Podcasts about Turandot

Dr. Hope Rugo and Dr. Vivek Subbiah discuss innovative trial designs to enable robust studies for smaller patient populations, as well as the promise of precision medicine, novel therapeutic approaches, and global partnerships to advance rare cancer research and improve patient outcomes. TRANSCRIPT  Dr. Hope Rugo: Hello and welcome to By the Book, a podcast series from ASCO that features engaging conversations between editors and authors of the ASCO Educational Book. I am your host, Dr. Hope Rugo. I am the director of the Women's Cancers Program and division chief of breast medical oncology at the City of Hope Cancer Center [in Los Angeles]. The field of rare cancer research is rapidly transforming thanks to progress in clinical trials and treatment strategies, as well as improvements in precision medicine and next-generation sequencing that enable biomarker identification. According to the National Cancer Institute, rare cancers occur in fewer than 150 cases per million each year, but collectively, they represent a significant portion of all cancer diagnoses. And we struggle with the appropriate treatment for these rare cancers in clinical practice. Today, I am delighted to be joined by Dr. Vivek Subbiah, a medical oncologist and the chief of early-phase drug development at the Sarah Cannon Research Institute in Nashville, Tennessee. Dr. Subbiah is the lead author of a paper in the ASCO Educational Book titled "Designing Clinical Trials for Patients with Rare Cancers: Connecting the Zebras," a great title for this topic. He will be telling us about innovative trial designs to enable robust studies for small patient populations, the promise of precision medicine, and novel therapeutic approaches to improve outcomes, and how we can leverage AI now to enroll more patients with rare cancers in clinical trials. Our full disclosures are available in the transcript of this episode.  Dr. Subbiah, it is great to have you on the podcast today. Thanks so much for being here. Dr. Vivek Subbiah: Thank you so much, Dr. Rugo, and it is an honor and pleasure being here. And thank you for doing this podcast for rare cancers. Dr. Hope Rugo: Absolutely. We are excited to talk to you. And congratulations on this fantastic paper. It is such a great resource for our community to better understand what is new in the field of rare cancer research. Of course, rare cancers are complex and multifaceted diseases. And this is a huge challenge for clinical oncologists. You know, our clinics, of course, cannot be designed as we are being very uni-cancer focused to just be for one cancer that is very rare. So, oncologists have to be a jack of all trades in this area. Your paper notes that there are approximately 200 distinct types of rare and ultra-rare cancers. And, by definition, all pediatric cancers are rare cancers. Of course, clinical trials are essential for developing new treatment strategies and improving patient outcomes, and in your paper, you highlight some unique challenges in conducting trials in this rare cancer space. Can you tell us about the challenges and how really innovative trial designs, I think a key issue, are being tailored to the specific needs of patients with rare cancer and, importantly, for these trials? Dr. Vivek Subbiah: Rare cancers present a perfect storm of challenges. First, the patient populations are very small, which makes it really hard to recruit enough participants for traditional type trials. Second, these patients are often geographically dispersed across multiple cities, across multiple states, across multiple countries, across multiple zip codes. So, logistics become complicated. Third, there is often limited awareness among clinicians, which delays referrals and diagnosis. Add to that regulatory hurdles, funding constraints, and you can see why rare cancer trials are so tough to execute. To overcome these barriers, we are seeing some really creative novel trial designs. And there are four different types of trial designs that are helping with enrolling patients with rare cancers. The first one is the basket trial. So let us talk about what basket studies are. Basket studies group patients based on shared genetic biomarkers or shared genetic mutations rather than tumor type. So instead of running separate 20 to 30 to 40 trials, you can study one therapy across multiple cancers. The second type of trial is the umbrella trial. The umbrella trials flip that concept of basket studies. They focus on one cancer type but test multiple targeted therapies within it. The third category of innovative trials are the platform studies. Platform trials are another exciting innovation. They allow new treatment arms to be added or removed as the data matures and as the data evolves, making trials more adaptive and efficient. The final category are decentralized tools in traditional trials, which are helping patients participate closer to where they are so that they can sleep in their own bed, which is, I think, a game changer for accessibility.  These designs maximize efficiency and feasibility for rare cancer research and rare cancer clinical trials. Dr. Hope Rugo: I love the idea of the platform trials that are decentralized. And I know that there is a trial being worked on with ARPA-H (Advanced Research Projects Agency for Health) funding in triple-negative breast cancer as well as in lung cancer, I think, and others with this idea of a platform trial. But it is challenged, I think, by precision medicine and next-generation sequencing where some patients do not have targetable markers, or there isn't a drug to target the marker. I think those are almost the same thing. We have really seen that these precision medicine ideas and NGS have moved the needle in helping to identify genetic alterations. This helps us to be more personalized. It actually helps with platform studies to customize trial enrollment. And we hope that this will result in better outcomes. It also allows us, I think, to study drugs even in the early stage setting more effectively. How can these advances be best applied to the future of rare cancers, as well as the challenges of not finding a marker or not having a drug? Dr. Vivek Subbiah: Thank you so much for that question. I think precision medicine and next-gen sequencing, or NGS, are truly the backbone of modern precision oncology. They have transformed how we think about cancer treatment. Instead of treating based on where the tumor originated or where the tumor started, we now look at the genetic blueprint of cancer. The NGS or next-gen sequencing allows us to sequence millions of DNA fragments quickly. Twenty, 30 years ago, they said we cannot sequence a human genome. Then it took almost a decade to sequence the first human genome. Right now, we have academic centers and commercial sequencing companies that are really democratizing NGS across all sites, not just in academic centers, across all the community sites, so that NGS is now accessible. This means that we can identify these actionable alterations like picking needles in haystacks, like NTRK fusions, RET fusions, or BRAF V600E alterations, high tumor mutational burden. This might occur across not one tumor type, across several different tumor types. So for rare cancers, this is critical because some of these mutations often define the best treatment option. Here is why this matters. Personalized therapy, right? Instead of a one-size-fits-all approach, we can tailor treatment to the patient's unique molecular profile. For trial enrollment, this can definitely help because patients can join biomarker-driven trials even if their cancer type is rare or ultra-rare. NGS technology has also helped us in designing rational studies. Many times monotherapy does not work in these cancers. So we are thinking about rational combination strategies. So NGS technology is helping us. Looking ahead, I see NGS becoming routine in clinical practice, not just at major niche academic centers, but everywhere. We will see more tumor-agnostic approvals, more molecular tumor boards guiding treatment decisions in real time. And I think we are seeing an expanded biomarker setup. Previously, we used to have only a few drugs and a handful of mutations. Now with homologous recombination defects, BRCA1/2 mutation, and expanding the HRD and also immunohistochemistry, we are expanding the biomarker portfolio. So again, I personally believe that the future is precision. What I mean by precision is delivering the right drug to the right patient at the right time. And for rare cancers, this isn't just progress. It is survival. And it is maybe the only way that they can have access to these cutting-edge precision medicines. Dr. Hope Rugo: That is so important. You mentioned an important area we will get to in a moment, the tumor-agnostic therapies. But as part of talking about that, do you think that the trials should also include just standard therapies? You know, who do you give an ADC to and when with these rare cancers? Because some of them do not have biomarkers to target and it is so disappointing for patients and providers where you are trying to screen a patient for a trial or a platform trial where you have one arm with this mutation, one arm with that, and they do not qualify because they only have a p53 loss, you know? They just do not have the marker that helps them. But we see this in breast cancer all the time. And it is tough because we don't have good information on the sequencing. So I wonder, you know, just because for some of these rare cancers it is not even clear what to use when with standard treatments. And then that kind of gets into this idea of the tumor-agnostic therapies that you mentioned. There are a lot of new treatments that are being evaluated. We have seen approval of some treatments in the last few years that are tumor-agnostic and based on a biomarker. Is that the best approach as we go forward for rare cancers? And what new treatment options are most exciting to you right now? Dr. Vivek Subbiah: Tumor-agnostic therapies, really close to my heart, are real breakthrough therapies and represent a major paradigm shift in oncology. Traditionally, for the broad listeners here, we are used to thinking about designing clinical trials and therapy like where the cancer originated, breast cancer, kidney cancer, prostate cancer, lung cancer. A tumor-agnostic therapy flips that model. Instead of focusing on the organ, they target the specific genetic alteration or biomarker that drives cancer growth regardless of where the tumor started, regardless of the location of the tumor, regardless of the zip code of the tumor. So why is this so important for rare cancers? Because many rare cancers share molecular features with more common cancers. For instance, NTRK fusion might occur in pediatric sarcoma, a salivary gland tumor, or a thyroid cancer. Historically, each of these would require separate trials, which is nearly impossible, unfeasible to conduct in these ultra-rare cancers like salivary gland cancer or pediatric sarcomas. Tumor-agnostic therapies allow us to treat all those cancers with the same targeted drug if they share that biomarker. Again, we are in 2025. The first tissue-agnostic approval, the historic precedent, was in fact an immunotherapy. Pembrolizumab was approved in 2017, May 2017, as the first immunotherapy to be approved in a tumor-agnostic way for a genomic biomarker, for MSI-High and dMMR cancers. Then came the NTRK inhibitors. So today we have not one, not two, but three different NTRK inhibitors: larotrectinib, entrectinib, and repotrectinib, which show response rates of nearly more than 60 to 75% across a handful of dozens and dozens of cancer types. Then, of course, we have RET inhibitors like selpercatinib, which is approved tissue-agnostic, and pralsetinib, which also shows tissue-agnostic activity across multiple cancers. And more recently, combination therapy with a BRAF and MEK combination, dabrafenib and trametinib, received tumor-agnostic approval for all BRAF V600E tumors with the exception of colorectal cancer. And even recently, you mentioned about antibody drug conjugates. Again, I think we live in an era of antibody drug conjugates. And Enhertu, trastuzumab deruxtecan, which was used first in breast cancer, now it is approved in a histology-agnostic manner for all HER2-positive tumors defined by immunohistochemistry 3+. So again, beyond NGS, now immunohistochemistry for HER2 is also becoming a biomarker. So again, for the broad listeners here, in addition to comprehensive NGS that may allow patients to find treatment