Podcast appearances and mentions of Valery Gergiev

Andrew Constantine and I have known each other for over 30 years, and catching up with him was brilliant. It was a lovely warm chat with someone who really thinks long and hard about what we do as conductors. We talk very frankly about the cultural differences between the US and the UK, I discover which competition he thought he should have won, and he uses a wonderful metaphor to describe the difference between Valery Gergiev and Yuri Temirkanov! If you would like to discover a whole lot more about conductors and conducting, why not subscribe at https://www.patreon.com/amiconthepodium, and, for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 27th February 2024 via Zoom.

This week on The Sound Kitchen you'll hear the answer to the question about the last-minute film added to the Cannes Film Festival line-up.  There's “The Listener's Corner” with Paul Myers, the latest from the Roland Garros French Open, and plenty of good music. All that and the new quiz and bonus questions too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!The ePOP video competition is open! The ePOP video competition is sponsored by the RFI department “Planète Radio”, whose mission is to give a voice to the voiceless. ePOP focuses on the environment, and how climate change has affected “ordinary” people. You are to create a three-minute video about climate change, the environment, pollution - told by the people it affects.You do not need fancy video equipment to enter the competition. Your phone is fine.  And you do not need to be a member of the RFI Clubs to enter – everyone is welcome. And by the way – the prizes are incredibly generous!Go to the ePOP page to read about past competitions, watch past videos, and read the regulations for your entry.  You can also write to us at thesoundkitchen@rfi.fr, and we'll forward your mail to Planète Radio.The competition closes on 12 September, but you know how "time flies”, so get to work now! We expect to be bombarded with entries from the English speakers!Facebook: Be sure to send your photos for the RFI English Listeners Forum banner to thesoundkitchen@rfi.frMore tech news: Did you know we have a YouTube channel? Just go to YouTube and write RFI English in the search bar, and there we are! Be sure to subscribe to see all our videos.Would you like to learn French? RFI is here to help you!Our website “Le Français facile avec RFI”  has news broadcasts in slow, simple French, as well as bi-lingual radio dramas (with real actors!) and exercises to practice what you have heard.Go to our website and get started! At the top of the page, click on “Test level”. According to your score, you'll be counselled to the best-suited activities for your level.Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service told me: “Bathe your ears in the sound of the language, and eventually, you'll get it." She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Paris Perspective, Spotlight on France, Spotlight on Africa, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr, too. They are also a good way to help you improve your English – that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. NB: You do not need to send her your quiz answers! Email overload!This week's quiz: On 4 May, I asked you a question about the Cannes Film Festival, as a film had just been added to the line-up. You were to refer to our article “French stars Omar Sy and Eva Green part of 2024 Cannes Film Festival jury”, and send in the answer to these questions: What is the name of that last-minute film, and what is the name and nationality of the director?The answer is, to quote our article: “There have been late additions to the festival's line-up in recent days, including The Seed of the Sacred Fig by Iranian director Mohammad Rasoulof, who has faced prison time for criticising the government. It is unclear if he will be able to attend the festival.”He was able to attend the festival – as we reported a few days later, Rasoulof left Iran without official permission, after being sentenced to eight years in prison and flogging for national security crimes.As he said at the time: “I had to choose between prison and leaving Iran. With a heavy heart, I chose exile.”Rasoulof, 52, is already known for There is No Evil, which won the top prize at the Berlin Film Festival four years ago, and for A Man of Integrity, highly praised at Cannes in 2018 - but which resulted in a string of travel restrictions, prison sentences and film-making bans in Iran. In 2023 he was unable to take up an invitation to join the Cannes competition jury because he was under detention.The Seed of the Sacred Fig not only won the longest-standing ovation at this year's festival – 12 minutes! – but it won the Fipresci award from the jury of the International Federation of Film Critics, a special award given at international film festivals.  In addition to the quiz question, there was the bonus question: “What book made the greatest difference in your life, and how?”Do you have a bonus question idea? Send it to us!The winners are: RFI Listeners Club member Sahadot Hossain from Kishoreganj, Bangladesh. Sahadot is also the winner of this week's bonus question. Congratulations, Sahadot!Also on the list of lucky winners this week is Shivendu Paul, the president of the RFI Metali Listeners Club in Murshidibad, India; RFI Listeners Club member Sakawat Hossain from Sylhet, Bangladesh, and RFI English listeners Babo from the Friends Radio Club in Naogaon, as well as Suresh Agrawal from Odisha, India.Here's the music you heard on this week's program: The overture to the opera Russlan and Ludmila by Mikhail Glinka, performed by the Mariinsky Theatre Orchestra conducted by Valery Gergiev; “Watch What Happens” by Michel Legrand, played by Ted Greene; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Evening”: lyrics by Ann Malcolm, music by Debussy arranged by Tom Harrell, performed by Ann Malcolm and her ensemble.  Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “Tiananmen Square at 35: top Chinese dissident looks back”, which will help you with the answer.You have until 1 July to enter this week's quiz. The winners will be announced on the 6 July podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here. 

