Podcasts about Suor Angelica

PUCCINI: Suor Angelica (51.23). R. Tebaldi (sop.), G. Simionato (mez.), L. Danieli (mez), M. Truccato Pace (con.), A. di Stasio (mez.), Coro y Orq. del Maggio Musicale Fiorentino. Dir.: L. Gardelli.Escuchar audio

Puccini hat immer sehr mühsam um neue Opernstoffe gerungen, aber von „Suor Angelica“ war er vom ersten Moment an begeistert, sagt der , Publizist, Wissenschaftsjournalist und Experte für Populärkultur Michael Krassnitzer. Gestaltung: Alexandra Mantler – Eine Eigenproduktion des ORF, gesendet in Ö1 am 30.11. 2024

Avui sentirem: "Suor Angelica" (extractes). Els

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=7908LA FRANCIA E' CONSACRATA A MARIA ASSUNTA di Francesco PatrunoNei giorni scorsi, durante le Olimpiadi svoltesi a Parigi, abbiamo assistito a una derisione del Cristianesimo nella cerimonia di apertura dei Giochi Olimpici, tenutasi il 26 luglio. Gli organizzatori hanno voluto scimmiottare l'Ultima Cena. [...]Il carattere esoterico e neo-gnostico della cerimonia era evidente, perché, non a caso, la sua figura centrale era quella del dio pagano Dioniso, che per Friedrich Nietzsche e per gli esoteristi, incarnerebbe l'antitesi del Cristo e rappresenterebbe il simbolo della rottura con la morale cristiana, vista come avvilimento ed annientamento. [...]Guardando a questi spettacoli, così in contrasto con ciò che la Francia un tempo ha rappresentato per la Chiesa e per la fede cattolica, che ha visto germogliare in terra francese schiere di santi, tanto da essere considerata “figlia primogenita della Chiesa”, mi sono chiesto se essi riflettano davvero il popolo francese e le radici di quel paese. A un'analisi superficiale, potrebbe sembrare che quella Nazione non potrà mai tornare ai suoi fasti cristiani. Eppure, c'è speranza. Non dobbiamo dimenticare Colei che tutte le generazioni chiamano beata, a cui la Francia fu affidata secoli fa; un affidamento legato proprio alla solennità dell'Assunzione. Un affidamento che potrebbe costituire, secondo i tempi imperscrutabili della Vergine, che sono i tempi di Dio, il perno su cui la terra di Francia tornerà a essere pienamente cristiana.Cosa c'entra, dunque, quella Nazione con l'Assunta? È presto detto. Si tratta di una storia davvero affascinante, risalente al XVII sec., cioè alle vicissitudini private (e non solo) del re Luigi XIII e della regina Anna d'Austria. Sì, proprio quell'epoca e quei regno durante il quale è ambientata anche la vicenda de I tre moschettieri di Alexandre Dumas. Per farla breve, la coppia, molto pia e devota (sebbene il re non avesse mancato di intrattenere relazioni con cortigiane), non era stata benedetta dalla nascita di un figlio che potesse garantire la successione al trono. Per la verità, dal matrimonio, la regina concepì ben tre figli, che si risolsero in altrettanti aborti, di cui uno accidentale per una caduta dalle scale.La coppia regale, quindi, non poteva godere della gioia di un erede al trono.Fu su consiglio del monaco agostiniano scalzo Fra Fiacre di Sainte-Marguerite, personalità mistica dell'epoca, che aveva ricevuto nell'autunno 1637 alcune apparizioni della Vergine nelle quali la Madonna annunciava la prossima nascita di un erede al trono ed invitava - suo tramite - a tale scopo la regina Anna a compiere dei cicli di novene (il ciclo di novene si concluse il 5 dicembre di quell'anno, esattamente nove mesi dopo nacque il tanto desiderato bambino), e dell'ex cortigiana e confidente del re, Louise de La Fayette, divenuta nel frattempo monaca visitandina col nome di Suor Angelica, la quale aveva favorito la riconciliazione e la riunione del re con la regina, se si giunse - una volta avuta la certezza del concepimento del figlio da parte della sovrana - alla proposizione di un voto alla Madre di Dio.IL VOTO ALLA VERGINEPer la verità, sin dall'indomani del concepimento del figlio (avvenuto - si badi - dopo oltre un ventennio di matrimonio sostanzialmente sterile), e cioè dall'11 dicembre 1637, il re annunciava la sua intenzione di esprimere un voto alla Vergine. Il testo, più volte corretto e rifinito anche dal primo ministro del re, il celebre cardinal de Richelieu, fu sottoposto al Parlamento di Parigi. Il 10 febbraio 1638, finalmente, il re, nel suo castello di Saint-Germain-en-Laye, firmava, con proprie lettere patenti, il testo del voto in cui dichiarava solennemente che, «prendendo la santissima e gloriosissima Vergine come speciale protettrice del nostro regno, a Lei consacriamo particolarmente la nostra persona, il nostro Stato, la nostra corona e i nostri sudditi, supplicandola di ispirarci una santa condotta e difendere questo regno con tanta cura contro gli sforzi di tutti i suoi nemici [...]. E affinché i posteri non possano non seguire i nostri desideri su questo argomento, come monumento e segno immortale dell'attuale consacrazione che compiamo, faremo riedificare il grande altare della cattedrale di Parigi con un'immagine della Vergine che tenga tra le sue braccia quelle del suo prezioso Figlio deposto dalla Croce, e dove Noi saremo rappresentati ai piedi del Figlio e della Madre nell'atto di offrire loro la nostra corona e il nostro scettro.Ammoniamo il signor arcivescovo di Parigi, e gli ordiniamo nondimeno che ogni anno, nella festa e nel giorno dell'Assunzione, faccia commemorare la nostra presente dichiarazione nella messa solenne, che sarà detta nella sua chiesa cattedrale, e che dopo i vespri di detto giorno, nella detta chiesa si farà una processione, alla quale parteciperanno tutte le compagnie sovrane e gli organi cittadini, con cerimonie simili a quelle che si osservano nelle processioni generali più solenni, che vogliamo si facciano anche in tutte le chiese; sia parrocchiali che quelle dei monasteri di detta città e sobborgo, e in tutte le città, paesi e villaggi della detta diocesi di Parigi.Esortiamo parimenti gli arcivescovi e i vescovi del nostro regno, e nondimeno ingiungiamo loro di celebrare la stessa solennità nelle loro chiese episcopali, e delle loro diocesi, intendendo che a detta cerimonia siano presenti le corti del Parlamento e altre compagnie sovrane, e i principali ufficiali delle città, e avvertendo tutti i popoli ad avere una particolare devozione verso il Vergine, d'implorare in questo giorno la sua protezione, affinché, sotto una così potente Patrona, il nostro regno sia protetto da tutte le imprese dei nostri nemici, che goda lungamente di buona pace, che Dio vi sia servito e venerato così santamente affinché noi e i nostri sudditi arriviamo felici al fine ultimo per il quale tutti siamo stati creati, poiché tale è il nostro desiderio».Con questo voto, Luigi XIII istituì le processioni del 15 agosto durante le quali i sudditi avrebbero dovuto pregare Dio e la Vergine per i felici successi del re. Ogni chiesa del regno era tenuta, nella misura in cui la chiesa stessa non era già sotto il patronato della Vergine, a dedicare un altare o cappella principale alla Regina del Cielo. Luigi XIII promise infine di costruire un nuovo altare maggiore nella cattedrale di Notre Dame di Parigi, nonché di offrire alla cattedrale un nuovo gruppo scultoreo.LA NASCITA DELL'EREDE AL TRONO (DIEUDONNÉ, CIOÈ “DATO DA DIO”)Intanto, il 5 settembre 1638, nasceva il tanto desiderato figlio, Luigi XIV, il famoso Re Sole, soprannominato Dieudonné, cioè “dato da Dio”, proprio perché dono immeritato del Signore, ottenuto per intercessione della Vergine Maria, in un matrimonio sostanzialmente sterile, che si trascinava da oltre un ventennio.Da quell'anno 1638, ogni 15 agosto fu dedicato al ricordo di quel voto e della consacrazione della Francia e del suo popolo alla Madonna.Luigi XIII non fece in tempo ad adempiere al voto: vale a dire a costruire il nuovo altare maggiore a Notre Dame. Questo compito spettò al figlio, Luigi XIV, sessant'anni dopo. Dal 1708 al 1725, l'architetto Robert de Cotte rimodellò completamente il coro della cattedrale parigina, mascherando i costoloni con archi semicircolari più moderni. Ai lati dell'altare maggiore furono collocate sei statue di angeli in bronzo recanti gli strumenti della Passione di Cristo e quelle dei due re inginocchiati, Luigi XIII in atto di offrire scettro e corona di Guillaume Coustou e quella di Luigi XIV scolpita da Antoine Coysevox. Dietro l'altare maggiore, sotto l'arcata centrale dell'abside, fu collocato il gruppo scultoreo della Pietà, in marmo di Carrara, opera di Nicolas Coustou, che lo realizzò tra il 1714 e il 1715. Queste due statue dei re e quella della Pietà vennero rimosse nel 1793 e ricollocate nella cattedrale solo nel 1815, quelle dei sovrani su nuovi piedistalli completati nel 1816 con lo stemma del re di Francia.Tutto il gruppo scultoreo, pegno del voto del pio re di Francia, sono scampati miracolosamente al terribile incendio della cattedrale del 15 aprile 2019.La consacrazione della Francia e del re furono confermate da Luigi XIV il 25 marzo 1650 e vennero rinnovate in occasione del centenario del voto, nel 1738, dal re Luigi XV.Le campane e le processioni si svolsero ogni anno il 15 agosto sino alla Rivoluzione francese e per l'esattezza sino al 1791 compreso: il 14 agosto 1792, infatti, l'Assemblea legislativa rivoluzionaria abolì la consacrazione della Francia ed il voto; l'anno seguente, il 10 novembre 1793, profanata la cattedrale, essa fu trasformata nel tempio della dea Ragione.Con la caduta di Napoleone e la Restaurazione, il re Luigi XVIII ristabilì la celebrazione del voto nel 1814. Sotto la c.d. Monarchia di Luglio, nell'agosto 1831, il re Luigi Filippo I, figlio della Rivoluzione, abolì definitivamente il voto ed ogni celebrazione, nonostante la ferma e vana protesta di intellettuali cattolici come Lamennais, Lacordaire e Montalembert.Per la verità, già dalla modifica costituzionale del 1830 allorché la religione cattolica cessò di essere religione di Stato, il voto aveva perso forza di legge ed era caduto nel dimenticatoio, lasciando sostanzialmente all'iniziativa locale, popolare o diocesana, la celebrazione della ricorrenza.SANTA GIOVANNA D'ARCO PATRONA DI FRANCIA (DOPO L'ASSUNTA)A