options for these rare cancers for NTRK, RET, and BRAF, immunohistochemistry for HER2 positivity is also emerging as a biomarker given that we have a new FDA approval for this. So I would say personally that these therapies are game changers because they open doors for patients who previously had no options. Instead of waiting for years for a trial in their specific cancer type, they can access a treatment based on their molecular profile. I think it is precision medicine at its finest and best. Looking ahead, the third question you asked me is what is exciting going on? I think we will see more of these approvals. My hope is that today, I think we have nine to ten approvals. My hope is that within the next 25 to 50 years, we will have at least 50 to 100 drugs approved in this space based on a biomarker, not based on a location of the tumor type. Drug targeting rare alterations like FGFR2 fusions, FGFR amplifications, ALK fusions, and even complex signatures like high tumor mutational burden. I think we will be seeing hopefully more and more drugs approved. And as sequencing becomes routine, we will identify more patients for these therapies. I think for rare cancers, this is not just innovative approach. This is essential for them to access these novel precision medicines. Dr. Hope Rugo: Yeah, that is such a good point. I do think it is critical. Interestingly in breast cancer, it hasn't been, you know, there is always like two patients in these tumor-agnostic trials, or if that. You know, I think I have seen one NTRK fusion ever. I think that highlights the importance for rare cancers. And you know, I am hoping that that will translate into some new directions for some of our rarer and impossible-to-treat subtypes of breast cancer. It is this kind of research that is really going to make a difference. But what about those people who do not have biomarkers? What if you do not fit into that? Do you think there is a possibility of trying to do treatments for rare cancers in some prospective way that would help with that? You know, it is really a huge challenge. Dr. Vivek Subbiah: Absolutely. I think, you know, you're right, usually many of these rare cancers are driven by specific biomarkers. And again, some of the pediatric salivary gland tumors or pediatric sarcomas like fibrosarcomas, they are pathognomonic with NTRK fusions. And again, given that we have a tumor-agnostic approval, now these patients have access to these therapies. And I do not think that we would have had a trial just for pediatric fibrosarcomas with NTRK fusions. So that is one way. Another way is SWOG, right? The SWOG DART [1609] had this combination dual checkpoint, it was called the DART study dual combination chemotherapy with ipi/nivo. Now here the rare cancer subtype itself becomes a biomarker and they showed activity across multiple rare cancer subtypes. They didn't require a biomarker. As long as it was a rare or ultra-rare cancer, these patients were enrolled into the SWOG DART trial and multiple arms have read out. Angiosarcoma, Kaposi sarcoma, even gestational trophoblastic disease. Again, they have shown responses in these ultra-rare, rare cancers. Sometimes they might be seeing one or two cases a whole year. And I think this SWOG effort, this cooperative group effort, really highlighted the need for such studies without biomarkers as well. Dr. Hope Rugo: That is such a fantastic example of how to try and treat patients in a collaborative way. And in the paper, you also emphasize the need for collaborative research efforts, you know, uniting resource expertise across different ways of doing research. So cooperative groups, advocacy organizations that can really help advance rare cancer research, improve access to new therapies, and I think importantly influence policy changes. I think this already happened with the agnostic approvals. Could you tell us more about that? How can we move forward with this most effectively? Dr. Vivek Subbiah: Personally, I believe that collaboration is absolutely critical and essential for rare cancer research. No single institution, no single individual, or no single state or entity can tackle these challenges alone. The patient populations are small and dispersed. So pooling resources is the only way to run these meaningful trials. Again, it is not like singing, it is like putting a huge, huge, I would say, an opera piece together. It is not a solo, vocal therapy, but rather putting a huge opera piece like Turandot. You know, you mentioned cooperative groups. Cooperative groups, as I mentioned earlier, the SWOG DART program, the ASCO [TAPUR study]. ASCO is doing a phenomenal work of the TAPUR study. Again, this ASCO TAPUR program has enrolled so many patients with rare cancers who otherwise would not have treatment options. NCI-MATCH, the global effort, right? NCI-MATCH and the ComboMATCH are great examples. They bring together hundreds of sites, thousands of clinicians to run large-scale trials that would be impossible for any individual center or institution. These trials have already changed practice. For instance, the DART demonstrated the power of immunotherapy in rare cancers and influenced NCCN guidelines. One of the arms of the NCI-MATCH study from the BRAF V600E arm contributed towards the BRAF V600E tissue-agnostic approval. So, the BRAF V600E tissue-agnostic approval was by a pooled analysis of several studies. The ROAR study, the Rare Oncology Agnostic Research study, the NCI-MATCH dataset of tumor-agnostic cohort, and another pediatric trial, and also evidence from literature and evidence of case reports. And all this pooled analysis contributed to the tissue-agnostic approval of BRAF V600E across multiple rare cancers. There are several patient advocacy organizations which are the real unsung heroes here. Groups like, for instance, we mentioned in the paper, Target Cancer Foundation, don't just raise awareness for rare cancer research, they actively connect patients to trials providing financial, emotional support, and even run their own studies like the TRACK trial. They also influence policy to make access easier. On a global scale, initiatives like DRUP in the Netherlands, the ROME study in Italy, the PCM4EU in Europe are expanding precision medicine across these borders. These collaborations accelerate research, improve trial enrollment, and ensure patients everywhere can have access to these cutting-edge therapies. Again, it is truly a team effort, right? It is a multi-stakeholder approach. Researchers, clinicians, investigators, industry, regulators, academia, patients, patient advocates, and their caregivers all working together. And it takes a village. Dr. Hope Rugo: Absolutely. I mean, what a nice response to that. And I think really exciting and it is great to see your passion about this as well. But it helps all of us, I think, getting discouraged in treating these cancers to understand what is happening moving forward. And I think it is also a fabulous opportunity for our junior colleagues as they rise up in academics to be involved in these international collaborative efforts which are further expanding. One of the things that comes up for clinical trials for patients, and I think it is highlighted with rare cancers because, as you mentioned, people are all over the place, you know, they are so rare. They are all far away. Our patients are always saying to us, "Should I go here for a phase 1 trial?" Can you talk a little bit about how we can overcome these financial and geographic burdens for the patients? You talked about having trials locally, but it is a big financial and just social burden for patients. Dr. Vivek Subbiah: Great point. Financial cost is a major barrier in rare cancer clinical trials. It is a major barrier not just in rare cancer clinical trials, but in clinical trials in general. The economics of rare cancer research are one of the toughest challenges we face. Developing a new drug is already expensive, often billions of dollars. On an average, it takes 2 billion dollars or 2.8 billion dollars according to some data from drug discovery to approval. For rare cancers, the market is tiny, which means the pharmaceutical companies have really little financial incentive to invest. That is why initiatives like the Orphan Drug Act were created to provide tax credits, grants, and market exclusivity to encourage development for rare diseases. Clinical trials themselves are expensive because the small patient populations mean longer recruitment times and higher per-patient costs. Geographic dispersion, as you mentioned, for the patients adds travel, coordination. That is why we need to think out of the box about decentralized trial infrastructure so that we can mitigate some of these expenses. Complex trial designs like basket or platform trials sometimes require sophisticated data systems and regulatory oversight. That is a challenge. And I think some of the pragmatic studies like ASCO TAPUR have overcome those challenges. Advanced technologies like next-gen sequencing and molecular profiling also add significant upfront cost to this. Funding is also limited because rare cancers receive less attention compared to common cancers. Public funding and cooperative group trials help a lot, but I think they cannot cover everything. Patient advocacy organizations sometimes step in to bridge these gaps, but sustainable financing remains a huge challenge. So, the bottom line is without financial incentives and collaborating funding models, many promising therapies for rare cancers would never make it to patients. That is why we need system-wide policy changes, global partnerships, and innovative, effective, seamless trial designs which are so critical so that they can help reduce the cost and make research feasible so that we can deliver the right drug to the right patient at the right time. Dr. Hope Rugo: There is a lot of excitement about the future integration of AI in screening. Just at the San Antonio Breast Cancer meetings, we have a number of different presentations about AI to find markers, even like HER2, and using AI where you would screen and then match patients to clinical trials. Do you have any guidance for the rare cancer community on how to leverage this technology in order to optimize patient enrollment and, I think, identification of the best treatment matches? Dr. Vivek Subbiah: I think artificial intelligence, AI, is a game-changer in the making. Right now, clinical trial is clunky. Matching patients to trial is often manual, time consuming, laborious. You need a lot of personnel to do that. AI can automate this process by analyzing genomic data, medical records, and trial eligibility criteria to find the best matches quickly, accurately, and effectively. For the community, the key is to invest in data standardization and interoperability because AI needs clean, structured data to work effectively. Dr. Hope Rugo: Thank you so much, Dr. Subbiah, for sharing these fantastic insights with us on the podcast today and for your excellent article. Dr. Vivek Subbiah: Thank you so much. Dr. Hope Rugo: We thank you, our listeners, for joining us today. You will find a link to Dr. Subbiah's Educational Book article in the transcript of this episode. And please join us again next month on By the Book for more insightful views on key issues and innovations that are shaping modern oncology.  Thank you. Disclaimer: The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement. Follow today's speakers:        Dr. Hope Rugo   @hoperugo   Dr. Vivek Subbiah @VivekSubbiah Follow ASCO on social media:        ASCO on X  ASCO on Bluesky       ASCO on Facebook        ASCO on LinkedIn        Disclosures:       Dr. Hope Rugo:    Honoraria: Mylan/Viatris, Chugai Pharma   Consulting/Advisory Role: Napo Pharmaceuticals, Sanofi, Bristol Myer   Research Funding (Inst.): OBI Pharma, Pfizer, Novartis, Lilly, Merck, Daiichi Sankyo, AstraZeneca, Gilead Sciences, Hoffman La-Roche AG/Genentech, In., Stemline Therapeutics, Ambryx   Dr. Vivek Subbiah: Consulting/Advisory Role: Loxo/Lilly, Illumina, AADI, Foundation Medicine, Relay Therapeutics, Pfizer, Roche, Bayer, Incyte, Novartis, Pheon Therapeutics, Abbvie Research Funding (Inst.): Novartis, GlaxoSmithKline, NanoCarrier, Northwest Biotherapeutics, Genentech/Roche, Berg Pharma, Bayer, Incyte, Fujifilm, PharmaMar, D3 Oncology Solutions, Pfizer, Amgen, Abbvie, Mutlivir, Blueprint Medicines, Loxo, Vegenics, Takeda, Alfasigma, Agensys, Idera, Boston Biomedical, Inhibrx, Exelixis, Amgen, Turningpoint Therapeutics, Relay Therapeutics Other Relationship: Medscape, Clinical Care Options

