Mackerras

The Guest List is coming from Liverpool this week . To celebrate the city being the European Capital of Culture Anne-Marie Minhall reports from Philharmonic Hall , the home of the Royal Liverpool Philharmonic as they rehearsed in the hall under the direction of Sir Charles MacKerras.. On the show this week is the man behind this years celebrations, writer and producer of TV programmes like Grange Hill and Brookside, Phil Redmond , who tells Anne-Marie what he hopes the legacy of Liverpool ‘08 will mean for the city…. Anne-Marie also talks to world renowned pianist and Liverpudlian Stephen Hough about what Liverpool has meant to him over the years….

On the Guest List this week Anne-Marie talks to one of Britain’s best loved sopranos Dame Felicity Lott who is appearing at this year’s Windsor Festival with the London Conchord Ensemble where she will perform songs by Poulenc and De Falla…..Also on the show is Sir Charles MacKerras who is conducting The Philharmonia in a series of recorded live concerts especially recorded for Classic FM’s 15th birthday next month.

Gilda Cruz-Romo (Aida), Carlo Bergonzi (Radames), Mignon Dunn (Amneris), Gian Piero Mastromei (Amonasro), and Kiri te Kanawa (Sacerdotessa). Covent Garden 12 April 1973; Sir Charles Mackerras.

Gilda Cruz-Romo (Aida), Carlo Bergonzi (Radames), Mignon Dunn (Amneris), Gian Piero Mastromei (Amonasro), and Kiri te Kanawa (Sacerdotessa). Covent Garden 12 April 1973; Sir Charles Mackerras.

Gilda Cruz-Romo (Aida), Carlo Bergonzi (Radames), Mignon Dunn (Amneris), Gian Piero Mastromei (Amonasro), and Kiri te Kanawa (Sacerdotessa). Covent Garden 12 April 1973; Sir Charles Mackerras.

Gilda Cruz-Romo (Aida), Carlo Bergonzi (Radames), Mignon Dunn (Amneris), Gian Piero Mastromei (Amonasro), and Kiri te Kanawa (Sacerdotessa). Covent Garden 12 April 1973; Sir Charles Mackerras.

Maria Stuarda: Barbara Frittoli, Elisabetta: Anna Caterina Antonacci, Anna Kennedy: Rachel Hynes, Giorgio Talbot: Jonathan Lemalu, Roberto, Conte di Leicester: Paul Charles Clarke, Lord Guglielmo Cecil: Christopher Purves. Scottish Chamber Orchestra; Sir Charles Mackerras. Edinburgh, August 14, 2002...

Maria Stuarda: Barbara Frittoli, Elisabetta: Anna Caterina Antonacci, Anna Kennedy: Rachel Hynes, Giorgio Talbot: Jonathan Lemalu, Roberto, Conte di Leicester: Paul Charles Clarke, Lord Guglielmo Cecil: Christopher Purves. Scottish Chamber Orchestra; Sir Charles Mackerras. Edinburgh, August 14, 2002...

Maria Stuarda: Barbara Frittoli, Elisabetta: Anna Caterina Antonacci, Anna Kennedy: Rachel Hynes, Giorgio Talbot: Jonathan Lemalu, Roberto, Conte di Leicester: Paul Charles Clarke, Lord Guglielmo Cecil: Christopher Purves. Scottish Chamber Orchestra; Sir Charles Mackerras. Edinburgh, August 14, 2002...