Annemieke Bosman in gesprek met acteur Dick van den Toorn en Aike Dirkzwager. Dimitri Sjostakovitsj, de wereldberoemde Russische componist, leeft in voortdurende angst. Moet hij de wensen van Stalin inwilligen óf verslag doen van zijn schrikbewind en tirannie? Laat hij zich gebruiken door de dictator óf is hij juist de dissident die aan de kant van het volk staat?  Het dilemma van Sjostakovitsj, die leefde en werkte tijdens het Stalinistische bewind, is Faustiaans te noemen: hoe verhoudt zijn artistieke integriteit zich tot de dictatoriale machthebber? De vergelijking van Stalin met Poetin ligt voor de hand. In deze tijd zou Sjostakovitsj waarschijnlijk gecanceld worden, zoals gebeurd is met de Russische dirigent Valery Gergiev. Maar is dat terecht? Oordelen we niet te snel? Te heftig? Vanuit onze luxepositie van vrijheid en democratie?  De voorstelling De kwestie Sjostakovitsj  van BEER Muziektheater gaat over de menselijke stem, in de spagaat van ambitie en integriteit versus onderdrukking en opportunisme. Maar uiteindelijk ook over ons, het publiek en onze wens aan de goede kant van de geschiedenis te staan. In De kwestie Sjostakovitsj  kruipt Dick van den Toorn in de rol van Sjostakovitsj. René Groothof en Yari van der Linden vertolken alle rollen daaromheen. Zij excelleren alle drie in een absurde, geestige, en vertellende speelstijl met het vermogen het publiek diep te raken. Aike Dirkzwager regisseert de voorstelling. De tekst is van de onlangs overleden theatermaker Helmert Woudenberg. 

Efter at have været i vælten siden den russiske invasion af Ukraine er det nu blevet offentliggjort, at dirigenten Valery Gergiev skal lede det russiske Bolsjoj Teater. Vi benytter anledningen til at se nærmere på, hvordan styret i Rusland forholder sig til russiske kunstnere, som er blevet cancelled i Vesten. Dagens gæst i Kulturens julekalender er sanger og skuespiller Daimi. Hun elsker at kigge børn i øjnene, når hun sidder i bussen. Mens forældrene og de fleste andre voksne synker ned i sine telefoner, bruger Daimi øjeblikket på at få analog kontakt. Vi taler med hende om begrebet godhed. Værter: Karen Secher & Linne Albinus Lande.

The Age of Prediction salon was co-hosted with Amy Brand, Publisher, MIT Press celebrating the publication of the new book The Age of Prediction: Algorithms, AI, and the Shifting Shadows of Risk by MIT Press authors Igor Tulchinsky and Christopher Mason. Igor is the Founder/CEO of WorldQuant, a quantitative investment firm. Christopher is Professor of Genomics, Physiology, and Biophysics at Weill Cornell Medicine and the Director of the WorldQuant Initiative for Quantitative Prediction. Alyssa Goodman, Professor of Astronomy at Harvard, co-moderates the conversation with POSTHOC founder and CEO, Susan MacTavish Best.  On the music front, Frank Almond performed on his rare, 400 year old violin, and shared the story of its theft and return. Frank held the Charles and Marie Caestecker Concertmaster Chair of the Milwaukee Symphony Orchestra for 25 years. He has also held the Concertmaster position with the Rotterdam Philharmonic with Valery Gergiev and Guest Concertmaster of the London Philharmonic with Kurt Masur. This salon was underwritten by the MIT Press. The MIT Press is a leading publisher of books and journals at the intersection of science, technology, art, social science, and design, and is widely considered the world's most innovative university press. The MIT Press has been an open access leader for over two decades, publishing hundreds of freely accessible books every year. Known for bold design and creative technology, the Press mobilizes knowledge by publishing provocative works from leading thinkers around the globe for the broadest possible impact and audience.