Welcome to the DMF! I'm Justin Younts, and today I'm thrilled to introduce Christine Lamont, a powerhouse in the film industry. Christine has spent years honing her craft, producing impactful documentaries like 'Ai Weiwei's Turandot' and 'Viva Verde.' In our conversation, we dive deep into her journey, from her childhood in Buffalo, New York, to her experiences working with legendary directors and navigating the complexities of the film world. Christine shares her passion for the arts, the importance of mentorship, and how her love for film has shaped her career. We discuss the challenges and triumphs of producing, the significance of storytelling, and the role of art in fostering social change. Christine's insights are not only inspiring but also a testament to the power of creativity and collaboration in the film industry. Join us as we explore the magic of film and the stories that connect us all. Don't miss this enlightening conversation that will leave you with a renewed appreciation for the arts and the impact they can have on our lives.00:00:00 - Introduction00:00:09 - Guest Introduction00:00:28 - Christine Lamont's Early Life00:01:09 - Interest in Arts00:02:10 - Influence of Art on Film Career00:04:34 - Education and Early Career00:05:30 - Transition to Producing00:05:35 - Experience at Universal, Disney and Orion00:07:06 - Working at Orion Pictures00:08:00 - Experience at Disney and Universal00:11:09 - Working on Iconic Films00:11:41 - Marketing for Silence of the Lambs00:12:01 - Working with Directors and the End of Orion00:16:46 - Creation of Lamont Productions00:17:12 - Producing Plays and Films00:18:36 - Project Viva Verde00:19:25 - Working with Zeffirelli00:21:07 - Impact of Viva Verde00:24:26 - Project Ai Weiwei's Turandot00:29:21 - Ai Weiwei's Turandot and the Pandemic00:30:56 - Reflections on Ai Weiwei's Turandot00:31:59 - Ai Weiwei's Political Activism00:35:50 - Creating the Dusty Awards at SVA00:37:47 - The Importance of Diverse Voices in Film00:40:31 - Teaching and the Value of Fearlessness00:41:53 - The Need for Cultural Awareness and Questioning00:45:45 - Future Projects00:46:07 - Future Projects and Writing Aspirations00:46:49 - The Power of Saying Yes00:47:57 - The Journey of the Everyday Hero00:50:14 - Daily Routines and Work Schedule00:51:31 - Nighttime Routine and Film Watching00:55:00 - Meditation Practices00:58:25 - Physical Fitness Activities00:59:19 - Current Reading01:01:35 - Reading Habits and Impact01:03:57 - Anticipation for Tom Ford's 'Cry to Heaven'01:05:17 - Appreciation for David Lynch and Tom Ford01:06:24 - Listening to Opera and Jazz01:10:05 - The Role and Resilience of a Producer01:11:50 - Current Film Watching01:13:33 - Contact Information01:13:50 - Closing Remarks

