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Miguel Ángel Santolaria tiene de invitado especial al director gerente del Auditorio de Zaragoza, "Princesa Leonor", Miguel Ángel Tapia, para hablarnos de las representaciones en la Sala Mozart del citado recinto, del 18 al 21 del mes actual de la ópera póstuma de Puccini, Turandot, de la que en el pasado 25 de abril, se cumplió el centenario de su estreno en el Teatro allá Scala de Milán, por parte de nuestro paisano el legendario tenor, Miguel Fleta. También nos informa de la programación de la próxima temporada de grandes conciertos con importantes acontecimientos.
Die Staatsoper Stuttgart bringt Puccinis unvollendete Oper„Turandot“ mit neuem Schluss auf die Bühne. Die Regie hat Anna-Sophie Mahler die musikalische Leitung Valerio Galli.
Those of us fortunate enough to have employment in our chosen field should have (in theory) a pension / superannuation plan to take care of us in our autumn years. Sadly, some professions including ones that bring us most joy don't always look after the practitioners. Opera composer Giuseppi Verdi knew that so he did something about it. Welcome to episode 134 of See Hear Podcast. It's our first episode back after a hiatus, and what a film we have to talk about. Kerry and I were thrilled to have film producer Christine La Monte join us. She and director Yvonne Russo have brought into the world a film guaranteed to bring happiness to all who see it – Viva Verdi! Giuseppi Verdi seems to have been a rare beast in the arts world – he was financially secure into his later years. He realised that many of his fellow travellers however (composers, musicians, singers) did not have a pension in their later years when they could not work. Verdi had a philanthropic background, and so he decided to develop a retirement home for musicians. The documentary Viva Verdi takes a look at the residents of Casa Verdi over the last few years. All these musicians (mostly in their 80s and 90s) are still vital and have stories to tell and work to do. Keeping musically active in the retirement home helps keep dementia at bay, and makes the residents feel as important as they ever were. Christine tells us about her childhood love of opera when her peers were into rock and roll, the wonderful people she and Yvonne met, Verdi's generosity….and Kerry and I agree that Viva Verdi was robbed at the Oscars. We also briefly explore another opera related documentary Christine produced “Ai Weiwei's Turandot”. As opposed to Viva Verdi which celebrates the individual, the Aiweiwei documentary looks at the themes of opera to celebrate the collective. It's social commentary in a world gone mad. At the time of posting this, Viva Verdi is only available for streaming in North America, though, Christine is working on a wider distribution method. It's having limited cinema screenings in the US, or it can be streamed at https://www.jolt.film/ (if you're outside the US, you'll need to turn on your VPN...don't get me started on these archaic region rules....) It's a wonderful film and worth the effort. Our conversation, however, is self contained, so you can listen and enjoy without having seen the film. See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices
Those of us fortunate enough to have employment in our chosen field should have (in theory) a pension / superannuation plan to take care of us in our autumn years. Sadly, some professions including ones that bring us most joy don't always look after the practitioners. Opera composer Giuseppi Verdi knew that so he did something about it. Welcome to episode 134 of See Hear Podcast. It's our first episode back after a hiatus, and what a film we have to talk about. Kerry and I were thrilled to have film producer Christine La Monte join us. She and director Yvonne Russo have brought into the world a film guaranteed to bring happiness to all who see it – Viva Verdi! Giuseppi Verdi seems to have been a rare beast in the arts world – he was financially secure into his later years. He realised that many of his fellow travellers however (composers, musicians, singers) did not have a pension in their later years when they could not work. Verdi had a philanthropic background, and so he decided to develop a retirement home for musicians. The documentary Viva Verdi takes a look at the residents of Casa Verdi over the last few years. All these musicians (mostly in their 80s and 90s) are still vital and have stories to tell and work to do. Keeping musically active in the retirement home helps keep dementia at bay, and makes the residents feel as important as they ever were. Christine tells us about her