In the thirty-fifth year of his career, Daniel Sumegi has sung over one hundred operatic roles on many of the world's major stages – including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, Seattle Opera, as well as at Opera Australia.  He has also appeared in the opera houses of Bonn, Cologne, Frankfurt and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles and Houston among many others. Regarded also for his dynamic acting, his broad repertoire encompasses all periods of music – from Monteverdi and Mozart to Britten, Tippett and Puts.  Equally comfortable as Strauss' Baron Ochs, Mozart's Sarastro and Commendatore, Verdi's Grand Inquisitor and Sparafucile, Offenbach's Four Villains or Puccini's Scarpia, he has participated in Ring Cycles in New York, Los Angeles, San Francisco, Strasbourg, Cologne, Tokyo, Buenos Aires, Seattle, Melbourne and Adelaide, most notably as Hagen.  He has additionally performed Hunding in concert for the Hong Kong, Atlanta, Stuttgart and Melbourne Symphony Orchestras. Daniel's 2021/2022 engagements included Die Walküre (Singapore), Salome (Victorian Opera), Fidelio (Dublin) and Bluebeard's Castle, Aida and Lohengrin (Opera Australia). Among other roles, he has sung Die Meistersinger von Nürnberg (Pogner) for Opera Australia, Salome (Jochanaan) for New Israeli Opera, Der fliegende Holländer (title role) for Malmö Opera in Sweden and Carmen (Zuniga) for Seattle Opera.  He also undertook his music theatre debut, as Judge Turpin in Sondheim's Sweeney Todd, seen in Sydney and Melbourne.   Past highlights include Don Carlo and Madama Butterfly (Metropolitan Opera), Der Rosenkavalier (Scottish and Welsh National Opera), Luisa Miller (San Francisco), Billy Budd and Rigoletto (Los Angeles), Parsifal (Hamburg, Barcelona, Adelaide), Salome (Washington, Hamburg, Leeds, Hong Kong), Der fliegende Holländer, Aida, Beatrice and Benedict and Barbiere (Seattle), Manchurian Candidate (Minnesota, Austin), and more than 25 principal roles for Opera Australia. He has collaborated with noted conductors such as James Conlon, Sir Andrew Davis, Charles Dutoit, Dan Ettinger, Asher Fisch, Valery Gergiev, Nicola Luisotti, Sir Charles Mackerras, Yannick Nézet-Séguin, Renato Palumbo, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Nello Santi, Sir Jeffrey Tate, Edo de Waart, Sebastian Weigle, and Simone Young. Daniel Sumegi appears on CD in Beatrice di Tenda and Seattle Opera's acclaimed Ring Cycle, and on DVD in the San Francisco Opera Production of Capriccio, Opera Australia's Don Giovanni, and the historic condensed Ring Cycle from Teatro Colón, Buenos Aires. In December, he makes his role début as Wotan/The Wanderer in OA's new production of Der Ring des Nibelungen. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

In this first part of a two-part episode, we look at the variety of ways that John Williams creates the musical world of Harry Potter. From school songs to Quidditch, from dragons to goblins, from ghosts to moving staircases, John Williams combines the rich late-romantic orchestral sound with the slightly odd notes resembling 20th century composers such as Stravinsky and Prokofiev to create a world that seems both familiar and different. He also expands in the second and third film from celeste and choir to adding instruments from the Baroque and Renaissance, combining new sounds with old. This episode focuses solely on the first three movies composed by John Williams.Host: Ruth MudgeMusic included in podcast:"The Arrival of Baby Harry" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"The Sorcerer's Apprentice" - The Sorcerer's Apprentice, performed by the Berlin Philharmonic & James Levine, music by Paul Dukas, 1987"Diagon Alley/The Gringotts Vault" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Act 1, Scene III, The Street Awakens" - Romeo & Juliet, Op. 64, performed by the London Symphony Orchestra & Valery Gergiev, music by Sergei Prokofiev, 2010"Platform Nine-and-three-quarters/The Journey to Hogwarts" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Hogwarts Forever!/The Moving Stairs" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Entry into the Great Hall/The Banquet" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"The Quidditch Match" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Christmas at Hogwarts" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Olympic Fanfare and Theme" - Celebrating John Williams (Live at Walt Disney Concert Hall, Los Angeles 2019), performed by Los Angeles Philharmonic & Gustavo Dudamel, music by John Williams, 2019"The Norwegian Ridgeback/A Change of Seasons" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Fawkes is Reborn" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Dueling the Basilisk" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Meeting Aragog" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Moaning Myrtle" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Knockturn Alley" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Pavana la Bataglia (Crumhorns & Ensemble)" - Dictionary of Medieval & Renaissance Instruments, performed by Christian Mendoza & Orchestra Antiqua Musica, music by Anonymous, 2002"Double Trouble" - Harry Potter and the Prisoner of Azkaban (Original Motion Picture Soundtrack, music by John Williams, 2004"Secrets of the Castle" - Harry Potter and the Prisoner of Azkaban (Original Motion Picture Soundtrack, music by John Williams, 2004"The Portrait Gallery" - Harry Potter and the Prisoner of Azkaban (Original Motion Picture Soundtrack, music by John Williams, 2004"Quidditch, Third Year" - Harry Potter and the Prisoner of Azkaban (Original Motion Picture Soundtrack, music by John Williams, 2004"Apparition on the...