Tres

Inside this Episode with host, Mitch Hampton I seem to never tire of saying that among my many missions on this podcast is to have guests that are quite different than myself. Although Christine and I are both musicians and in the music world, I can't carry a tune to save my life and my truly awful singing voice is one of the main reasons I decided to purely instrumental music in terms of my own performance.  Not only does our guest have one of the best singing voices  in her for any field or genre of music but she also speaks five plus languages and is well versed in a remarkably diverse repertoire of music Indeed her newest release is representative of just the kind of eclecticism I always champion. I always love having guests on my show who have been in the "classical music" world as it is a genre most misunderstood at times by the public and always worthy of continuation and celebration. I sincerely hope you enjoy watching this episode as much as we did recording it. Ms. Moore's Bio : ( Full Bio on her website below) Praised by the Leipziger Volkszeitung for her lush sound and powerful expression, soprano Christine Moore Vassallo is a versatile performer with equal command in opera, recital, and contemporary music.  The Sacramento, California native counts among her many opera roles Mimi in La Boheme, the title role Madama Butterfly, Alice Ford in Falstaff, Micaela in Carmen, the title role in Suor Angelica, Santuzza in Cavalleria Rusticana, Donna Anna in Don Giovanni, Countess in Le Nozze di Figaro, Judith in Bluebeard's Castle, Leonora in Il Trovatore (described as "velvety and luscious" by SongWordSight Magazine), the title roles in Aida and Ariadne auf Naxos with such companies as the Leipzig Opera, Central City Opera, Santa Fe Opera, Chautauqua Institute, Utopia Opera, Create Opera, the Aldeburgh Summer Festival, Sacramento Opera, the Amato Opera and Lyric Artists of New York. She curated and performed in the first ever concert of Arab composers, entitled "Nearer to East: Chamber Music from the Arab World" at the Bruno Walter Auditorium at Lincoln Center, which concert was lauded by the Library as one of the outstanding of the year. Christine speaks five languages and sings in ten, and has given numerous solo recitals featuring works of all genres of repertoire and languages, including in Granada and Madrid with Festival de Cancion Espanola, Trinity Concert Series in New York, the Library at Lincoln Center, Merkin Concert Hall, the Edinburgh Fringe Festival, and the Old Stone House, Brooklyn. She made her UK debut in 2005 at the Paxton Chamber Music Festival in Scotland with Schoenberg's Pierrot Lunaire (praised by the Glasgow Herald) and has performed many new works by living composers, including the premiere at Merkin Hall NYC of Richard Thompson's song cycle The Shadow of Dawn as well as the NYC premiere of his opera The Mask in the Mirror, Andrew Rudin's Masha's Arias, and works by Michael Rose, Kareem Roustom, Halim El-Dabh, Richard Cameron-Wolfe, Steve Gerber and Zaid Jabri with the Brooklyn New Music Collective.  In 2016 she founded the singers collective Lyric Artists of New York, producing operas and concerts in the New York area. In 2023 she made her Weill Hall at Carnegie debut, and is currently collaborating on a project with composer and pianist Patricio Molina set to premiere in 2025 of his songs set to Arab women poets of the Andalus period. Album webpage on the Meridian Records website: https://www.meridian-records.co.uk/acatalog/CDE84647-From-Al-Andalus-to-the-Americas.html  Christine's Website: www.christinemooresoprano.com #middleeast #egypt #spain #oud #darbuka #andalus #soprano #classicalmusic #flute ##arabic #folkmusic #latinamerica #meridianrecords #istanbul #farsi #opera #newyorkcity #artsong  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

Frank Murphy is joined by his friend Kathryn Frady of Marble City Opera. As predicted on a previous episode, they enjoy a cider in their Frank & Friends Show pint glasses.  Frank's picture is on page 66 of the April issue of VIP Knoxville magazine as part of its coverage of the Amadeus Chamber Ensemble's program of “French Opera Jewels.” Frank and Heather Waliga were photographed for the next issue of the magazine on Saturday as they emceed “Casino Royale” to benefit InterFaith Health Center. Kathryn was photographed during a luncheon at Ossoli Circle.  Kathryn and her husband James and Frank and his wife Jere attended the dedication concert for the new pipe organ at the Cathedral of the Most Sacred Heart of Jesus. One of the electromagnetic relays didn't work properly and caused an unexpected intermission in the concert.  Frank and Jere visited Frank Jr. in Michigan and then drove to Sandusky, Ohio to view the total eclipse of the sun. Frank's daughter Meaghan and her sons also traveled to Sandusky. Jere and Frank Jr. found a perfect spot to view the eclipse in a park that had no crowds and a new pavilion with clean bathrooms. Unfortunately the same cannot be said about the motel where they stayed.  This episode is sponsored by BoneZones.com (don't forget the S). Buy books and other merchandise autographed by Body Farm founder Dr. Bill Bass at https://bonezones.com/ including Body Farm t-shirts. Contact BoneZones to hire Frank to give a presentation about Dr. Bass and the Body Farm.  Frank specifically wore a peach-colored shirt to see if Kathryn recognized it. He also wore it while recording a video interview with the cast of Marble City Opera's production of Suor Angelica in 2019. Brandon Gibson, who was Marble City Opera's managing director, was wearing the same shirt. Two years earlier, Brandon first introduced Frank to Kathryn and to Marble City Opera.  Brandon passed away unexpectedly in 2022. Kathryn recently began the process of hiring Brandon's replacement. Frank expressed an interest in the job, applied, and was hired. His first day was April 1 but Kathryn delayed the announcement until April 2 so no one would think it was an April Fool's joke.  Marble City Opera will present the world premiere of The Doctor and the Devils on June 6 and 8, 2024 at the Old City Performing Arts Center. Marble City Opera's production of il Tabarro will take place in site-specific locations at the Port of Tellico on June 22, 2024 and in Melton Lake Park on June 23, 2024. Find tickets and information at https://www.marblecityopera.com/tickets  Support the Frank & Friends Show by purchasing some of our high-quality merchandise at https://frank-friends-show.creator-spring.com  Sign up for a 30-day trial of Audible Premium Plus and get a free premium selection that's yours to keep. Go to http://AudibleTrial.com/FrankAndFriendsShow  Find us online https://www.FrankAndFriendsShow.com/  Please subscribe to our YouTube channel at https://YouTube.com/FrankAndFriendsShow  and hit the bell for notifications.  Find the audio of the show on major podcast apps including Spotify, Apple, iHeart, Podbean, and Audible.  Thanks!