childhood love of opera when her peers were into rock and roll, the wonderful people she and Yvonne met, Verdi's generosity….and Kerry and I agree that Viva Verdi was robbed at the Oscars. We also briefly explore another opera related documentary Christine produced “Ai Weiwei's Turandot”. As opposed to Viva Verdi which celebrates the individual, the Aiweiwei documentary looks at the themes of opera to celebrate the collective. It's social commentary in a world gone mad. At the time of posting this, Viva Verdi is only available for streaming in North America, though, Christine is working on a wider distribution method. It's having limited cinema screenings in the US, or it can be streamed at https://www.jolt.film/ (if you're outside the US, you'll need to turn on your VPN...don't get me started on these archaic region rules....) It's a wonderful film and worth the effort. Our conversation, however, is self contained, so you can listen and enjoy without having seen the film. See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices
Serena Vinci"La Cina (è donna) nel SettecentoSguardi di genere ed esotismo nella cultura letteraria e teatrale italianaMimesis Edizioniwww.mimesisedizioni.itA partire da Marco Polo, lo sguardo europeo sulla Cina ha costruito un immaginario dalle sfumature mitiche, che ha subìto variazioni nel corso dei secoli, contribuendo all'evoluzione della cultura europea stessa. In questo percorso, l'elaborazione degli stereotipi ha coinvolto in modo particolare la rappresentazione della figura femminile. Infatti, la Cina ha rivestito un ruolo peculiare in quell'esotismo rintracciabile nel melodramma, nel teatro e nel romanzo del Settecento, secolo in cui i personaggi femminili emergono con una certa vivacità, e la fascinazione per le chinoiserie pervade tutta l'Europa. Attraverso l'analisi delle protagoniste di opere più note, come la Turandot di Carlo Gozzi, e di quelle meno note, come Le cinesi di Metastasio e il romanzo La cinese in Europa di Pietro Chiari, viene esplorato l'ideale proposto, dal punto di vista dei costumi e delle istituzioni, rivelando figure magnetiche come dark lady e personaggi al limite del queer.Serena Vinci è assegnista di ricerca dell'Università di Modena e Reggio Emilia. I suoi interessi di ricerca vertono sulla prosa letteraria in una prospettiva transculturale e di genere. È autrice del saggio Ragazze selvagge. Funzione narrativa ed evolutiva della selvatichezza (2024).Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/
Der Dirigent Zubin Mehta hat aus gesundheitliche Gründen sechs "Turandot"-Dirigate an der Bayerischen Staatsoper abgesagt. Das Festkonzert zu seinem 90. Geburtstag wird er zwar leiten, allerdings mit geändertem Programm.
Hoy hablamos con los granadinos 091, que celebran más de 40 años en la música y lo celebran con su último disco, Espejismo Nº9. Además, interpretan en directo uno de sus últimos temas, 'Ven vestida de nube'. Javi Alonso nos trae en su sección de cómic Espíritu del escorpión, de Fernando Llor y Pablo Caballo que narra la doble vida de Radovan Karadžić, genocida bosnio que se ocultó como Dragan Dabić, un terapeuta new age en Belgrado. Y con Martín Llade celebramos los 100 años del estreno de la ópera de Turandot. Conocemos la historia detrás de esta ópera y disfrutamos del ya célebre Nessun Dorma, de Luciano Pavarotti.Escuchar audio
Abrimos con la tremebunda aria de Turandot en su primera presencia en escena: In questa reggia. Nos la canta Birgit Nilsson. A su lado Franco Corelli. Grabación del Met de Nueva York de 1971. Stokowski en el foso. Luego Galliano Masini expone su versión del aria Non piangere Liu, que es interpretada a continuación por Alfredo Kraus. Después Pavarotti echa su cuarto a espadas en la misma escena, escuchada ahora íntegra. El mismo tenor se exhibe en Nessun dorma, seguido de un muy joven Plácido Domingo. Monteserrat Caballé. Nos acaricia el oído con la primera aria de Liu, Signore ascolta. Por fin el final de la ópera en la versión dirigida por Alberto Erede a Inge Bork y Mario del Monaco con las huestes de la Academia Santa Cecilia de Roma.Escuchar audio
Eine Prinzessin, die ihre Freier köpfen lässt: Turandot gilt als Puccinis psychologisch tiefgründigste Oper. Ein Stück über Liebe und Tod, das der Komponist nicht vollenden konnte. Struck-Schloen, Michael www.deutschlandfunk.de, Kalenderblatt