Otto Tausk and I are born a few months apart but it seems that we also had a few other things in common. A lovely chat with a very warm and open person! We discussed how important it is to do your homework when assisting Valery Gergiev, I discovered which orchestra he likens to a Ferrari, and I also discovered which particular food item has been named after him in Vancouver! If you would like to discover a whole lot more about conductors and conducting, why not subscribe at https://www.patreon.com/amiconthepodium, and, for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 28th November 2022 via Zoom.

Vor einem Jahr musste Valery Gergiev wegen seiner Nähe zu Putin die Münchner Philharmoniker als Chefdirigent verlassen. Nun steht der neue fest: Lahav Shani. Bernhard Neuhoff war bei der Pressekonferenz dabei und stellt ihn vor.

Seit fast einem Jahr stehen die Münchner Philharmoniker ohne Leitung da. Nachdem sich das Orchester von Valery Gergiev wegen seiner Putin-Nähe verabschiedete, übernahmen verschiedene internationale Dirigentinnen und Dirigenten die Konzerte des Klangkörpers. Einige von ihnen kämen sicherlich auch für die Nachfolge in Frage.

Vitaliy Katsenelson joins Devin Patrick Hughes on One Symphony. He was born in Murmansk, USSR, and immigrated to the United States with his family in 1991. Vitaliy became CEO of Investment Management Associates in 2012 and has written two books on investing and for publications including Financial Times, Barron's, Institutional Investor and Foreign Policy. Vitaliy's articles can also be found at ContrarianEdge.com and on the Intellectual Investor Podcast.   Soul in the Game is a book of inspiring stories and hard-won lessons on how to live a meaningful life.  Drawing from the lives of classical composers, ancient Stoics, and contemporary thinkers, Katsenelson weaves together a tapestry of practical wisdom that has helped him overcome his greatest challenges: in work, family, identity, health – and in dealing with success, failure, and more.   Part autobiography, part philosophy, part creativity manual, Soul in the Game is a unique and vulnerable exploration of what works, and what doesn't, in the attempt to shape a fulfilling and happy life.   Thank you for joining us for on One Symphony.  Thanks to Vitaliy Katsenelson for sharing his wealth of knowledge, you can check out Soul in the Game where you get your books and myfavoriteclassical.com. Thank you to all amazing performers featured on today's show: Valentina Lisitsa, Michael Francis and the London Symphony, Roger Norrington and the London Classical Players, Valery Gergiev and the Vienna Philharmonic, Yevgeny Mravinsky and the Leningrad Philharmonic, Leonard Bernstein and the New York Philharmonic, Lang Lang, Daniel Barenboim and the Chicago Symphony, Bernd Glemser, Antoni Wit, and the Polish National Radio Symphony.   You can learn more about Vitaliy at https://contrarianedge.com/. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Im Frühjahr dieses Jahres wird die Kunstwelt vor eine Situation gestellt, mit der am Anfang keiner so recht umzugehen weiß. Während die Solidarität mit ukrainischen Kunstschaffenden in die Höhe schnellt, stellt sich auf der anderen Seite die Frage: Wie umgehen mit der "Gegenseite", den russischen Künstlerinnen und Künstlern? Für Valery Gergiev bedeutet die Nähe zu Putin das künstlerische Aus - nicht nur in München.