Durant 124 anys, el cognom Puccini va estar relacionat amb una llarga nissaga de mestres de capella, per

Tres

durée : 00:18:30 - Disques de légende du jeudi 07 mars 2024 - Gianni Schicchi constitue le troisième volet du Triptyque qui se présente comme un ensemble constitué de trois opéras en un acte. Ils ont pour titre : Il tabarro, Suor Angelica et Gianni Schicchi.

Clarence Ford speaks to Magadalene Minaar Cape Town Opera artistic director.See omnystudio.com/listener for privacy information.

Frank Murphy is joined by his friend Kathryn Frady of Marble City Opera, who is helping to coach the cast of the University of Tennessee Opera Theatre production of Suor Angelica, which is on a double bill with The Medium. Kathryn's husband James Marvel is the director of the production, with performances on November 10, 11, and 12, 2023 at the Bijou Theatre. Tickets are available at https://knoxbijou.org/events/  Frank and his wife Jere went to dinner with Kathryn and James at Clancy's Tavern & Whiskey House next to the Tennessee Theatre. Frank thinks Kathryn should have a Pint-Sized Opera at Clancy's after her successful event at Fanatic Brewing.  Frank and Jere discovered that they enjoy the house brand of corn chips at Aldi that is also called Clancy's. He thinks it would be funny if there were retro-style commercials for Clancy's.  Kathryn realizes that she had some corn chips and candies in her see-through purse. Many theaters now have a clear-bag policy.  Frank gave a presentation about the history of the Body Farm to the Friends of the Vonore Library that was scheduled through BoneZones.com. It went well and he might get hired for additional presentations. The audience was surprised to hear some details about the cremation process. Kathryn wonders if she could hire Frank to do a presentation about the Body Farm in conjunction with her upcoming world premiere of the opera The Doctor & The Devils. Learn about the opera at https://www.marblecityopera.com/doctorandthedevils  Frank thinks that East Tennessee PBS might repeat his interview with Kathryn on the show Up Close with Frank Murphy on November 29, 2023 at 12:00 a.m. It's also available on demand on the PBS App and at https://www.pbs.org/show/up-close/  Frank knows three people who misplaced their phones. Jere actually had the phone in her pocket. His friend Stacey was talking on the phone when she thought it was misplaced. Neighbor Nancy left hers in a cart at the grocery store. Frank went to the store with her to help her find it.  Frank is on FUN 105.9 weekdays from 3:00 p.m. to 7:00 p.m. and Saturday from 10:00 a.m. to 2:00 p.m. Listen online at https://www.fun1059.com/  This episode is sponsored by BoneZones.com (don't forget the S). Buy books and other merchandise autographed by Body Farm founder Dr. Bill Bass at https://bonezones.com/ including Body Farm t-shirts. You can also get several of Sam Venable's books, signed by the author and the new book by former UT counsel Ron Leadbetter.  Support the Frank & Friends Show by purchasing some of our high-quality merchandise at https://frank-friends-show.creator-spring.com  Sign up for a 30-day trial of Audible Premium Plus and get a free premium selection that's yours to keep. Go to http://AudibleTrial.com/FrankAndFriendsShow  Find us online https://www.FrankAndFriendsShow.com/  Please subscribe to our YouTube channel at https://YouTube.com/FrankAndFriendsShow  and hit the bell for notifications.  Find the audio of the show on major podcast apps including Spotify, Apple, Google, iHeart, and Audible.  Find us on social media:  https://www.facebook.com/FrankAndFriendsShow  https://www.instagram.com/FrankAndFriendsShow  https://www.twitter.com/FrankNFriendsSh  Thanks!

Gepresenteerd door: Hans van den Boom Antwerp Symphony Orchestra Lorenzo Passerini (dirigent) Pretty Yende (sopraan) G. Rossini - Ouv. La Cenerentola                     G. Rossini - Una voce poco fa (uit ‘Il barbiere di Siviglia')      G. Donizetti - Regnava nel silenzio… Quando rapito in estasi” (uit ‘Lucia di Lammermoor')       G. Verdi - Balletmuziek (uit Aida)                   G. Verdi - È strano ... sempre libera' (uit ‘La Traviata')         G. Puccini - Intermezzo (uit ‘Suor Angelica')        G. Puccini - Denaro, nient'altro ... ore dolci e divine ... fanciulla è sbocciato l'amore” (uit ‘La Rondine')

Musiktheater-Studierende der Kunstuni Graz bringen ab dem 3. Juni zwei Kurzopern auf die MUMUTH-Bühne: „Suor Angelica“ und „Mr Emmet takes a walk“. Der neue KUG-Professor Gerrit Prießnitz zeichnet für die musikalische Leitung verantwortlich. Der Beitrag KUG Oper erschien zuerst auf AirCampus.

Angelica: Renata Scotto | Princess: Lili Chookasian | Genovieffa: Betsy Norden | Osmina: Mary Fercana | Dolcina: Elizabeth Anguish | Monitor: Marcia Baldwin | Abbess: Jean Kraft | Head Mistress: Batyah Godfrey Ben-David | Nurse: Cynthia Munzer

It's Live from FM 91, as we welcome star singers from Toledo Opera's double bill of Puccini's Suor Angelica and Mascagni's Cavalleria Rusticana. It's a singers' roundtable, with discussion and performance from soprano Jill Gardner, contralto Lauren Decker, and tenor Brian Cheney. We're also joined by conductor Geoffrey McDonald and Co-Artistic Director Kevin Bylsma, who accompanies our singers on piano.

„Il trittico“, das Tryptichon ist die Zusammenfassung von drei einaktigen Opern zu einem Ganzen. Giacomo Puccini hat ein solches Tryptichon geschaffen. Gestern ging die Premiere der Salzburger Festspiele im Großen Festspielhaus über die Bühne. radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet. „Il trittico“ wird sehr selten an einem Abend gespielt. Es ist das Verdienst der Salzburger Festspiele, alle drei Opern ins Programm genommen zu haben. Mit der Oper „Gianni Schicchi“ ist Giacomo Puccini ähnliches gelungen wie Giuseppe Verdi mit „Falstaff“. Mit der Konzentration der Ausdrucksmittel ist eine Partitur entstanden, die keinen Ton zu viel aber auch keinen zu wenig enthält. Es geht um die Fälschung eines Testamentes im Florenz der Renaissance und um den pfiffigen Bauern Gianni Schicchi. Köstlich wird die geldgierige Familie des Erblassers karikiert. Nach dieser Oper versteht man nicht, dass Gianni Schicchi bei Dante in dessen Divina Commedia in der Hölle schmort. Die zweite Oper führt in die Welt der kleinen Hafenarbeiter an der Seine in Paris. Michele, der Besitzer eines kleinen Frachtkahns erdrosselt seinen Gehilfen Luigi, weil dieser ihn mit seiner Frau Giorgetta betrügt. Die Leiche wird unter einem Mantel versteckt. Deshalb „Il tabarro“, der Mantel. Giacomo Puccini und sein Librettist Giuseppe Adami haben da eine Vertiefung eines banalen Eifersuchtsmordes zu einer psychologischen Tragödie geschrieben. Mit Giovacchino Forzano, der schon für „Gianni Schicchi“ das Textbuch geschrieben hatte, entstand „Suor Angelica“, die Geschichte eines adligen Mädchens, das nach der Geburt eines unehelichen Sohnes ins Kloster gesteckt wurde und dort Selbstmord begeht, als sie erfährt, dass ihr Sohn schon vor zwei Jahren gestorben ist. Alle drei Opern sind vollwertige Werke; ob man sie wirklich in dieser Reihenfolge spielen muss, bleibe dahingestellt. Christof Loy verlegt die Handlungen in die Gegenwart und erzählt die Geschichten schnörkellos in praktikablen Bühnenbildern von Etienne Pluss. Das geht sich bei den beiden ersten Opern gut aus. Erbschaftsstreitigkeiten und Frauenmord im Transportgewerbe gibt es auch heute. Bei Schwester Angelica spießt es sich. Schon im 19. Jahrhundert hat man keine Mädchen mehr ins Kloster gesperrt, weil sie ein uneheliches Kind zur Welt gebracht haben; heute schon gar nicht. Selbstverständlich liegt es nahe die drei Stücke aufzuführen, wenn man eine Singschauspielerin wie Asmik Grigorian zur Verfügung hat. Und tatsächlich ist sie das Ereignis des Abends. Als Lauretta kann sie ihren Vater überreden, ein Verbrechen zu begehen, als Giorgetta erleidet sie die Zerrüttung ihrer Ehe und entdeckt ihren toten Geliebten unter dem Mantel, schließlich erlebt sie als Angelica unerfülltes Mutterglück. Asmik Grigorian setzt ihren geschmeidigen, wunderbaren Sopran ein und kann mit Puccinis Hilfe zu Tränen rühren. Nur bei der Angelica fällt ihr das schwer, da spießt sich einiges, die lässt kalt. Wie auch die Tante Prinzessin von Karita Mattila. Eine blonde Businesstussy im Kostüm kann kaum Entsetzen und Wut hervorrufen. Die sollte viel herrischer und boshafter klingen. Überlegen und pfiffig Misha Kiria als Gianni Schichi, nachdenklich bis zum Mord Roman Burdenko als Michele. Die übrigen 23 Sängerinnen und Sänger kann ich nicht alle aufzählen, aber sie hatten alle Festpielniveau. Dass die Wiener Philharmoniker mit Franz Welser-Möst prächtig harmonisierten, braucht man nicht zu betonen. Das Publikum war begeistert - auch ich war es nach den ersten zwei Opern. Meine Einschätzung der „Angelica“ hat sich auch nach dieser luxuriösen Realisation nicht verbessert. W