Há histórias em que a força não vence pela espada, mas pela entrega. Histórias em que alguém poderia impor, dominar, esmagar… e escolhe outro caminho. Um caminho mais lento. Mais silencioso. Mais verdadeiro.Uma princesa governa pelo medo. Cabeças rolam. Enigmas se transformam em sentenças de morte. Tudo está organizado segundo a lógica do poder. Quem manda vence. Quem falha desaparece. Até que surge alguém disposto a vencer sem ferir. Ele poderia exigir. Poderia cobrar. Poderia triunfar pela lei. Mas decide se expor. Revela o próprio nome. Coloca-se nas mãos daquela que poderia destruí-lo. E, nesse gesto desarmado, algo se rompe por dentro dela. Pela primeira vez, o amor entra onde antes só havia controle.Essa cena antiga, cantada em uma ópera, ecoa algo profundamente cristão. Deus nunca conquistou o mundo pelo medo. Nunca entrou na história pela violência. Quando decidiu vir, escolheu a forma mais frágil possível. Um bebê. Sem exércitos. Sem discursos. Sem proteção. Apenas presença.Belém não foi acidente. Foi método. O Filho de Deus nasce fora dos centros de poder. Não escolhe Roma. Não escolhe Jerusalém imperial. Escolhe o silêncio. Escolhe a periferia. Escolhe depender. A força que salva não vem do alto para baixo, mas de dentro para fora. O coração se rende quando percebe que é amado, não quando é ameaçado.Essa lógica atravessa toda a vida cristã. Quem vive sempre armado, sempre defensivo, sempre pronto para reagir, acaba exausto. A agressividade muitas vezes não nasce da força, mas do medo. Jesus, ao contrário, sabe exatamente de onde vem e para onde vai. Por isso pode se ajoelhar. Pode lavar pés. Pode amar até quem vai traí-lo. A mansidão que Ele vive não é fraqueza. É domínio interior. É força sob controle.Existe um momento em que a vida ensina isso com delicadeza. Pais que envelhecem. Pessoas que já poderiam brigar, responder, exigir… e escolhem não fazê-lo. Não por covardia, mas por sabedoria. Descobrem que nem toda batalha merece ser travada. Que a paz vale mais do que ter razão. Que o amor conquista onde a dureza só afasta.O Natal nos coloca diante dessa escolha. Continuar vivendo na lógica da força, do medo, da defesa constante… ou permitir que o despojamento de Deus nos transforme por dentro. O Menino no presépio não nos pede heroísmos espetaculares. Pede algo mais difícil. Abrir mão. Confiar. Tornar-se manso sem deixar de ser forte.Bem-aventurados os mansos. Porque não conquistam territórios. Conquistam corações._______________________

In Australia, il soprano di origine calabrese Maria Teresa Leva si prepara a interpretare il ruolo di Liù nella celebre opera "Turandot" di Puccini, che andrà in scena all'Opera House di Sydney a partire dal 15 gennaio prossimo.

In this episode of Fog of Truth, Bart, John, and guest Daphne Street, an opera aficionado, discuss the documentary about Ai Weiwei's modern adaptation of Puccini's last opera, 'Turandot.' They explore Weiwei's unique interpretation, which highlights feminism and political discourse, and the challenges faced during production, including COVID-19 disruptions and Weiwei's brief incarceration. The documentary offers detailed insights into the production's visual and symbolic layers, bridging the gap between traditional opera and modern audiences. Daphne highlights Weiwei's calm and solution-oriented approach amidst obstacles, showcasing his confidence and versatility as an artist. 00:00 Introduction and Special Guest 00:37 Overview of the Documentary 01:24 Puccini's Last Opera: Turandot 03:28 I Weiwei's Unique Interpretation 04:52 The Visual Spectacle 10:21 The Impact of COVID-19 11:57 Art and Politics Intertwined 14:09 Final Thoughts and Reflections 18:42 Closing Remarks and Future Episodes  

In der europäischen Klassikszene gibt es viele asiatische Musikerinnen und Musiker. Willkommen sind sie nicht immer: Sie haben mit rassistischen Klischees zu kämpfen, werden ausgegrenzt und diskriminiert. Wenn es um Jobs geht, haben sie Nachteile. Ein Tabuthema, über das viele Betroffene schweigen. Sie spielen perfekt, aber ohne Gefühl: Das ist nur eins der Klischees, mit dem asiatische Musikerinnen und Musiker konfrontiert sind. Viele von ihnen erleben Rassismus in westeuropäischen Profiorchestern und Musikhochschulen. Er äussert sich in offener Diskriminierung und Nachteilen bei Auswahlverfahren. Auch auf der Bühne werden rassistische Klischees reproduziert, in Opernhits wie «Madama Butterfly» und «Turandot». Antiasiatischer Rassismus ist tief verwurzelt in der Klassikszene. Trotzdem wird nur selten darüber gesprochen. Zu gross ist die Angst der Betroffenen.

Detsembris annab Vanemuise teater kaks ooperi „Turandot“ etendust: nimirollis särab Aile Asszoni, Calafina Gianluca Terranova Itaaliast. Saates on külas Vanemuise muusikajuht ja peadirigent Risto Joost, kes tutvustab Gianluca Terranovat ning kellelt kuuleme, miks Simo Breedet mõni aeg ei näe Vanemuise laval.