Synopsis It's strange to read the doubts Tchaikovsky expressed in letters about many of his greatest musical works, which he first would dismiss as failures, only to change his mind completely a few weeks later. Take, for example, his ballet The Nutcracker, which had its premiere performance on this day in 1892 at the Mariinsky Theater in St. Petersburg. Tchaikovsky described working on the ballet as a "dread-inspiring, feverish nightmare, so abominable that I don't think I have the strength to put it into words." At the time, Tchaikovsky was MUCH more optimistic about an opera he was writing titled Yolanta—only to abruptly changed his mind, writing "Now I think that the ballet is good and the opera nothing special." This time, Tchaikovsky got it right—although initially the opera DID prove more popular than the ballet. Another—and deliberately nightmarish—Russian composition had its first performance on this same day 70 years later. This was the Symphony No. 13 by Dmitri Shostakovich, subtitled Babi Yar, based on poems of Yevgeny Yevtushenko. This choral symphony was first heard on today's date in 1962 at the Moscow Conservatory, but was quickly banned by the Soviet authorities. Its title poem, Babi Yar, called attention to Soviet indifference to the Holocaust and persistent anti-Semitism in Soviet society. Yevtushenko later softened these lines so the symphony could be performed in the U.S.S.R. Music Played in Today's Program Peter Tchaikovsky (1840-1893) The Nutcracker Ballet, Op. 71 Kirov Orchestra; Valery Gergiev, cond. Philips 462 114 Dmitri Shostakovich (1906-1975) Symphony No. 13, Op. 113 (Babi Yar) Nicola Ghiuselev, bass; Choral Arts Society of Washington; National Symphony; Mstislav Rostropovich, cond. Erato 85529

Fabrice Luchini lit Le cas Wagner de Friedrich Nietzsche, chapitre 1. Dans cet écrit, le philosophe allemand propose une critique élogieuse de l'Opéra Carmen de Bizet et marque ainsi sa rupture avec Wagner.     Musique :   Bizet, Carmen – Suite orchestrale n°1 – Orch. Des Concerts Lamoureux, Igor Markevitch, dir. - Decca Eloquence  Wagner, Prélude et Mort d'Isolde (version orch.) – Orch. Du Gewandhaus de Leipzig, Andris Nelsons, dir. – DG  Wagner, La Walkyrie, Prélude – Orch. Du Mariinsky, Valery Gergiev, dir. – Mariinsky  Réalisation : Laetitia Montanari / Radio Classique Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

The holidays are a great time to catch up on all our favorite movies, and many of these films wouldn't enjoy the popularity they do without their amazing soundtracks! Today on One Symphony, we want to share with you some of our Holiday Film Score favorites! Join conductor Devin Patrick Hughes as he explores some classical films scores including Have Yourself a Merry Little Christmas from Meet Me in St. Louis, Gremlins by Jerry Goldsmith, Home Alone by John Williams, and Danny Elfman's Nightmare Before Christmas. Along the way we explore how these mammoth scores were influences by composers and works like Aaron Copland, Hector Berlioz, Tchaikovsky, Kurt Weill, Erich Wolfgang Korngold, Franz Schubert, and many more!  Thank you to all the amazing performers and record labels who made this episode possible including Danny Elfman, Disney, Judy Garland, UMG Recordings, the Mormon Tabernacle Choir, Geffen Records, the City of Prague Philharmonic Orchestra, Silva Screen Records, Warner Brothers, Orchestra of the Marinsky Theatre and Valery Gergiev, Universal Music, Atlanta Symphony and Louis Lane, Alessio Randon and Naxos, the Boston Symphony and Charles Munch, Valentina Lisitsa, Michael Francis and the London Symphony, Ute Lemper, Jeff Cohen and the RIAS Sinfonietta Berlin, with John Mauceri on Decca, Everest Records, Katherine O'Hara, Dietrich Fischer-Dieskau, Daniel Barenboim, and Mel Torme. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support to the podcast. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