Il trittico, Il tabarro di Giacomo Puccini https://open.spotify.com/album/2TwBW19PyURvb1MHlrYGME?si=-pEP55c-QPWupJe7v50IXg&utm_source=copy-link http://www.murashev.com/opera/Il_trittico_(Il_tabarro,_Suor_Angelica,_Gianni_Schicchi)_libretto_Italian

Frank saw someone on the news who talks like a ventriloquist. Kathryn saw a male contestant on The Bachelorette who also talks through clenched teeth. Kathryn's husband gave a Christmas gift to their dog Sasha. It was a used library book titled The Dog Who Sang at the Opera  by Jim West and Marshall Izen. The book tells the true story of a dog named Pasha who howled during Renee Fleming's aria in Manon at the Metropolitan Opera. Kathryn photoshopped her dog into a photo of her performance of Suor Angelica. Sasha walked toward Kathryn when she was rehearsing the death scene at home. Frank says dogs would eat their deceased masters. Kathryn uses Opera Practice Perfect, a recorded piano track for singers to rehearse at home. Frank's wife Jere uses a similar track for choral singing. Frank has a recording of instrumental tracks for improv shows. Kathryn bought a backpack to carry Sasha when the dog gets too tired on their walks. Frank found a key tag in the driveway and wondered if it belonged to Kathryn. Frank likes whole grain mustard, which Kathryn compares to Dippin' Dots. Frank thinks Dippin' Dots are too cold. He says he has the “mustard of the future” because it appears to have an expiration date of May 2122. Frank saw a Facebook post from a realtor who had been contacted by someone looking to move to Tennessee from California. The potential homebuyer has a long list of requirements for the property they want to buy. Frank tries to give Kathryn some promotional drinking glasses from Canada Dry. He thinks his father sent away for them in the 1970s. Kathryn says she tends to accidentally break props that opera directors tell her to throw during a show. This episode is sponsored by Steve's Tree Service. They have excellent ratings on Facebook, Google, Yelp, and neighborhood apps. Steve's Tree Service serves Knox, Sevier, Blount, Anderson, Loudon, and Jefferson Counties. Call 865-257-6214. Support the Frank & Friends Show by purchasing some of our high-quality merchandise at https://frank-friends-show.creator-spring.com  Sign up for a 30-day trial of Audible Premium Plus and get a free premium selection that's yours to keep. Go to http://AudibleTrial.com/FrankAndFriendsShow  Find us online https://www.FrankAndFriendsShow.com/  Please subscribe to our YouTube channel at https://YouTube.com/FrankAndFriendsShow  and hit the bell for notifications. Find the audio of the show on major podcast apps including Spotify, Apple, Google, Audible, and now Facebook. Find us on social media:  https://www.facebook.com/FrankAndFriendsShow  https://www.instagram.com/FrankAndFriendsShow  https://www.twitter.com/FrankNFriendsSh  Thanks!

Donald Macleod delves into the operas of Giacomo Puccini Giacomo Puccini was man of the theatre to his fingertips. Born in Lucca in 1858, into a distinguished family of church musicians, Puccini was never destined to follow in his forebears' footsteps. His fate was sealed when as a teenager he walked thirty miles to hear Verdi's Aida. He knew immediately that theatre was his calling and from that point on he wrote almost exclusively for the stage. A perfectionist and an often unreasonable taskmaster, Puccini agonised over each of his operas. Beginning with Manon Lescaut, the opera that launched Puccini internationally, this week Donald Macleod follows the off and the on-stage dramas of La Boheme, Tosca, Madam Butterfly, La fanciulla del West, Suor Angelica, Gianni Schicchi, Il tabarro and the opera he left incomplete at his death in 1924, his final masterpiece, Turandot. The stories on stage are interleaved with events in his personal life, from an early scandal over his affair with a married woman and some very dodgy skulduggery in his business dealings, to the suicide of one of his servants, a tragedy of such proportion, he was plunged in to a deep depression, haunted by the events for the rest of his life. This week, Donald Macleod celebrates a composer whose music expresses every human emotion, there's a host of landmark recordings, including the voices of Jonas Kaufmann, Angela Gheorghiu, Anna Netrebko and Roberto Alagna. We'll hear Mimì's touching calling card from La Boheme, in the classic Victoria de los Angeles version, while Renato Scotto pours all Madam Butterfly's hopes into the heart-breaking Un bel dì. There's the raw pain of Sister Angelica mourning her dead son, and the dark desperation of a jealous husband in Il tabarro. On Wednesday Callas and Gobbi's anguished, sadistic torture scene in Tosca still has the power to shock us as much as it did on its first night in 1900. It's high stakes and nail-biting tension in La fanciulla del West as Minnie trades the life of her outlaw lover on the outcome of a card game. Joan Sutherland's icy Princess Turandot, a magnificent pairing with Luciano Pavarotti's Prince Calaf comes on Friday along with a certain aria made famous by the 1990 world cup, heard here in the hands of another Puccini specialist, Jussi Björling. Music Featured: Manon Lescaut, Act 1: Donna non vidi mai Le Villi, Act 1: Preghiera: Angiol di dio Messa di Gloria (Credo) Crisantemi Manon Lescaut, Act 2: Dispettosetto questo Riccio!; In quelle trine morbide Manon Lescaut, Act 4: Sola, perduta, abbandonata; Fra le tue bracce amore La Bohème, Act 1: Mi chiamano Mimì La Bohème, Act 1: Pensier profondo!; Legna!; Si può Capriccio sinfonico La Bohème, Act 3: Donde lieta uscì; Dunque è proprio finita….Addio, dolce svegliare Tosca, Act 1 (excerpt) Tosca, Act 1: Ah! Finalmente (excerpt) Vissi d'arte, Act 2 (excerpt) Tosca, Act 2 (excerpt) Tosca, Act 3 (excerpt) Madama Butterfly, Act 1 (excerpt) Madama Butterfly, Act 1: Viene la sera; Vogliatemi bene Gianni Schicchi (O mio babbino caro) Gianni Schicchi (excerpt) Il tabarro (Nulla silenzio!) La fanciulla del West, Act 1 (excerpt) La fanciulla del West, Act 2: Una partita a poker! Suor Angelica (excerpt) Turandot (Nessun Dorma) Madam Butterfly, Act 2: Un bel dì vedremo Madam Butterfly, Act 2: Una nave da guerra; Scuoti quella fronda di ciliegio; Or vieni ad adornar Turandot, Act 1: In Questa Reggia; Ascolta straniera; Gloria o vincitore! La Boheme, Act 4: Fingevo dormire Presented by Donald Macleod Produced by Johannah Smith 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 Giacomo Puccini (1858-1924) https://www.bbc.co.uk/programmes/m0012rn4 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