Artist: AUTBOY (Moscow, Russia) Name: 1 NOVEMBER | ANGELS BALL | TURANDOT PALACE | MOSCOW Genre: Electronic Release Date: 31.10.2025 Exclusive: Deep House Moscow Победитель международного музыкального конкурса - SPIRITON SOUND! Уже в субботу, 1 ноября!⭐️ Антихэллуин - Ежегодный костюмированный бал Ангелов в роскошном дворце Турандот на Тверском Бульваре✨ Манифест света, красоты, добра, вдохновения и точка притяжения для избранной публики от мэтров столичной клубной культуры. Четыре великолепных пространства дворца: главная сцена под небесным сводом, вокальные шоу и live исполнители, фарфоровый зал с клубной электронной музыкой в стиле progressive, melodic techno, downpempo, серебрянный зал с маркетом преображения и ангельским лаунжем, двухэтажный флорентийский дворик в стиле итальянского ренессанса. DRESS CODE: роскошные вечерние образы и образы на ангельскую тематику

Artist: Andre P (Moscow / Saint-Petersburg, Russia) Name: 1 NOVEMBER | ANGELS BALL | TURANDOT PALACE | MOSCOW Genre: Downtempo / Electronic Release Date: 30.10.2025 Exclusive: Deep House Moscow Уже в субботу, 1 ноября!⭐️ Антихэллуин - Ежегодный костюмированный бал Ангелов в роскошном дворце Турандот на Тверском Бульваре✨ Манифест света, красоты, добра, вдохновения и точка притяжения для избранной публики от мэтров столичной клубной культуры. Четыре великолепных пространства дворца: главная сцена под небесным сводом, вокальные шоу и live исполнители, фарфоровый зал с клубной электронной музыкой в стиле progressive, melodic techno, downpempo, серебрянный зал с маркетом преображения и ангельским лаунжем, двухэтажный флорентийский дворик в стиле итальянского ренессанса. DRESS CODE: роскошные вечерние образы и образы на ангельскую тематику

Artist: SOLWAY (Istanbul, Turkey) Name: 1 NOVEMBER | ANGELS BALL | TURANDOT PALACE | MOSCOW Genre: Electronic Release Date: 28.10.2025 Exclusive: Deep House Moscow Уже в субботу, 1 ноября!⭐️ Антихэллуин - Ежегодный костюмированный бал Ангелов в роскошном дворце Турандот на Тверском Бульваре✨ Манифест света, красоты, добра, вдохновения и точка притяжения для избранной публики от мэтров столичной клубной культуры. Четыре великолепных пространства дворца: главная сцена под небесным сводом, вокальные шоу и live исполнители, фарфоровый зал с клубной электронной музыкой в стиле progressive, melodic techno, downpempo, серебрянный зал с маркетом преображения и ангельским лаунжем, двухэтажный флорентийский дворик в стиле итальянского ренессанса. DRESS CODE: роскошные вечерние образы и образы на ангельскую тематику

Filmmakers Christine La Monte & Maxim Derevianko join Andy to talk about their documentary Ai Weiwei's Turandot. 

On this episode of Center Stage with Mark Gordon, filmmaker Christine La Monte discusses her new documentary Ai Weiwei's Turandot, which follows artist and activist Ai Weiwei as he makes his operatic directorial debut at the Rome Opera House. Known for his fearless art and political engagement, Ai Weiwei reimagines Puccini's classic opera Turandot as a reflection of today's world, where freedom, identity, and resistance collide. La Monte shares insights about working with Ai Weiwei, navigating the impact of the pandemic and the war in Ukraine, and creating a film that explores how art can challenge, provoke, and inspire. 🎧 Center Stage with Mark Gordon is produced in Los Angeles and features conversations with the filmmakers, artists, and storytellers shaping culture today.

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.I think art competes with reality. And art will give you the last words.” –Ai WeiweiThe renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it's probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini's final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini's original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei's belief that 'Everything is Art. Everything is Politics.'The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.My guest is the documentary's director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei's words, “art competes with reality, but art will have the last word.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

2022 gab Ai Weiwei in Rom sein Operndebüt mit Puccinis unvollendeter Oper „Turandot“. Die Vorbereitungen der aufwendigen, gigantischen Produktion dauerten zwei Jahre, da die Proben zwischenzeitlich wegen der Covid-Pandemie unterbrochen werden mussten. Der italienische Filmemacher Maxim Derevianko war mit der Kamera über den langen Zeitraum dabei und hat zahlreiche Mitwirkende sowie die Intendanz des Theaters zu diesem besonderen Projekt befragt. Seine Dokumentation „Ai Weiweis Turandot“ kommt am 16. Oktober in die Kinos. Kirsten Liese hat ihn bereits gesehen.

Seguimos escuchando a Cortis. En esta ocasión lo tenemos en arias de Faust (Salve dimora casta e pura) de Gounod, Tosca (Recondita armonía, E lucevan le stelle), Turandot (Nessun dorma) y La boheme (Che gélida manina) de Puccini, La favorita (Una vergine) de Donizetti, Andrea Chénier (Dúo final junto a Zita Funagalli-Riva) y La cena delle beffe (Ah! Che tormento!) de Giordano. Y tres páginas de nuestra zarzuela: Doña Francisquita (Por el humo se sabe donde está el fuego) de Vives, La alegría del batallón (Canción del soldado) de Serrano y Una vieja (Un español que viene) de Gaztambide.Escuchar audio

Clara en Sander zijn terug, met een echte meezinger: de monsterhit Nessun Dorma van Giacomo Puccini. En meezingen dat moet je Sander geen twee keren zeggen. Clara kan wel een ijskoud shotje gebruiken bij al dat gekweel. Eerste hulp bij klassiek, over hoe Puccini de Harry Styles van zijn tijd was, zijn grote begrafenis in Brussel en hoe niemand zal slapen in de opera Turandot – en nee, niet omdat het een steamy, wilde nacht is.

Puccini's operas remain some of the most beloved in the repertoire, their soaring melodies and emotional intensity instantly recognisable to audiences worldwide.From the romance and tragedy of La Bohème, to the raw passion of Tosca and the exotic splendour of Turandot, Puccini created worlds of intense drama and unforgettable melody.In this episode we are joined by musician and broadcaster Sandy Burnett as he explores what makes Puccini's music so distinctive and enduring. With insights from musical experts, Sandy uncovers the orchestral colours, vocal writing and dramatic instincts that defined Puccini's genius.Academy Travel is a leading specialist in small-group cultural tours, allowing you to travel with like-minded companions and learn from internationally renowned experts. Like our podcast, our tours are designed to appeal to travellers with a strong interest in history, archaeology, architecture, the visual arts and the performing arts.Learn more here - https://academytravel.com.au/

For visitors to Athens, the ancient Odeon of Herod Atticus is the must-see theater at the foot of the Acropolis. Artists revere it for the majestic stage where legends have performed. And for the Greek capital's residents, it is the touchstone of their summer cultural calendar. The Odeon of Herod Atticus recently opened the 70th season of the annual Athens Epidaurus Festival, a cherished annual tradition for many Greeks. But this edition marks the last before the theater that's more than 18 centuries old shuts down for maintenance and restoration work that is expected to last at least three years. While theater and dance grace its stage, music is its cornerstone. Renowned artists who have performed here include Luciano Pavarotti, Frank Sinatra, Coldplay, and Greece's own Maria Callas. Its closure will be a profound loss for spectators who have long enjoyed first-class performances under the stars in one of the world's most iconic open-air theaters. "When (people) think of the Athens cultural scene, everyone thinks of the festival and Herodion," said Katerina Evangelatos, the festival's artistic director since 2019, calling the theater by its commonly used Greek name. "It has become a synonym of the festival. It is the heart of the festival." When the Greek National Opera opened this season's festival with Giacomo Puccini's opera Turandot, it erected temporary structures behind the Roman-era Odeon's arched walls to expand available space for performers' dressing rooms. The permanent underground facilities weren't enough. During previous restoration and conservation projects, the Herod Atticus Odeon had surfaces cleaned, cracks filled with grout, and new seating installed. This time, the scope of the work will depend on findings from the studies still underway. Culture Minister Lina Mendoni said that although the venue's closing date is certain at the end of summer, its reopening is not. "This will depend on the problems that the studies will reveal," she said in an interview with Greek radio station Skai. "What is certain is that at least three years will be needed." This article was provided by The Associated Press.