HIGHLIGHTS FROM EPISODE 4:Janet Fitch talks about seeing a three-hour concert with Leonard Cohen; Joni Mitchell; what she'd ask Patti Smith, Björk, Neil Young, and Leonard Cohen if she could; creating an “I will survive” music playlist; Amy Winehouse; Janis Joplin; X; Nico; Jackson Brown.Janet and I talk about some of the major themes of her novel ‘Paint it Black'; grief and the aftermath of suicide; the significance of the title of her novel; the freedom that punk rock gives fans and musicians alike; why ‘Paint it Black' is a punk rock novel as opposed to a more generalized rock novel; how each of the three main characters in ‘Paint it Black' has their own distinct soundtrack; classical music and early 20th century Americana music; L.A. punk, especially The Germs and The Cramps; the deaths of John Lennon and Darby Crash; the changing punk scene in L.A. in the early ‘80s; how the Ingmar Bergman film ‘Persona' influenced the creation of Janet's novel; Janet's experience as a student filmmaker in the ‘80s; the 1913 poem “Trans-Siberian Prose and Little Jeanne from France”; the movie adaptation of ‘Paint it Black'.Pleasant Gehman talks about the beginning of the L.A. punk scene and her involvement in it. She mentions various bands and iconic L.A. punk rock venues, becoming friends with Darby Crash and Pat Smear of The Germs before they were in The Germs and dating Pat Smear, smoking pot with Tony Curtis, rooming with Belinda Carlisle and smoking pot with Screamin' Jay Hawkins at Disgraceland, hanging out with Joan Jett.To hear more from Pleasant about her involvement with some of the hottest punk bands in L.A. in the early ‘80s, including The Cramps, The Weirdos, Blondie, The Damned, X, and Black Flag, and how the scene began to deteriorate, listen to the outtake from this episode in the Rock is Lit Vault.Nicole Panter shares her memories of being friends with and managing The Germs; Darby Crash's childhood; why Germs shows were a trainwreck; Darby's abuse of alcohol and drugs; the making of The Germs' album, including Joan Jett's involvement; ‘The Decline of Western Civilization' documentary, in which Nicole and The Germs are featured; why Nicole stopped managing the band; Darby's fascination with Adam Ant; how Nicole heard about Darby's death; Nicole's dislike of the biopic about Darby and The Germs, ‘What We Do Is Secret', and The Germs reunion tour with the actor who played Darby in the film, Shane West; the legacy of The Germs. CLIPS OF MUSIC PLAYED IN THE EPISODE IN ORDER OF APPEARANCE:"Paint it Black" by the Rolling Stones"Land" by Patti SmithBrahms Piano Concerto No. 2 in B-flat major Op. 82, played by Yuja Wang with the Munich Philharmonic, conducted by Valery Gergiev, Dec 1, 2018“West End Blues” by Louis Armstrong“What We Do Is Secret” by The Germs“Human Fly” by The CrampsErich Wolfgang Korngold: ‘Kings Row', Main Title, music for the 1941 film“Our Way” by The Germs“Media Blitz” by The Germs“American Leather” by The GermsTwo short clips from the 1981 documentary 'The Decline of Western Civilization', directed by Penelope Spheeris,  featuring Darby Crash and The Germs appear in the episode. CONTACTS: Janet Fitch's websiteJanet Fitch Twitter, @JanetFitch323Janet Fitch Instagram, @janetfitch323Pleasant Gehman's websitePleasant Gehman Twitter, @PleasantGehman1Pleasant Gehman Instagram, @princessofhollywoodThe Devil's Music With Pleasant Gehman podcastBelle, Book, and Candle, Instagram, @belle_book_and_candleNicole Panter Instagram, @poseypChristy Alexander Hallberg's websiteChristy Alexander Hallberg Instagram, @christyhallbergChristy Alexander Hallberg Twitter, @ChristyHallbergChristy Alexander Hallberg YouTubeRock is Lit Vault