Raehann Bryce-Davis has been hailed by the New York Times as a "striking mezzo soprano" and by the San Francisco Chronicle for her "electrifying sense of fearlessness." 2021/22 includes performances of Der Komponist in Strauss' Ariadne auf Naxos at Opera Ballet Vlaanderen, Preziosilla in Verdi's La Forza del Destino at Théâtre du Capitole, Azucena in three productions of Verdi's Il Trovatore at The Glimmerglass Festival, LA Opera, and Staatstheater Nürnberg, Gods and Mortals, at The Glimmerglass Festival, singing selections of Wagner's Lohengrin as Ortrud and Die Walküre as Fricka, as well as her company debuts at La Monnaie de Munt as La Zia Principessa in Puccini's Suor Angelica, Konzert und Theater St Gallen as Joan of Arc in Tchaikovsky's Maid of Orleans, and her company debut at Teatro alla Scala as Ulrica in Verdi's Un Ballo in Maschera. Last season featured highlights like her role debut as Eboli in Verdi's Don Carlos at Opera Ballet Vlaanderen, her LA Opera debut in the World Premiere of Aucoin and Ruhl's Eurydice, a coproduction with The Metropolitan Opera, and her role debut as Sara in Roberto Devereux opposite Angela Meade and Ramon Vargas. As a producer/performer Bryce-Davis has released "To the Afflicted," her first music video, which received much critical acclaim and was chosen as an official video for World Opera Day. Her second digital short, “Brown Sounds,” was co-produced with LA Opera and Aural Compass Projects, and won Best Music Video at film festivals around the globe including the New York International Film Awards, New York Cinematography Awards, Hollywood Boulevard Film Awards, the Anatolian Short Film Festival, and the Silk Road Film Awards - Cannes. Bryce-Davis is a 2018 recipient of the prestigious George London Award at the George London Competition, the 2017 1st Place and Audience Prize-winner of the Concorso Lirico Internazionale di Portofino competition; chaired by Dominique Meyer, Winner of the 2016 Richard F. Gold Career Grant at the Merola Opera Program, Winner of the 2015 Hilde Zadek Competition at the Musikverein in Vienna, and the 2015 Sedat Gürel - Güzin Gürel International Voice Competition in Istanbul. She holds a Master of Music and Professional Studies certificate from the Manhattan School of Music and a Bachelor of Music from the University of Texas at Arlington. Raehann Bryce-Davis is a co-founder of the Black Opera Alliance and is an advocate for social justice in opera. Visit her website: http://www.raehann.com Instagram: https://www.instagram.com/raehannbrycedavis/ Twitter: https://twitter.com/raehannbd Video of To The Afflicted: https://youtu.be/QAPtCED5nlw Video of Brown Sounds: https://youtu.be/22OR3ygygqg Learn more about the Black Opera Alliance: https://www.blackoperaalliance.org Donate to Support the Black Opera Alliance: https://blackoperaalliance.app.neoncrm.com/np/clients/blackoperaalliance/donation.jsp At http://makinitinopera.com/ (makinitinopera.com), you can  Get access to a spreadsheet of resources and inspiration from folks who are changing the conversation about how we tell stories and how we train artists Subscribe to the Audition Pep Talk Series newsletter Donate and support the podcast If you'd like to share your point of view of what it means to “make it”, send me a voice recording to makinitinopera@gmail.com and I may feature you in a future episode. Music credit: Our Block Party by Reaktor Productions This show was a production of Sounds Like Cool Studios, LLC.

Diese Woche glänzt es bei uns. Hol Dir jetzt Deine Dosis Musik mit goldenem Schimmer zum Auftanken. Diese Musikstücke hast Du in der Folge gehört: Eric & Leon Bibb - "Oh, had I a golden thread" // Giacomo Puccini - "Intermezzo aus Suor Angelica" // Peter Hollens - "Fields of Gold" // Pietro Mascagni - "Intermezzo aus Cavalleria Rusticana" // Leon Bibb - "Fields of Gold" // Wenn Du eine Idee oder einen Wunsch hast, zu welchem Thema Philipp unbedingt eine Playlist zusammenschustern muss, dann schreib ihm ebenso eine Mail: playlist@ndr.de.

Operazangeres Francis van Broekhuizen vertolkt de rol van Moeder Overste in de nieuwe eigentijdse versie van een van de meest succesvolle musicals allertijden, The sound of Music. Als dramatisch sopraan heeft ze een veelzijdige carrière; ze was onder meer te horen in Suor Angelica, Rusalka en Die Lustige Witwe bij verschillende Nederlandse operagezelschappen.  Presentatie: Gijs Groenteman

A cura di Paolo PellegriniPROGRAMMA Giacomo PucciniSuor AngelicaOpera in un attoSuor Angelica, Renata Tebaldi la Zia Principessa, Giulietta Simionato la Badessa, Lucia Danieli la Maestra delle novizie, Anna Di Stasio la Zelatrice, Miti Truccato Pace Suor Genovieffa, Dora Carral Suor Osmina, Yeda Valtriani Suor Dolcina, Giuliana Tavolaccini La Sorella Infermiera, Anna Di Stasio Coro e Orchestra del Maggio Musicale Fiorentino Lamberto Gardelli, direttore

durée : 01:28:17 - Le religieux lyrique et symphonique (3/5) - par : François-Xavier Szymczak - Instants de prière de Marguerite, Desdémone, Suor Angelica de Puccini mais aussi Roméo et Juliette face à Frère Laurent - réalisé par : Emmanuel Benito

Today I am talking to contralto Cindy Sadler. In our chat Cindy talks extensively about the various issues that affect creating and maintaining a portfolio career in the arts and she highlights the importance of accepting the responsibility of being the CEO of one's own career.Cindy Sadler's eclectic operatic career represents the benchmark of entrepreneurial artistry. A standout performer in any cast with her rich, abundant contralto and charismatic characterizations, she has made herself indispensable in the classical music arena not only through her performances, but also her consulting and educational work, writing, and fresh vision for the stage.When COVID-19 hit, Ms. Sadler quickly established an online opera training program with an international faculty for young and aspiring singers who had lost roles or programs. She pivoted Spotlight on Opera, the training program she founded and runs, to an online format and produced two operas and a number of scenes and concerts. Throughout 2020 and into 2021, she has continuing presenting virtual career workshops privately and to institutions such as Cal State University Stanislaus, San Jose State University, Texas Tech, Georgia Southern University, Ithaca College, and the Aaron Copland School of Music.Ms. Sadler's most recent article, “It's Not Over Until the Fat Lady Sings and Dances”, on the damage that weight bias does to the performing arts industry, was published on the Middleclass Artist blog. She was the featured guest on the Teacher Talk and Opera Box Score broadcasts, and will next appear on baritone Weston Hurt's Under the Hood YouTube series.Ms. Sadler  has continued performing via socially distanced outdoor concerts and a turn as La Zia Principessa in Valley Opera and Arts' upcoming virtual production of Suor Angelica.For more information, please see www.CindySadler.com and www.SpotlightOnOpera.com.Facebook: CindySadlerInstagram: @cindy.sadlerTwitter: @CindySadlerTX

On today’s date in 1918, the Metropolitan Opera in New York offered the world premiere performance of not one, not two, but three brand-new operas by Giacomo Puccini. The three one-act operas are collectively billed as “Il Trittico” or “The Triptych.” In order of their presentation at the Met, the triptych consisted of “Il Tabarro” (or “The Cloak”), a rather sordid tale of passion and murder, followed by a sentimental tear-jerker titled “Suor Angelica” (or “Sister Angelica,” after its Romantic heroine), and, for a comic finale, “Gianni Schicchi,” titled after the resourceful hero of its comic plot. Musical America reported a warm welcome for the three new Puccini operas, but did find “Il Tabarro” “in the main, black and brutal.” In that journal’s opinion, the hit of the evening was the comic opera, “Gianni Schicci.” In particular, one brief soprano aria from that opera so pleased the first night audience that it had to be encored. Over time, this little aria, “O mio babbino caro,” has become one of Puccini’s “Greatest Hits,” and has even cropped up in the soundtracks of a movies like “A Room With a View” and “G.I. Jane.”

On today’s date in 1918, the Metropolitan Opera in New York offered the world premiere performance of not one, not two, but three brand-new operas by Giacomo Puccini. The three one-act operas are collectively billed as “Il Trittico” or “The Triptych.” In order of their presentation at the Met, the triptych consisted of “Il Tabarro” (or “The Cloak”), a rather sordid tale of passion and murder, followed by a sentimental tear-jerker titled “Suor Angelica” (or “Sister Angelica,” after its Romantic heroine), and, for a comic finale, “Gianni Schicchi,” titled after the resourceful hero of its comic plot. Musical America reported a warm welcome for the three new Puccini operas, but did find “Il Tabarro” “in the main, black and brutal.” In that journal’s opinion, the hit of the evening was the comic opera, “Gianni Schicci.” In particular, one brief soprano aria from that opera so pleased the first night audience that it had to be encored. Over time, this little aria, “O mio babbino caro,” has become one of Puccini’s “Greatest Hits,” and has even cropped up in the soundtracks of a movies like “A Room With a View” and “G.I. Jane.”