In the 5 Things to Know podcast, we break down the essential ideas behind great operas—five quick insights that unlock the story, the music, and why it still matters today.In this episode, assistant director Gregory Luis Boyle joins us to explore Turandot, the final masterpiece of Giacomo Puccini. Opening on April 25, 2026—exactly 100 years to the day after its world premiere—this centennial production revisits one of the world's most iconic operas, featuring the unforgettable aria “Nessun dorma.”This bold new production moves beyond tradition to focus on themes of power, violence, and agency. Set within a striking, abstract world inspired by Bauhaus design, the stage becomes a living puzzle—where Turandot's three riddles are reflected symbolically in the visual language. The result is a fantasy landscape where larger-than-life ideas are expressed through music, movement, and design.For nearly a century, one question has lingered: how should Turandot end? When Puccini died before completing the opera, he left that final transformation unresolved. This production takes on that challenge directly, offering a newly reimagined conclusion drawn from Puccini's own music—an ending that is bold, powerful, and thought-provoking. Whether you're new to opera or returning to this legendary work, these five insights will change the way you experience Turandot.Turandot April 25–May 3, 2026 Cobb Energy Performing Arts Centre The Atlanta Opera
Miguel Ángel Santolaria nos habla del acontecimiento de la conmemoración el próximo día 25 de abril del centenario del estreno, en el teatro La Scalla de Milán, de la ópera póstuma de Puccini, Turandot, a cargo del legendario tenor aragonés, Miguel Fleta. A tal efecto, el mismo día del evento, en el Centro de Historias pronunciará una Conferencia Concierto, donde, junto a la soprano Ana López Sinaga, que le acompaña en nuestro estudio, cantarán las tres arias de esta ejemplar ópera. Llamaremos, también mañana, por teléfono a Barcelona, al nieto del mítico tenor, también de nombre Miguel Fleta, para evocar la memoria de su abuelo y recordar el centenario.
Programa nº 338. Entrevista con Sergi Freixes, investigador y diseñador, que nos habla de lo que ocurrirá en Ripollet el 16 de mayo en la Nits dels Museus con Nits de Música… Es un buen apunte para ir calentando motores. En el programa también hacemos especial mención al “Turandot” de Puccini, ópera que el 25 […] The post Los Tres Tenores 22/04/2026 first appeared on Ripollet Ràdio.
Welcome to BlinkOpera from The Atlanta Opera, where we bring you the story in the blink of an eye. In this episode, we dive into Turandot with the trio of singers who know its twists and turns better than anyone; Ping, Pang, and Pong. Joining us are Eleomar Cuello, Wayd Odle, are Terrence Chin-Loy who take on the challenge of delivering the entire epic story of riddles, romance, and transformation. Don't miss this deep dive into the world of Turandot.
Celebramos en este programa y el siguiente los cien años del estreno en La Scala de Milán de la última y gran ópera del compositor de Lucca. Analizamos la partitura y escuchamos algunos de sus momentos más significativos: Nessun dorma de Calaf por Francisoco Ortiz, Tu che di gel sei cinta de Liu por Renata Tebaldi, la escena de los enigmas por Joan Sutherland y Luciano Pavarotti con la dirección de Zubin Mehta, el comienzo de la ópera por la misma batuta, la primera aparición de Ping, Pang y Pong, la marcha a la americana y otro fragmento de la obra, siempre por Mehta.Escuchar audio
Jahrelang ignoriert - dann der Triumph: 1849 feiert Louise Farrenc mit ihrer 3. Sinfonie in Paris einen Sensationserfolg. Und plötzlich kommt niemand mehr an ihr vorbei. Von Michael Lohse.
Ab mit dem Kopf! Das passiert mit den Männern, die Turandots Rätsel nicht lösen. Für ihre – zugegeben – blutrünstige Bräutigamsauswahl hat die chinesische Prinzessin aber gute Gründe ... Von Michael Lohse.
Fuchs, Jörn Florian www.deutschlandfunkkultur.de, Fazit
A cura di Paolo PellegriniG. Puccini,TurandotLa Principessa Turandot, Birgit NilssonCalaf (Il Principe Ignoto), Franco CorelliLiù, Anna MoffoTimur, Bonaldo GiaiottiPing, Frank GuarreraPang, Robert NagyPong, Charles AnthonyL'Imperatore Altoum, Alessio De PaolisUn Mandarino, Calvin MarshIl Principe di Persia, Edilio FerraroCoro e Orchestra del Metropolitan OperaLeopold Stokowski, direttore
L’incipit di Obiettivo Salute risveglio arriva dalle note immortali di “Nessun dorma” dalla Turandot di Puccini, un’aria che racconta di enigmi e notti insonni. Ma le notti senza sonno non appartengono solo all’opera: fanno parte anche della nostra vita quotidiana, quando restiamo svegli per lavoro, studio o per i pensieri che non ci lasciano riposare.Cosa succede davvero al nostro cervello quando dormiamo poco, o non dormiamo affatto? Ne parliamo con il professor Roberto Manfredini, direttore della Clinica Medica Universitaria di Ferrara esperto di sonno e ritmi circadiani.
