Podcasts about tchaikovsky's eugene onegin

Rising star Avery Amereau lends her lush contralto voice in the role of Olga in the Santa Fe Opera's new production of Eugene Onegin, Alexander Pushkin's story of rakes and romantic mistakes set to glorious music by Tchaikovsky. While this marks the singer's Santa Fe Opera debut, Avery is well acquainted with Olga and New Mexico's great chile debate. Host Jane Trembley chats with her about the perks of possessing an authentic contralto voice, the singer's less than traditional introduction to opera, and a favorite (shocking!) memory from her Metropolitan Opera debut. Avery also shares wise words with novice singers about staying true to one's voice and recommends thematic elements audiences should note while attending this sumptuous opera.  “There's an idea that contralto roles are usually, like, old ladies or nurses,” Avery laughs.  Contraltos - singers whose vocal range is the lowest female voice type - are often cast as evil sisters or, as Avery likes to say, the witches and britches of the opera world. She sees teenage Olga as a bit of a flirt, a social butterfly - characteristics that will require a fresh perspective from Avery when the two meet again. “It'll be a bit more challenging in that way than when I was at Julliard because I've lived so much more life since then,” she says, including becoming a new mother. In addition to heralding the singer's debut with the Santa Fe Opera, Eugene Onegin also marks Avery's return to performances after the pandemic. “I think it's very fitting to come back to this role,” she says. “It has a very special significance for me.” Last seen at the Santa Fe Opera in 2002, Eugene Onegin allows audiences to experience Avery's vibrant contralto in Russian. The feat required her to learn the Cyrillic alphabet and make sense of consonant clusters and diphthong pronunciations not found in standard American English. Tchaikovsky's soaring score is worth the effort, though. “It's a good mix,” Avery says of Olga. “I have a duet; I have an aria; I have a quartet; I have an ensemble. So, I get a nice smattering of everything possible.” Audiences will, too. *** Destination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios. Mixed by: Edwin R. Ruiz Hosted by: Jane Trembley Featuring: Avery Amereau, American Contralto *** Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org. We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera. 

Robin Norton-Hale on updating Tchaikovsky's Eugene Onegin, staging opera up close and championing the arts in an age of austerity.

Paterson Joseph bunked off school when he was thirteen and spent the next two years going to the local library instead, reading his way from Agatha Christie through to Alexander Pushkin. It was a good training for someone who's become one of our most versatile and successful actors. Paterson Joseph is well known from numerous Shakespeare productions at the RSC and the Royal Exchange Manchester, and from Casualty and Dr Who. He achieved notoriety as the grotesque boss Alan Johnson in Peep Show. Paterson Joseph has recently been touring America with a show that he's written himself, about one of his heroes - the black 18th-century London grocer and composer Ignatius Sancho. He talks to Michael Berkeley about why Sancho has been unjustly neglected, and what he thinks about "colour-blind" casting. Music choices include Tchaikovsky's Eugene Onegin, Louis Armstrong, Bach, Charlie Mingus, Billie Holliday - and Ignatius Sancho. Produced by Elizabeth Burke A Loftus production for BBC Radio 3.

Semyon Bychkov on conducting Tchaikovsky's Eugene Onegin at the Royal Opera House.

On Start the Week Tom Sutcliffe picks through the remains of vanished buildings with the writer James Crawford. In his book, Fallen Glory, Crawford looks at the life and death of some of the world's most iconic structures. The conductor Semyon Bychkov explores why some music fades, and the enduring appeal of Tchaikovsky's Eugene Onegin. Julia Sallabank studies endangered languages and whether it's possible to revive indigenous languages on the verge of extinction. And it is origins which feature on Peter Randall-Page's latest sculpture: a naturally eroded glacial boulder carved with stories of creation myths from cuneiform to text speak. Producer: Katy Hickman.