 Today I am talking to Gráinne Gillis. She is a versatile performer with a portfolio career which includes working as an actress, singer, voice over artist. In addition to her varied work across various artistic and creative fields, Gráinne has taken her skills outside the artistic arena into fields such as hospitality, marketing, education and consultancy. With her philosophies such as “be the best at what you do, whatever it is you do” and “instead of asking what the art world can give to you, ask whatever it is that  you can give to the art world” Gráinne exudes a powerful presence in a world in need of individuals who listen and lead.Hailed by the Observer as a voice with 'rich, dramatic potential', Gráinne Gillis is an Irish-American opera singer, actress and voiceover artist She read Music at University College Cork and graduated from the Bristol Old Vic Theatre School. In 2018/19 she sang Flora in the Olivier award-winning King's Head Theatre's production of La Traviata, and opened  the London Song Festival.  Other highlights include  her one-woman show Mezzo Sings The Bard, Hélène in Faust et Hélène, the Old Woman in Candide and La Zia Principessa in Suor Angelica at the Llangollen International Eisteddfod 2018. In 2019/20 she sang Zia Principessa in Suor Angelica, Lucia in Cavalleria Rusticana and Aksinya in Lady Macbeth of Mtsenk. She also made her Irish debut as Ruth in The Pirates of Penzance at Cork Opera House, and Vampyrmeister/Suse in Der Vampyr for Gothic Opera (nominated for an Offie) .  Covid cancellations in 2020 included a national tour of Ireland with Sea Trilogy as well as 1st Magd in Elektra. She has long had an interest in new ways of bringing opera to audiences and collaborated with director Julia Mintzer and The Pleiades Project in NYC on their series ‘24' (now on InVision).  During the pandemic, Gráinne has been involved in online projects No Room No Room No Room for Opera Harmony which was aired on Operavision. Gráinne appeared in Edward Lambert's short opera Last Party on Earth on film and at Tête-à-Tête 2020, as well as Bread and Circuses, a new opera by American composer Liam Wade, at Tête-à-Tête 2020 and the Playground Theatre. Future projects include developing more shows, plus a revival of Mezzo Sings The Bard. She is thankful to be supported this season by Help Musicians UK.  As well as her opera and voiceover work, Gráinne's passions are yoga, Shakespeare and politics, and she has written for the Huff Post UK, the Irish Times, and for RTÉ Lyric FM. For more information, visit www.grainnegillis.com. Instagram: @grainnegillisTwitter: @GrainneGillis

Soprano Kirsten C. Kunkle has been hailed as an outstanding singing actress with a voice that has been described as beautiful, ethereal, powerful, fiery, and bewitching. Among her favorite roles are Agathe in Der Freischütz, the title role in Suor Angelica, Magda and the Foreign Woman in The Consul,” Mimì in La bohème, Rosalinda in Die Fledermaus, Contessa in Le nozze di Figaro, Mother in Amahl and the Night Visitors, Iolanta and Brigitta in Iolanta, Zemfira in Aleko, Lisa in Pique Dame, Donna Elvira in Don Giovanni, Laetitia in The Old Maid and the Thief, and the Witch in Hansel and Gretel. With the Philadelphia Opera Collective, she has created leading roles in numerous world premieres, including Edith Standen in Shadow House, Annie Jump Cannon in Jump the Moon, Edgar Allan Poe in Opera Macabre: Edgar Allan Poe, and Dr. Frankenstein in By You That Made Me, Frankenstein. In 2016, she made her professional straight play debut in Machinal with EgoPo Classic Theater and her professional musical theatre debut as Domina in A Funny Thing Happened on the Way to the Forum with the Scranton Shakespeare Festival. She has an Honorable Mention for The American Prize in Voice – Professional Art Song and Oratorio Division (Women), as well as being a two-time semi-finalist for The American Prize in Opera (Women). She made her Carnegie Hall debut in 2014, as well as being the Pennsylvania District National Association of Teachers of Singing Artist Award winner that year. She won second place in the Roschel Vocal Competition in 2015. She attended Bowling Green State University and the University of Salzburg for her undergraduate studies, majoring in voice performance with minors in Italian and German. Her graduate degrees are in voice performance from the University of Michigan. A voting member of the Muscogee Nation, Dr. Kunkle commissioned and premiered sixteen original compositions, including one of her own, based upon the poetry of her ancestor and highly-acclaimed poet of the Native American Muscogee Nation, Alex Posey. She has recorded extensively through the Comic Opera Guild, specializing in the works of Victor Herbert. Her recordings are collected at the Library of Congress, the National Museum of the American Indian at the Smithsonian Institution, and the Merkel Area Museum in Merkel, Texas. Ms. Kunkle is included on the list of Classical Native American Artists and Musicians at the Smithsonian Institution's National Museum of the American Indian and on the Molto Native Music list of performers. She has been published in peer-reviewed journals and is a successful voice educator. She is the Co-Founder and Artistic Director of Wilmington Concert Opera, a grassroots women and minority led opera company in Wilmington, Delaware. Most recently, she had her solo European debut with the Sofia Philharmonic in the role of Arabella in Johann Strauss II's “Blindekuh.” She is also a NAXOS recording artist for “Blindekuh,” which was released in March of 2020 to extraordinary reviews. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

Dirigent Eivind Gullberg Jensen forklarer Puccinis musikk, og hvorfor det er umulig ikke å bli dypt berørt av Suor Angelica.

Puccini var besatt av biler, vakre kvinner – og musikk som gikk rett inn i hjerterøttene. Operaen om Søster Angelica, som måtte forlate sønnen sin for å gå i kloster, var av Puccinis egne favoritter. Og arien "Senza mamma" er kanskje blant operalitteraturens mest gripende. Ragnhild Motzfeldt forteller her om både komponisten og operaen Suor Angelica.

Musici Chats is presented by Beth McNinch:Freelance violist living in Ireland.Artistic Director of www.musici.ieTo find out more about Musici Ireland please visit our website www.musici.ieBe sure to Subscribe and tell all you friends about us!!Tom Creed-Opera and Theatre DirectorOpera and music theatre productions include The Tales of Hoffmann with Irish National Opera, Owen Wingrave with the Opéra national de Paris and Opera Collective Ireland, Irish tours of Acis and Galatea,  The Human Voice and Susanna's Secret for Opera Theatre Company, Mavra and The Bear with the Royal Conservatoire of Scotland, and Die Zauberflöte, Suor Angelica, Mavra and Renard with the Royal Irish Academy of Music.World premieres of new work include The Hunger by Donnacha Dennehy at Opera Theatre of St Louis and the BAM Next Wave Festival in New York, Private View by Annelies van Parys, produced by Muziektheater TransparantPrivate View was awarded the FEDORA Rolf Liebermann Prize for Opera in 2014, Best Production at the Armel Opera Festival in Budapest in 2015, and was named by Music Theatre NOW 2015 as one of 14 notable productions “which are aesthetically innovative and reflect new developments in this genre” .He was an Opera Hub associate artist of Opera Theatre Company in Dublin from 2015 to 2017.He directed Vivaldi's Griselda with Irish National Opera in Autumn 2019 and is developing a new opera with composer Michael Gallen for premiere in France and Ireland in 2021.TheatreHis extensive work as a theatre director includes productions with the Abbey Theatre, Gate Theatre, Rough Magic, Playgroup (which he co-founded in 2003) and a range of independent Irish companies, which have played in Ireland, the UK, Europe, the USA and Australia. He was nominated for Best Director at the Irish Times Theatre Awards in 2007.His productions of Watt by Samuel Beckett with acclaimed Irish actor Barry McGovern has been presented at the Dublin Theatre Festival, Galway Arts Festival, Edinburgh International Festival, Perth International Festival, Melbourne International Arts Festival, the Barbican Centre in London, the Public Theatre in New York and on tour in the USA.Tom is a member of the steering group of the National Campaign for the Arts