Ultime chef-d'œuvre de Puccini, Turandot puise ses racines dans des contes très anciens, et qui révèlent des aspects subtils de la psyché humaine. Plongez dans l'histoire des grands personnages et des évènements marquants qui ont façonné notre monde ! Avec enthousiasme et talent, Franck Ferrand vous révèle les coulisses de l'histoire avec un grand H, entre mystères, secrets et épisodes méconnus : un cadeau pour les amoureux du passé, de la préhistoire à l'histoire contemporaine.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
No To Kings, Yes To Hearts, Cats, & Opera Carla Imperial of Northampton Resists & Katherine Haycox with Sunrise: Taking it to the Streets - No Kings Day March 28 Dr Amir Mohani & Dr Sunny Shukla of Cooley Dikinson Hospital: Talking Heart Health - Every Month is Heart Month Dakin Humane Society Executive Director Meg Talbert: What's Shakin at Dakin Animal Shelter - Dogs cats mice & rats Cool Films with Larry Hott w/ Christine La Monte - Ai Weiwei's Turandot: Opera Karma
Christine La Monte discusses her career and her latest work producing a pair of opera-themed documentaries, the uplifting Viva Verdi! (2025) and the stunning Ai Weiwei's Turandot (2025). La Monte talks about the importance of opera in the modern world and the Oscar-nominated song "Sweet Dreams of Joy."For more information visit: https://www.lamonteproductions.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth
Christine La Monte discusses her career and her latest work producing a pair of opera-themed documentaries, the uplifting Viva Verdi! (2025) and the stunning Ai Weiwei's Turandot (2025). La Monte talks about the importance of opera in the modern world and the Oscar-nominated song "Sweet Dreams of Joy."For more information visit: https://www.lamonteproductions.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth
[@ 2 min] Alright, this week…we go Inside the Huddle with Cecilia Molinari! Last Sunday, the Italian mezzo-soprano wrapped her US debut at Lyric Opera of Chicago, just in time to return home for the closing ceremonies in her hometown and the start of the Paralympic games. [@ 31 min] And while the Olympics continue, we'll Chalk Talk on Christopher Tin's Turandot remix, elder millennial olympians, and…cheating Canadian curlers? [@ 47 min] Plus, in the ‘Two Minute Drill'… lifechanging funds in Detroit, Zambello's foreshadowing at The Guardian, and at this point, it may be better to list who's *not* in the Epstein files. GET YOUR VOICE HEARD Stream new episodes every Saturday at 10 AM CT on amplisoundsradio.com operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social
Send a textToday I'm replaying an episode from earlier this winter, my interview with Christine La Monte, producer of two recent documentaries, Ai Weiwei's Turandot and the Oscar shortlisted Viva Verdi!. Viva Verdi! is nominated for Best Original Song at the 98th Academy Awards and the film is available to stream on jolt.film today!Books mentioned in this episode include:The Paper Palace by Miranda Cowley HellerCry to Heaven by Anne RiceTomorrow, and Tomorrow, and Tomorrow by Gabrielle ZevinThe Crying Heart Tattoo by David Lozell MartinThe Samurai's Garden by Gail TsukiyamaThe Goldfinch by Donna TarttLet's Call the Whole Thing Off directed by Elizabeth GuestFilms and TV shows mentioned in this episode include:Ai Weiwei's Turandot directed by Maxim DereviankoViva Verdi! directed by Yvo nne RussoLa Traviata directed by Franco ZeffirelliChildren of the River directed by Federico Rodelli (forthcoming)The Godfather directed by Francis Ford CoppolaBlack Orpheus directed by Marcel CamusOnce Upon a Time in America directed by Sergio LeoneDances With Wolves directed by Kevin CostnerHoliday directed by George CukorThe Night Manager (series)Something's Gotta Give directed by Nancy MeyersThe Girl with the Dragon Tattoo (series)Other things mentioned in this episode:“Sweet Dreams of Joy“ by Nicholas PikeFollow Viva Verdi! on Instagram @vivaverdithefilm and check out the websites for both films at aiweiweisturandotfilm.com and vivaverdithefilm.com. And don't forget to check out Viva Verdi! on jolt.film ahead of the 98th Academy Awards.Support the show