Artist: Art Of Voice (Lisbon, Portugal) Name: 6 JUNE | ELECTRIC SOUND GARDEN | MOSCOW | TURANDOT PALACE | 2025 Genre: Electronic / Downtempo Release Date: 26.05.2025 Exclusive: Deep House Moscow 6 ИЮНЯ / ЛЕТНИЙ БАЛ ЦВЕТОВ И СОЛНЦА ELECTRIC SOUND GARDEN / ДВОРЕЦ ТУРАНДОТ Самое масштабное и самое красивое из всех мероприятий, которое когда-либо делали SPIRITON и LUXURY UNDERGROUND SYSTEM! Полная информация и билеты по ссылке: https://spiriton-event.timepad.ru/event/3353160 Art Of Voice: @art-of-voice-project Instagram: www.instagram.com/artofvoice.project LUXURY UNDERGROUND SYSTEM: www.facebook.com/LuxuryUndergroundSystem Soundcloud: @luxuryundergroundsystem Instagram: www.instagram.com/luxuryundergroundsystem CONTACT (DHM) ‒ deephousemoscow@hotmail.com Alexander (Telegram) ‒ @sash_msk Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

Giacomo Puccini komponierte viele der beliebtesten Opern. Seine eigene Lebensgeschichte war nicht weniger dramatisch.

NESSUN DORMA. None shall sleep. The old guard is dead. A new dawn for The United States of America and humanity has arrived.   Music credit: Prologue, Fallen Stars, Alex Mason: Free Music Archive, Copyright free use non-commercial   Turandot, Atto III: "Nessun Dorma" Jonas Kaufmann https://rumble.com/embed/v6r5qm1/?pub=2peuz

Joshua Conyers is an Assistant Professor of Voice at the Eastman School of Music at the University of Rochester, and a Grammy-nominated Baritone who is known for his captivating performances and recognized as one of the leading dramatic voices of today. He has performed with The Metropolitan Opera, Seattle Opera, Washington National Opera, Lyric Opera of Chicago, English National Opera, New York Philharmonic, National Symphony Orchestra, Carnegie Hall, and many others. His recordings include the Grammy-nominated “X: The Life and Times of Malcolm X” his debut solo album is “A Miracle in Legacy.” He says it tells his story of his “being born into the crucible of poverty, haunted by the specter of addiction and abuse.” He says “yet, amid the shadows, I found my guiding light in the melodies of classical music.” SONG 1: “I’ll Make Love to You” by Boyz II Men from their Album II released in 1994. https://youtu.be/USR_0iImpcM?si=VDXE1s_O2toNwRkJ SONG 2: “Nessun Dorma” by Giacomo Puccini from the opera Turandot...performed here by Franco Corelli from the 1958 film of Turandot.https://youtu.be/fWokel5YxM8?si=_D9UEH6jKbz1Bo2G SONG 3: “Cleanin’ Out My Closet” by Eminem off his 2002 album The Eminem Show. https://youtu.be/4t2ETI2Lrjg?si=pgmx0aGLs4Tag6HASee omnystudio.com/listener for privacy information.

Premiering at HotDocs '25, AI WEIWEI'S TURANDOT follows the legendary artist as he seeks to bring the classic opera into the 21st Century. Directed by Maxim Dereviakno, the film is a testament to the power of art and the way that old content can speak to the modern era. In this 1on1, Derevianko speaks to us about reviving ancient stories and the magic of Ai Weiwei.

Dans l'histoire mongole, peu de figures féminines sont aussi fascinantes que Khutulun. Cette princesse guerrière du XIIIe siècle, nièce de Kubilai Khan et fille du puissant Kaidu Khan, était célèbre pour sa bravoure, son talent exceptionnel au combat et surtout… son exigence unique en matière de mariage : pour obtenir sa main, un prétendant devait la vaincre à la lutte.Une guerrière hors du communKhutulun n'était pas une princesse ordinaire. Née vers 1260 dans un empire mongol en pleine expansion, elle grandit dans un contexte où les femmes aristocrates avaient un rôle actif dans la société et parfois même dans la guerre. Fille préférée de Kaidu Khan, un chef influent de la lignée de Gengis Khan, elle reçut un entraînement militaire rigoureux et s'illustra très jeune par sa force physique et ses talents de stratège.Lors des batailles, Khutulun était redoutable : on raconte qu'elle se jetait dans la mêlée, capturant elle-même ses ennemis. Sa réputation de guerrière surpassait celle de nombreux hommes de son époque. Mais c'est surtout par sa maîtrise de la lutte mongole, un sport traditionnel, qu'elle marqua l'histoire.Un défi unique pour les prétendantsSelon les récits, Khutulun refusait de se marier, malgré les pressions de sa famille et des chefs mongols. Mais pour apaiser les attentes, elle posa une condition radicale : elle n'épouserait que celui qui réussirait à la vaincre à la lutte. Chaque prétendant devait miser 100 chevaux avant de l'affronter ; s'il perdait, elle conservait les bêtes.Aucun homme ne parvenant à la battre, Khutulun accumula des milliers de chevaux, constituant ainsi un troupeau impressionnant. Cette exigence ne relevait pas seulement d'un caprice, mais d'une affirmation de son indépendance et de sa supériorité physique, dans une société où la force déterminait souvent le pouvoir.Une fin mystérieuseFace aux rumeurs grandissantes et aux intrigues politiques, Khutulun aurait fini par se marier, mais pas par défaite. Certains récits disent qu'elle choisit un guerrier de son camp, d'autres qu'elle mourut au combat.Son histoire inspira Marco Polo, qui la mentionna dans ses écrits, et plus tard des œuvres modernes, notamment en tant que source d'inspiration pour la princesse Turandot dans l'opéra de Puccini. Khutulun demeure aujourd'hui une figure emblématique de la puissance féminine dans l'histoire mongole. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

(00:57) Giacomo Puccini ist vor der Vollendung seiner Oper «Turandot» gestorben. Am Theater Basel ist sie mal mit einem Schluss zu sehen. Ob das funktioniert? Weitere Themen: (05:21) Portrait der Zürcher Violinistin Sophie Branson. (09:44) «Skype» ist bald Geschichte – Ein Nachruf. (12:45) Stück «Halluzinationen» am Schauspielhaus Zürich über Künstliche Intelligenz will zu viel. (17:10) Elfte Ausgabe von Erfolgsausstellung «Blumen für die Kunst» im Aargauer Kunsthaus enthält auch kritische Töne.