Leah Stewart-Hill, soprano, is a performer and vocal educator based in Louisiana. She has more than nine years of experience teaching voice on the collegiate level. She is founder and director of Studio 2219, a music school she operates with her husband, Dr. David Hill, a pianist and vocal coach.Since 2018, Leah has been a cast member in Stephen Burke’s original musical, The Hiding Place, singing the role of Betsie ten Boom in the show’s national tours. Her other roles include Erste Dame in Die Zauberflöte, Angelica in Suor Angelica, Mimì in La bohème, Adina in L’elisir d’amore, Micaela in Carmen, The Countess in Le Nozze di Figaro, and Young Psyche, a role written for her, in Larry Taylor’s Eros and Psyche.Leah was introduced to Young Living Essentials Oils in 2019 and quickly became fascinated by their impact on her health and vocal wellness. As a result, she is passionate about sharing essential oils and their many benefits for vocalists—on and off the stage.Leah received a B.A. and M.A. from Pensacola Christian College and an M.M. in Voice Performance from James Madison University. Connect with Leah!https://www.instagram.com/alifeofessentials/ Contact us here!https://linktr.ee/rachelsandlermusicFor podcast inquiries: aspiringartistpodcast@gmail.comFor music & lessons inquiries: rachelsandlermusic@gmail.com

Tonight, we welcome Claire Dillahunty to Deep Light. Claire received her undergraduate degree in music education from Dallas Baptist University and just completed her masters in vocal performance at SMU. Claire has sung in the Greater Dallas Youth Chorus and the DBU chorale which performed at TMEA and toured in Europe. Roles include Guinevere in Camelot, Angelica in Suor Angelica, Eliza in My Fair Lady (all at DBU), Despina in Così fan tutte (NYC Lyric Opera Summer Program), and Eva in An Embarrassing Position (Miami Music Festival). Claire also performed Manuelita in Pépito with the Dallas Opera Education Outreach program. And last but not least, Claire grew up at PCPC and has lead songs in our services many times including this past Sunday, June 7. Be sure to watch the end where she plays and sings for us!

From the Producer's Office is a series of informal podcasts with Opera Holland Park’s Director of Opera, James Clutton. In conversation with creatives and collaborators across the industry, we explore the process of putting opera on stage, and how the artists involved approach their craft. In this episode, James chats to a great friend of Opera Holland Park, soprano Anne Sophie Duprels. In this touching conversation, they reminisce about the roles Anne Sophie has performed at OHP over the years, from Violetta in La traviata in 2001, Lucia di Lammermoor in 2003 and Jenůfa in 2007, to Suor Angelica in 2015, Zazà in 2019 and Amelia in Un ballo in maschera in 2019, along with her plans for the future and how she first started singing at the age of 18.

Welcome to the Notes From Her Podcast; the podcast that encourages women and others to embrace their inner multicultural melody hosted by Xochitl Hernandez! This first season of Notes From Her features interviews from women MOC's (musicians of color). Episode 1 of season 1's first female MOC is opera conductor/director, professor, and pianist Mercedes Juan Musotto. Tune in to hear Mercedes talk about her life in Argentina and move to the United States, her journey as a musician, and her career as opera director at California State University Northridge, Santa Monica College, and Center Stage Opera. Listen to also hear Mercedes give great advice and career tips for women in music, conductors, Latinas, how to combat machismo and so much more!Features music clips from Mercedes conducting the opera Serse by George F. Handel and "The Can-Can" from the opera Orpheus in the Underworld by Jaques Offenbach.Follow @notesfromher_ on Instagram and Twitter and like Notes From Her on Facebook. Mercedes will be conducting:Suor Angelica by Puccini and Don Giovanni o sia Il Convitato di Pietra by Giuseppe Gazzaniga at California State University Northridge on March 26-29https://www.facebook.com/CSUN-Opera-982258528633306/Faust by Charles Gounod January 25-26 at the Madrid Theatre in Sherman Oaks,https://losangeles.eventful.com/events/gounods-faust-/E0-001-133055643-5https://www.tix.com/Event.aspx?EventCode=1152485The Tales of Hoffman by Jaques Offenbach May 8-9 at Santa Monica College.http://www.smc.edu/ACG/Marketing/Events/Pages/Tickets.aspx

Hør Ragnhild Motzfeldt fortelle om den andre operaen i Puccinis trilogi Il trittico, og om Isabella Bywaters oppsetning.

Hør hvordan det har vært for Nina Gravrok å skulle gå inn i rollen som søster Angelica, som ble plassert i kloster som straff for at hun ble gravid. Regissør Isabella Bywater snakker om produksjonen, og Ragnhild Motzfeldt forteller om handlingen i Puccinis vakre opera.

Following a day in the life of a 17th-century convent, Suor Angelica is the second (and most boring) opera in Puccini's Il Trittico. In all seriousness, the opera's all-female cast features some gorgeous music and a heartbreaking story of loss. It's title role has also become a calling card for many great sopranos.

Il Trittico is a set of three one-act operas by Giacomo Puccini that premiered in 1918. The first opera, IlTabarro, centers on an evening in the life of river workers on a barge in Paris’s Seine of the early 20th century. The second opera, Suor Angelica, takes place entirely in a convent and features only female singers. It is set in the late 17th century, and give a glimpse into life of the convent sisters and how they manage their desires. The final opera, Gianni Schicchi, is comedic and cautionary tale. Inspired by Dante’s Canto 30 on falsifiers, Gianni Schicchi, shows a world of two emotions: greed and love. Love may triumph, but greed keeps us astonished and amused.

MEET JENNIE LEGARY Artistpreneur: design, branding, & marketing consultant with a diverse background in classical music, real estate, finance, media, and startup business development. Opera singer, co-founder, and cryptocurrency/tech enthusiast. Currently, as Chief Marketing Officer of imusify, she is assisting the startup venture in running their upcoming ICO campaign. Experienced in the roles of business development, corporate management, product commercialization, coaching, and leadership. Co-authored white papers, business plans, pitch decks and presentations, academic publications, and articles. Formerly with Archstone in New York City, acquired by Equity Residential, and former quality analyst at Apple, Inc. Experience in US and European creative projects within the performing arts focusing on music and cross-cultural innovation. As an opera singer, a mezzo-soprano, from the San Francisco Bay Area and received her Bachelor of Music degree in Vocal Performance from the University of Colorado at Boulder with further private studies in New York City. She made her international debut at the Rome Festival Opera in Rome, Italy and New York debut with Regina Opera as Flora in La Traviata. She has been a guest soloist with the Solano Chamber Society, the Golden Community Choirs and the Mannes Conservatory Young Orchestra, and has performed previously with the Lyric Opera Studio of Weimar, Bronx Opera, Brooklyn Repertory Opera, Denver Opera, Opera Colorado, and CU Light Opera. She most recently sang at the Tuscia Operafestival in Viterbo, Italy as the Principessa in Suor Angelica and Dorabella in Così fan tutte. In 2017, she completed a Masters in Performing Arts Management at Accademia Teatro alla Scala and assisted the Young Artist Program at Teatro dell’Opera di Roma. “Life is pure adventure, and the sooner we realize that the quicker we will be able to treat life as art.” ― Maya Angelou (http://www.advanceyourart.com/wp-content/uploads/2018/06/jens.jpg) Jennie Legary BOOKS: Autobiography of a Yogi by Paramahansa Yogananda (https://amzn.to/2MoVEjp) CONTACT: https://www.linkedin.com/in/jenniedlegary/ (https://www.linkedin.com/in/jenniedlegary/) https://www.jenniedlegary.com/ (https://www.jenniedlegary.com/) http://imusify.com/ (http://imusify.com/) BONUS: Click on this link and Help support this podcast becuase I love puppies : ) https://www.patreon.com/advanceyourart (https://www.patreon.com/advanceyourart) This podcast is brought to you by Audible. I have used Audible for years, and I love audiobooks. Click on the link to get a 30-day free trial, complete with a credit for a free audiobook download Audible.com (http://www.audibletrial.com/Yuri) QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments.

Os contamos en tres minutos el final de "Suor Angelica", una de las obras más modernas (y bellas) de Puccini, y que termina con una ambigüedad... divina

Opera är ett allkonstverk, som gör sig utmärkt i radio. En del av förklaringarna till det får vi av P2:s presentatör Sofie Almroth, som ger sin bild av arbetet bakom det vi hör, men inte ser. Som presentatör för P2 Live är Sofie Almroth en av kanalens profiler, som lotsar radiolyssnarna vid konserter och operaföreställningar och ger en inblick i det som sker, både på scen och runtomkring. Hon är även mezzosopran och har bland annat sjungit i Figaros bröllop, Trollflöjten, La Traviata och Suor Angelica.Veckans avsnitt av Operahuset handlar om opera i radio och Sofie berättar om föreställningar och sångare som gjort extra starkt intryck på henne. Vi lyfter fram en svensk radioopera från 1950-talet och uppmärksammar mindre kända verk, som nått nya lyssnare tack vare att de sänts i radio.