The British Prime Minister Sir Keir Starmer says "good progress" was made in his meeting with Chinese President Xi Jinping of China. Our China correspondent will give us her assessment. Also on the programme: as President Trump steps up the rhetoric on Iran, what could happen if the US strikes it? And the musical director who stood in for Puccini's challenging Turandot when the star tenor suddenly fell ill. (Photo: UK Prime Minister Sir Keir Starmer shakes hands with President Xi Jinping of China ahead of a bilateral meeting at the Great Hall of the People in Beijing during his visit to China. Credit: PA)
El Prado ha avançat els caps de setmana i aquesta temporada ha centrat la proposta cultural als dijous, una manera de descongestionar els caps de setmana. Fins el mes de juny l'entitat ha programat un seguit d'obres de teatre i stand-ups entre els que destaquen noms propis com Marc Serrats amb Vaques Flaques, David Cepo amb No cruces los brazos o Oye Sherman, Alba Segarra i Irene Minovas amb Ronda de comèdia, tres propostes d'stand up catalanes molt potents. Les entrades pel podcast en viu Què t'ha passat? amb Albert Om i Joan Maria Pou van prou bé i per aquells amants del teatre més convencional Guateque, Les Mares o Àlex Casanovas amb Passejant amb Rusiñol amb una proposta diurna i de cafè coincidint amb Sant Jordi. El cinema d'autor també hi serà present els dijous de Prado amb les sessions especials de Barcelona Mon Amour, del sitgetà Jaume Fargas o l'estrena del film rodat a Sitges El Rastre del Llop. A més s'oferiran sessions pensades en qui vulgui estar al dia de les pel·lícules nominades als Òscars. Tampoc faltarà l'òpera al cinema amb Turandot, La Boheme i Rigolette. N'hem parlat amb Carme Artigas, presidenta del Prado i amb Owen John Holden, membre de la junta i de la comissió de programació de l'entitat. L'entrada Els Dijous de Prado és el dia de teatre, cinema d’autor i òpera ha aparegut primer a Radio Maricel.
Selbstzweifel vor der Hochzeit sind ja nicht gerade eine Seltenheit, denn wer fällt heutzutage, bei all den scheinbar unendlichen Wahlmöglichkeiten im Beziehungsleben, schon gern eine Entscheidung fürs ganze Leben? Da kann schon mal Bindungsangst aufkommen, vielleicht legt sich sogar Blitzeis über die Seele und die einst so stürmische Libido ist plötzlich schockgefrostet.
Send us a textIn today's episode, I interview Christine La Monte, producer of two recent documentaries, Ai Weiwei's Turandot and the Oscar shortlisted Viva Verdi!.Listen to hear about Christine's experience growing up listening to opera, what it was like working with a world renowned artist like Ai Weiwei, and the joy of finding new young filmmakers and helping them express their voice through film.Books mentioned in this episode include:The Paper Palace by Miranda Cowley HellerCry to Heaven by Anne RiceTomorrow, and Tomorrow, and Tomorrow by Gabrielle ZevinThe Crying Heart Tattoo by David Lozell MartinThe Samurai's Garden by Gail TsukiyamaThe Goldfinch by Donna TarttLet's Call the Whole Thing Off directed by Elizabeth GuestFilms and TV shows mentioned in this episode include:Ai Weiwei's Turandot directed by Maxim DereviankoViva Verdi! directed by Yvo nne RussoLa Traviata directed by Franco ZeffirelliChildren of the River directed by Federico Rodelli (forthcoming)The Godfather directed by Francis Ford CoppolaBlack Orpheus directed by Marcel CamusOnce Upon a Time in America directed by Sergio LeoneDances With Wolves directed by Kevin CostnerHoliday directed by George CukorThe Night Manager (series)Something's Gotta Give directed by Nancy MeyersThe Girl with the Dragon Tattoo (series)Other things mentioned in this episode:"Sweet Dreams of Joy" by Nicholas PikeFollow Viva Verdi! on Instagram @vivaverdithefilm and check out the websites for both films at aiweiweisturandotfilm.com and vivaverdithefilm.com.Support the show
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
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
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.
“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
The Creative Process in 10 minutes or less · Arts, Culture & Society
“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
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