Yesterday was the 100th birthday of the sublime Canadian singer, Lois Marshall (29 January 1925 – 19 February 1997). I was sorry to see that there were very apparently few acknowledgements of this momentous occasion. Three years ago, in a Countermelody series on Great Canadian Singers, Lois Marshall was my first subject. If you haven't heard of her (which is entirely possible, given the vagaries of posthumous fame and reputation), you are in for an enormous treat. Possessed of a rare musical scrupulousness, an interpretive honestly, directness, and integrity, as well as a finely-honed dramatic sensibility, Lois Marshall, in a better world, would have graced the world's operatic stages. Alas, she was stricken with polio as a child, and though she managed to gain the ability to walk, staged opera was a genre which she only rarely attempted. Yet she worked with the world's greatest conductors, among them Toscanini, Stokowski, and Beecham, and was a recitalist celebrated the world over. This episode offers an extended yet partial glimpse of the range and variety of her artistry, and includes recordings of arias by both Purcell and Puccini (the title role of Turandot!), Bach and Beethoven, as well as a dazzling array of recital repertoire from Debussy to folk song arrangements. Fellow Canadians Maureen Forrester and Glenn Gould are also featured. I wanted very much to present a brand-new Lois Marshall episode in hono(u)r of her centennial, and I promise you that is in the works, but in the meantime, I listened early this morning to the first Lois Marshall tribute I posted and I have decided to republish it today as I continue to prepare the brand-new episode. Some of today's material, in particular an excerpt from Oskar Morawetz's From the Diary of Anne Frank, which Lois Marshall premiered in 1970, serves as a grim reminder of the United States' further descent into madness and inhumanity, especially since the inauguration of King Ubu. Through the darkness, however, the glorious voice and humanity of Lois Marshall provide us with an ideal example of our better selves. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

[@6 min] Alright, this week…in advance of "The Puccini Heroines," an all-Puccini arias concert at Lyric Opera of Chicago, Sondra Radvanovsky takes a Free Throw on the singing the role of Turandot. Compared to Norma and Aida, you may be surprised to hear that it's one of her easiest roles. [@18 min] And then…in Listener Mailbag, we have field reports on all the vocal activity at Carnegie Hall including Song Studio, Friend of the Show Ying Fang with the Orchestra of St Luke's, and Friend of the Show Ryan Speedo Green in recital with pianist Adam Nielsen. [@27 min] Plus, in the ‘Two Minute Drill'…there *is* good news for 2025. Soprano Lise Davidsen has announced she is having twins! And if they are fraternal twins who inherit their mom's voice, maybe in 2055 we will have a future dream team Sieglinde and Siegmund! GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 bsky @operaboxscore

Mit "Nessun dorma" enthält diese Oper Puccinis wohl größten Hit. Doch die Geschichte von der eiskalten Prinzessin und ihren lebensgefährlichen Rätselfragen ist keine leichte Kost: Unter der Oberfläche lauern die Abgründe. Mit seiner letzten Oper suchte der Komponist Anschluss an die Moderne und hinterließ ein geniales Fragment. Von Michael Lohse.

While I was growing up, Gilda Cruz-Romo was a fixture on the stage of the Metropolitan Opera. At the time, I did not fully appreciate her, as I thought of her as a second-string singer on the roster. I saw her once on the Met tour as Desdemona opposite Jon Vickers, but for reasons none too flattering to me, I undervalued her. In recent years, however, I have completely revised my opinion, and now think that Gilda Cruz-Romo was both the most significant Mexican soprano ever to appear on the world's stages, but also simply one of the finest lirico-spinto sopranos of the twentieth centuries. Fortunately there are many people that agree with me, including some devoted fans who have posted an extraordinary number of live recordings of the artist on YouTube and elsewhere. And this is especially helpful because, incredibly, Cruz-Romo never made any commercial recordings. This episode fully explores the career and repertoire of our subject for today, and includes performances of the soprano in her core Verdi and Puccini repertoire (including such surprises as Odabella, Lady Macbeth, and Turandot!), as well as less expected forays into Mozart and bel canto. Throughout her virtues shine forth: a plangently beautiful voice with a particularly radiant top wedded to an incredibly secure technique, which afforded her enormous flexibility and coloratura facility. Added to this, and paramount to her artistry, is a dedication to her craft and to music which sweeps all before it and raises her work into the realm of the sublime. I think of this episode (the last completely new episode I'll be putting out this season) as a pre-birthday tribute, as the diva turns 85 years old on February 12, 2025. Other singers heard on the episode are tenors Carlo Bergonzi, Colenton Freeman, and John Alexander, and baritone Matteo Manuguerra; among the conductors are Zubin Mehta, Nicola Rescigno, Riccardo Muti, Peter Maag, and Julius Rudel. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Humanities West and the Italian Cultural Institute celebrate the life and art of Giacomo Puccini (December 22, 1858 to November 29, 1924) on the 100th anniversary of his death. His operas La Bohème, Tosca, Madama Butterfly and Turandot are among the most beloved and most often-recorded operas of all time. His arias are famous for both their emotional resonance and their melodic beauty—even among millions who have never listened to a complete opera. Puccini was born into a centuries-old family of Italian composers, and he began his successful career just as Verdi was completing his, quickly inheriting Verdi's renown as the greatest living composer of Italian opera. We have brought the internationally praised scholar and musicologist Gabriele Dotto from Italy to share the stage with San Francisco Opera's favorite Kip Cranna to tell some of the stories behind the composition of Puccini's heavenly arias. Giacomo Puccini and the Impact of Early 20th Century Media Gabriele Dotto will trace the rapid rise of sound recordings and film as competitors for opera theaters and the traditional business of music publishers. Puccini and his publisher, Casa Ricordi, demonstrated an extraordinary combination of artistic creation and commercial activity, using new and efficient strategies to market Casa Ricordi's opera repertoire to a globally expanding audience and “branding” Puccini as the publishing house's most iconic composer. Puccini Before Fame: The Composer in His Youth Clifford (Kip) Cranna will discuss Puccini's boyhood experiences, his musical training and his operatic influences. Cranna will demonstrate that some of the music Puccini wrote as a student was eventually recycled in his later operas. He will also concentrate on Puccini's first two operas, the rarely performed Le Villi and Edgar, which were composed before his first big hit Manon Lescaut—the beginning of his enduring fame and operatic stardom. OrganizerGeorge Hammond   A Humanities Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. In association with Humanities West and the Italian Cultural Institute Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrés Amorós cierra el ciclo dedicado a Puccini con Trittico (una colección de tres óperas) y Turandot.