Conoce con nosotros una breve pero moderna y delicadísima ópera de Puccini: el drama de una joven aristócrata encerrada en un convento por una familia que quiere ocultar un escándalo.

Jenina Gallaway recently joined us for a MXRS Podcast – Telling the Story Behind the Stories. You can follow her on her Facebook page http://www.facebook.com/jeninagallawaysoprano and support her http://www.gofundme.com/z7tuys. Listen to her interview (also found on iTunes). Read her full bio below. Soprano, Jenina Gallaway, has performed internationally and throughout the United States in a wide range of genres. Operatic repertoire includes: Rosalinda in Die Fledermaus, Vitellia in La clemenza di Tito, the title role in Suor Angelica, Serena in Porgy and Bess, ... read more

Hist

Bless Dear Licia,as we hear Suor Angelica,Rondine,Onegin, Louise

A compilation of various sopranos singing the magnificent final scene of Puccini's "Suor Angelica." This podcast will be followed by some videos of the same scene.      (51 min.) The singers,in this order, are: Beverly Sills (her only Trittico), Virginia Zeani, Rosanna Carteri, Gilda Cruz-Romo, Leyla Gencer, Theresa Zylis-Gara, Elizabeth Carron, Christina Gallardo-Domas, and Kristine Opolais (commercial recording.)

 A beautiful compilation of famous artists of the past singing Puccini material. Arias and scenes are from Tosca,Boheme,Suor Angelica, Gianni Schicchi, Mme.Butterfly, and Manon Lescaut. All selections are announced.  (69 min.)

  I have previously posted,from Youtube, some material of the Latvian soprano,Kristine Opolais. I wish to present the final portion of her Suor Angelica, under Andris Nelsons, with Lloba Braun as the Zia Principessa. By now, you know I have spoken of all the great divas I have heard for over 60 years, and you do understand that when I rave, it is because I have found someone very special. New York audiences will be treated next season to her Mme.Butterfly.(You will excerpts on Youtube.)  What a revelation for the usually jaded Charlie to find such an artist among us.   (29 min.)

From 1967, the only time Beverly Sills sang the Puccini Trittico. In Tabarro she is joined by a young Placido Domingo and Seymour Schwartzman; in Suor Angelica the wonderful Frances Bible is the Principessa.(Another superb artist who never got to the Met);In Gianni Schicchi we hear Norman Treigle,one of the greatest singers I ever heard, and Salvator Novoa. Julius Rudel is the conductor. Even in 1967, there were decent tape recorders to preserve performances like this and we must be grateful to whomever recorded the one Sills Trittico.  (73 min.)

Music Director of The Royal Opera, Antonio Pappano, introduces the music from Suor Angelica, the second opera in Puccini's Il Trittico. With pianist Susanna Stranders and soprano Julie Unwin.

Rosanna Carteri is, for me, an example of a "lost art" in opera. She possesses the emotion, the attention to word and phrase, the beauty of voice, and all the elements that I honestly feel are so rare in these days. I am not intending to denigrate anyone, but you "cognoscenti" by now (with slight prejudice from me)  might understand what I mean. I hope you enjoy this soprano as I do  (71 min.) Rosanna Carteri (born 14 December 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona but was raised in Padua. She studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, in such operas as Guglielmo Tell, La Bohème and Suor Angelica. She recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello, and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan José Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Retirement Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.

 In honor of my dear Diana Soviero's 21st birthday, I present highlights from a 1980 Los Angeles Boheme under John Mauceri. This was the opera (in 1977) in which I first heard this very great artist, and you know the rest.      In the cast are Riccardo Calleo, Frederick Burchinall, Robert McFarland (Schaunard),Stephanie Sundine, and Robert Hale.   (71 min.) I follow this with the letter I wrote to everyone on this day.                                                    She means so much to me.    Charlie   Hello everyone,                Every March 19 I celebrate the birthdays of two of the greatest divas in my life,those of Diana Soviero, and my ma. Ma didn't have much chest,but she could kick up  storm in the Follies in the 1920's.      I will never forget the first time (Mar.13, 1977) that I heard that glorious Soviero voice as Mimi ,and,coupled with the depth of emotion, the attention to phrase, the combination of what we term "Kunsst/Stimm divas (both voice and art divas). I wish my darlings,one in my memory forever, and one who has always been so appreciated by directors,colleagues,audiences and of course her students all my best on this day.       Anyone who does not know her worth, just go to Youtube with 5 Pavarotti towels, and watch her Suor Angelica finale,which is an example of the kind of verismo singing you hear from Muzio,Favero, and Zeani,and does not exist today.                                                  All my love to my two girls.                                                                         Charlie

Music Director of The Royal Opera, Antonio Pappano, introduces the music from Suor Angelica, the second opera in Puccini's Il Trittico. With pianist Susanna Stranders and soprano Julie Unwin.

Music Director of The Royal Opera, Antonio Pappano, introduces the music from Suor Angelica, the second opera in Puccini's Il Trittico. With pianist Susanna Stranders and soprano Julie Unwin.

During her second year as a member of the resident artist company, Jouvanca Jean-Baptiste performs the roles of Nedda (Pagliacci), Violetta (La traviata) and Marguerite (Faust.) The Haitian-born soprano joined OSJ's resident company during the 2010 – 2011 season, debuting in the title roles of Anna Karenina and Tosca and as Mimì in La bohème.Ms. Jean-Baptiste recently made her mainstage debut with Florida Grand Opera in the role of The Abbess in Suor Angelica. Previously, she sang with West Bay Opera, understudying the role of Cio-cio-san in Madama Butterfly. Other roles in the soprano's repertoire include Suor Angelica (Suor Angelica), Mother (Amahl and the Night Visitors) and Miss Rose (Lakmé). Oneika Phillips (Sandra U/S, Ensemble) From Grenada, West Indies, Oneika holds dual degrees in Dance Performance and Business Management from Shenandoah University, Virginia. Formerly a featured member of Abdel Salaama's Forces of Nature Dance Theatre, Oneika's theatre credits include the workshop, FELA! A New Musical, “Anita” in the 50th Anniversary International Tour of Jerome Robbins's West Side Story, directed by Joey McKneely and nominated for The West End's Olivier Award for Best Musical Revival, winning the Theatergoer's Choice Award in the same category. Oneika is thrilled to return home to the shrine with the FELA! family for her Broadway debut. Oneika couldn't join us this morning. We'll speak with her on Friday morning. We play an encore interview with Susan Heyward, ACT SF's production of David Mamet's RACE through Nov. 13, 2011.

Kevin Rainey presents an audio introduction to Puccini's triptych.

Rosanna Carteri, one of the most emotional divas in my experience, is heard in material from Adriana, Lodoletta,Turandot, Mme.Butterfly (w.Carlo Bergonzi), Suor Angelica, La Traviata, La Boheme (w.Giuseppe Taddei). Bio to follow   (69 min.) Rosanna Carteri (born December 14, 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona and studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, such as Matilde in Guglielmo Tell, opposite Giuseppe Taddei, La Bohème with Ferruccio Tagliavini and Suor Angelica. She also recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan Jose Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Rosanna Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.

  Live selections from the amazing career of Lucine Amara, whose voice to this day, remains as youthful and bright as when her professional career began, over 60 years ago. Selections are from: Tosca,Tote Stadt, Oberon, Suor Angelica, Tales of Hoffman, Eugene Onegin, Aida,Turandot, Pagliacci, and Cavalleria Rusticana.                                          (71 min.)

Melody Moore is a rising opera star who can be seen Tuesday night in Orlando Opera's production of Suor Angelica. It starts at 7:30 at the Bob Carr PAC. See a video of Moore from this production.Also, a visit with Etta Jean Juge; her photography exhibit, Near and Far, is at the UCF Library through April 30th. Also at the library is an exhibit marking the 50th anniversary of the Cuban Revolution. Events include the film, Lejos de la Isla, on Thursday, April 9 at 6pm, with the director and writer in attendance.

  A compilation of scenes from the great Puccini opera,  featuring many fine artists. I will not write the names here  since some of you might wish to use this podcast as a quiz.                                ( 73 minutes)

Christina Gallardo-Domas is Suor Angelica.