HIGHLIGHTS FROM EPISODE 4: Janet Fitch talks about seeing a three-hour concert with Leonard Cohen; Joni Mitchell; what she'd ask Patti Smith, Björk, Neil Young, and Leonard Cohen if she could; creating an “I will survive” music playlist; Amy Winehouse; Janis Joplin; X; Nico; Jackson Brown. Janet and I talk about some of the major themes of her novel ‘Paint it Black'; grief and the aftermath of suicide; the significance of the title of her novel; the freedom that punk rock gives fans and musicians alike; why ‘Paint it Black' is a punk rock novel as opposed to a more generalized rock novel; how each of the three main characters in ‘Paint it Black' has their own distinct soundtrack; classical music and early 20th century Americana music; L.A. punk, especially The Germs and The Cramps; the deaths of John Lennon and Darby Crash; the changing punk scene in L.A. in the early ‘80s; how the Ingmar Bergman film ‘Persona' influenced the creation of Janet's novel; Janet's experience as a student filmmaker in the ‘80s; the 1913 poem “Trans-Siberian Prose and Little Jeanne from France”; the movie adaptation of ‘Paint it Black'. Pleasant Gehman talks about the beginning of the L.A. punk scene and her involvement in it. She mentions various bands and iconic L.A. punk rock venues, becoming friends with Darby Crash and Pat Smear of The Germs before they were in The Germs and dating Pat Smear, smoking pot with Tony Curtis, rooming with Belinda Carlisle and smoking pot with Screamin' Jay Hawkins at Disgraceland, hanging out with Joan Jett. To hear more from Pleasant about her involvement with some of the hottest punk bands in L.A. in the early ‘80s, including The Cramps, The Weirdos, Blondie, The Damned, X, and Black Flag, and how the scene began to deteriorate, listen to the outtake from this episode in the Rock is Lit Vault. Nicole Panter shares her memories of being friends with and managing The Germs; Darby Crash's childhood; why Germs shows were a trainwreck; Darby's abuse of alcohol and drugs; the making of The Germs' album, including Joan Jett's involvement; ‘The Decline of Western Civilization' documentary, in which Nicole and The Germs are featured; why Nicole stopped managing the band; Darby's fascination with Adam Ant; how Nicole heard about Darby's death; Nicole's dislike of the biopic about Darby and The Germs, ‘What We Do Is Secret', and The Germs reunion tour with the actor who played Darby in the film, Shane West; the legacy of The Germs.   CLIPS OF MUSIC PLAYED IN THE EPISODE IN ORDER OF APPEARANCE: "Paint it Black" by the Rolling Stones "Land" by Patti Smith Brahms Piano Concerto No. 2 in B-flat major Op. 82, played by Yuja Wang with the Munich Philharmonic, conducted by Valery Gergiev, Dec 1, 2018 “West End Blues” by Louis Armstrong “What We Do Is Secret” by The Germs “Human Fly” by The Cramps Erich Wolfgang Korngold: ‘Kings Row', Main Title, music for the 1941 film “Our Way” by The Germs “Media Blitz” by The Germs “American Leather” by The Germs Two short clips from the 1981 documentary 'The Decline of Western Civilization', directed by Penelope Spheeris, featuring Darby Crash and The Germs appear in the episode.   CONTACTS:  Janet Fitch's website Janet Fitch Twitter, @JanetFitch323 Janet Fitch Instagram, @janetfitch323 Pleasant Gehman's website Pleasant Gehman Twitter, @PleasantGehman1 Pleasant Gehman Instagram, @princessofhollywood The Devil's Music With Pleasant Gehman podcast Belle, Book, and Candle, Instagram, @belle_book_and_candle Nicole Panter Instagram, @poseyp Christy Alexander Hallberg's website Christy Alexander Hallberg Instagram, @christyhallberg Christy Alexander Hallberg Twitter, @ChristyHallberg Christy Alexander Hallberg YouTube Rock is Lit Vault Learn more about your ad choices. Visit megaphone.fm/adchoices

Synopsis Two concert overtures – one very famous and one not so famous – had their premiere performances on today's date. In 1956, this music by British composer Sir Arthur Bliss provided a festive opening to that year's Edinburgh Festival of Music and Drama. The Edinburgh Festival Overture is a salute to Scotland's premiere arts festival, presented annually in late summer and early fall since 1947. Also premiered on today's date was Tchaikovsky's "1812 Overture," commissioned for an international Exhibition of Industry and the Arts in Moscow, and first played at an all-Tchaikovsky concert on today's date in 1882. As pleased as Tchaikovsky was that his music was to be presented at the Exhibition, he was definitely not enthusiastic about the commission. "There is nothing less to my liking," he wrote, "than composing for the sake of some festival. What, for instance, can you write on the occasion of the opening of an exhibition except banalities and generally noisy passages?" On top of all that, the commission called for something (quote) "with a hint of church music, which must certainly be Orthodox." Glumly, Tchaikovsky to work, writing to another friend: "I don't think it has any serious merits, and I shouldn't be at all surprised and offended if you find that it is in a style unsuitable for symphony concerts." Ah, Peter Ilyich – you certainly got that one wrong! Music Played in Today's Program Sir Arthur Bliss (1891-1975) –Edinburgh Overture (City of Birmingham Symphony; Vernon Handley, cond.) EMI Classics 69388 Peter Ilyich Tchaikovsky (1840-1893) –1812 Overture (Kirov Orchestra; Valery Gergiev, cond. Phillips 442 011)

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022.In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt.Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018. 

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022.In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt.Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018. 

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022. ​ In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt. ​ Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018.  ​ Dedicated to music education and outreach, Marlon is a jazz faculty member of CSArts San Gabriel Valley. He also serves as a double bass coach for the Capistrano Unified School District, and collaborates with the Inner City Youth Orchestra of Los Angeles. With the support of the Colburn School and Billy Strayhorn Songs Inc., Marlon will record educational lectures and performances on the music of Billy Strayhorn, with Marlonius Jazz Orchestra, for Colburn School's Amplify Series in 2022.