Kitsch oder Kult? Kolportage oder Kunst? Wie auch immer: Giacomo Puccinis "La Boheme", "Tosca" und "Turandot" ziehen bis heute die Menschen in die Opernhäuser der Welt. Puccini war Weltstar, Schwermütiger, Auto- und Techniknarr, eine vielseitige, oft widersprüchliche, immer aber faszinierende Figur. Von Christian Schuler

Christopher Tin is an award-winning and genre-bending classical composer whose work has been featured in a variety of settings and media, from august concert halls to the world of video games. His orchestral piece “Baba Yetu,” which Christopher originally composed for the game “Civilization IV,” was the first ever musical work written for a video game to win a Grammy Award. It has since become a staple in choral and orchestral venues. He received his second Grammy for his debut album, “Calling All Dawns,” a multilingual song cycle. Christopher has been as adventurous in his producing as he has been in his composing. He turned to Kickstarter to help him create his subsequent two albums, “To Shiver the Sky” and “The Lost Birds,” both of which explored ecological themes. Through his crowdfunding, he not only raised all the funds necessary to pull off both expensive projects but also deepened his relationship with his many ardent fans while making new ones, bringing them along on intimate tours through his entire creative and production process. “The Lost Birds,” which features the acclaimed British vocal ensemble VOCES8, was nominated for a 2023 Grammy and has been performed all over the world. This past spring at the Kennedy Center, the Washington National Opera premiered Puccini's unfinished masterpiece “Turandot” with a new ending composed by Christopher and written by Susan Soo He Stanton. The production and its new ending was a hit with critics and audiences alike.In this interview, Christopher reveals how after decades of experimentation and success he's finally stopped worrying whether his work was too popular to please the classical-music establishment, and he explains how he's cultivated a legion of fans who encourage him to take ever bigger risks.https://christophertin.com/

O convidado do programa Pânico dessa segunda-feira (11) é Thiago Arancam. Dono de uma voz poderosa, o brasileiro Thiago Arancam é considerado um dos maiores tenores da atualidade. Ele se apresentou nos principais teatros do mundo, em mais de 40 países. Destaque para o Alla Scala (Milão), Ópera de Roma (Itália), Ópera Nacional de Washington (EUA), Ópera Estadual de Viena (Áustria), Deutsche Ópera de Berlim (Alemanha), Bolshoi (Moscou), além de inúmeras produções no Japão, Emirados Árabes, Malásia, Canadá, Espanha, França, Polônia, Letônia, Mônaco e Reino Unido. Foram mais de 700 apresentações ao redor do mundo. No Brasil, em 2011, subiu ao palco do Theatro Municipal do Rio de Janeiro com a montagem da ópera “Tosca”, de Puccini, no papel do pintor Mario Cavaradossi, amante de Floria Tosca. Em 2014, no Theatro Municipal de São Paulo, encenou a Ópera Carmen de Bizet. Na Europa, conheceu Plácido Domingo, com quem gravou “Cyrano de Bergerac”, na São Francisco Opera (USA); “Madame Butterfly”, em Washington e “Carmen”, na Los Angeles Opera. Trabalhou com grandes regentes de orquestra, entre eles: Daniel Harding em vários concertos com a Swedish Radio Symphony Orchestra; Christian Thielemann em “Dresden” na Manon Lescaut, Pier Giorgio Morandi na ópera “Tosca” em Las Palmas e Estocolmo; o brasileiro Silvio Barbato com a Orquestra Camerata Brasil em Brasília, João Carlos Martins, Plácido Domingo, Julius Rudel, Lorin Maazel, Nicola Luisotti, Patrik Fournellier, Renato Palumbo, Corrado Rovaris, entre outros. De volta ao Brasil em 2017, Thiago Arancam reencontrou suas raízes, lançou o álbum “Bela Primavera”, que deu origem ao espetáculo que rodou o país e emocionou o público. Em 2018, gravou o CD “This is Thiago Arancam” (2018); em 2019, “Thiago Arancam (Ao Vivo)”. Os três trabalhos trazem as influências do mundo lírico e aproximam o tenor da Música Popular Brasileira, além da força e da emoção da voz do artista, considerado um dos principais tenores da atualidade. Em paralelo ao trabalho com as turnês e lançamento dos novos álbuns, o cantor seguiu com as apresentações em diferentes países, entre eles Rússia, Lituânia, Estados Unidos e Austrália, com as óperas Madame Butterfly, Manon Lescaut, Turandot, Tosca e Carmen. E também lançou clipes e disponibilizou o conteúdo da turnê Bela Primavera em seu canal oficial no YouTube. Com fôlego gigante, Thiago Arancam protagonizou a versão brasileira de “O Fantasma da Ópera”, musical já visto por mais de 140 milhões de pessoas em todo o mundo. No Brasil, ficou em cartaz no Teatro Renault, em São Paulo, de agosto de 2018 até dezembro de 2019. Arancam realizou 360 apresentações, sendo sua maior marca de execução em uma mesma obra. Durante a pandemia 2020/2021 Thiago realizou mais de 20 shows ao vivo por streaming e transmissões pela televisão, totalizando mais de 10 milhões de visualizações em audiência. Como comentarista, o programa traz Mônica Salgado. Jornalista, criadora de conteúdo multiplataforma, consultora e palestrante.

Artist: Happy Paul (Russia) Name: 2 NOVEMBER / ANGELS BALL / MOSCOW / TURANDOT PALACE Genre: Electronic Release Date: 29.10.2024 Exclusive: Deep House Moscow Ежегодный БАЛ АНГЕЛОВ в роскошном дворце Турандот на Тверском бульваре — манифест света, красоты, добра, вдохновения, в пику мрачному и чуждому Хэллоуину. Билеты и полная информация по ссылке: event.timepad.ru/event/3047260/?utm_.. Вас ждет наше любимое, флагманское, эстетически-музыкальное событие во дворце Турандот — квинтэссенция света, музыки, красоты и высоких вибраций. КОГДА: 2 ноября / суббота / с 19.00 до 2.00 ГДЕ: Дворец Турандот, Тверской бульвар, дом 26с3 Happy Paul: www.facebook.com/djhappypaul Soundcloud: @happy-paul Instagram: www.instagram.com/happypaulmusic LUXURY UNDERGROUND SYSTEM: www.facebook.com/LuxuryUndergroundSystem Soundcloud: @luxuryundergroundsystem Instagram: www.instagram.com/luxuryundergroundsystem CONTACT (DHM): Telegram ‒ t.me/sash_msk Follow us: www.facebook.com/deephousemsk/ www.instagram.com/deephousemoscow/ vk.com/deephousemsk/

This week, host June Thomas talks to Francesca Zambello, artistic director of the Washington National Opera. In the interview, Francesca discusses the process of creating a brand new ending for Puccini's unfinished final opera Turandot, from recruiting a composer and librettist to deciding on the visual language of the show. She also talks about her early career working overseas, the wide range of productions at the National Opera, and the kinds of shows that attract new opera fans.  After the interview, June and co-host Ronald Young Jr. talk about the ethics of changing or updating an artist's work after their death.   In the exclusive Slate Plus segment, June asks Francesca if there are any other operas that she'd like to update or re-frame.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host June Thomas talks to Francesca Zambello, artistic director of the Washington National Opera. In the interview, Francesca discusses the process of creating a brand new ending for Puccini's unfinished final opera Turandot, from recruiting a composer and librettist to deciding on the visual language of the show. She also talks about her early career working overseas, the wide range of productions at the National Opera, and the kinds of shows that attract new opera fans.  After the interview, June and co-host Ronald Young Jr. talk about the ethics of changing or updating an artist's work after their death.   In the exclusive Slate Plus segment, June asks Francesca if there are any other operas that she'd like to update or re-frame.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

The super-woke Metropolitan Opera warns its audience that Puccini's classic opera, Turandot, is “rife with stereotypes” and “cultural appropriations.” Thanks for listening to the Daily Dennis Prager Podcast. To hear the entire three hours of my radio show as a podcast, commercial-free every single day, become a member of Pragertopia. You'll also get access to 15 years' worth of archives, as well as daily show prep. Subscribe today at Pragertopia dot com.See omnystudio.com/listener for privacy information.