Während Russland in der Ukraine Krieg führt, startet in Moskau ein neuer Musikwettbewerb: die "Rachmaninoff Competition". Ein Prestigeprojekt russischer Kulturpolitik. Mit dabei sind die Putin-Unterstützer Denis Matsuev und Valery Gergiev. Sogar ein deutscher Pianist sitzt in der Jury. Man gibt sich international. Das weltweite Interesse ist jedoch gering. Russlands Isolationismus wirkt.

Die Stadt München hat den Chefdirigenten der Münchner Philharmoniker am 01.03. 2022 entlassen - war das zu spät? Hat uns hier unser Bild von Russland getrügt? Wir fragen uns, wie es zu dem Rauswurf kommen konnte, wie lange Gergiev schon an der Seite Putin's steht und ob man den Dirigenten nicht früher hätte entlassen müssen. Aber wir wollen auch tiefer eintauchen und schauen uns an, welche Macht Russland über uns hat, wenn wir an klassische Musik denken. Dazu gehen wir zurück in die Ballette der Zarenzeit, bevor wir uns auch der sowjetische Kulturpolitik widmen. Warum der Stadtrat damals für Valery Gergiev als Dirigenten gestimmt hat, erzählt uns Dr. Florian Roth, Stadtratsmitglied für Die Grünen/ Rosa Liste und Experte für die Münchner Kulturpolitik. Unser europäisches Russlandbild bei klassischer Musik, deckt Dr. Helena Holzberger, wissenschaftliche Mitarbeiterin für die Geschichte Ost- und Südosteuropas an der LMU, auf. Dazu, wie wir künftig mit Künstler:innen umgehen können, die sich für Autokratien verwenden, hat Helge Lindh, Kulturpolitischer Sprecher der SPD-Bundestagsfraktion, einen Vorschlag. ----------- **Fußnoten** ist ein M94.5-Podcast. © [M94.5 - ein Angebot der MEDIASCHOOL BAYERN.](https://www.m945.de/) Lust auf mehr junge & frische Formate?

A Musical America Artist of the Year, Grammy-winning pianist Daniil Trifonov is known for his intense yet thoughtful performances, especially of the Russian masterworks. In his latest album Silver Age, Trifonov teams up with the Mariinsky Orchestra and conductor Valery Gergiev for piano concertos by Sergei Prokofiev and Alexander Scriabin. The young, dynamic pianist joins us for a conversation about the music on this disc, which also includes fabulous solo piano works by Prokofiev and Igor Stravinsky.

Ignat Solzhenitsyn is recognized as one of today's most gifted artists, and enjoys an active career as both a conductor and pianist. His lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has also partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC's Nightline. Follow Ignat on Twitter here:https://www.twitter.com/isolzhSUPPORT ME ON TWITTER: https://www.twitter.com/cliftonaduncan SUBSCRIBE TO MY SUBSTACK: https://cliftonduncan.substack.com Intro/Outro: https://www.epidemicsound.com/track/s...Support this podcast, as well as small business, by clicking the link below and enjoying some delicious Twin Engine Coffee, our first sponsor!

Mario Brunello"Vorrei essere scrittore di musica. Bach e Pasolini"Dialoghi di Pistoiahttps://www.dialoghidipistoia.it/Venerdì 27 maggio e Sabato 28 maggio, ore 21:15Teatro Manzoni, PistoiaMario Brunello e Guido BarbieriConcerto per parole e musicaÈ intorno a Johann Sebastian Bach che si sviluppa la serata di musica e poesia, quel Bach sul quale un Pasolini ancora adolescente scrisse un saggio dalla forza e profondità sbalorditive. Un concerto speciale che inizierà con la lettura dei testi pasoliniani, alternata all'esecuzione dei brani bachiani citati. Seguirà l'esecuzione integrale della Sonata n. 1 e della Partita n. 2 nell'interpretazione di Mario Brunello, uno dei più affascinanti e ricercati artisti della sua generazione. In questa occasione, saranno eseguite al violoncello piccolo o “violincello”, rarissimo strumento in uso all'epoca di Bach, accordato come un violino, ovviamente all'ottava bassa.Mario Brunello, violoncello piccoloGuido Barbieri, voce narrantePasolini Studi sullo stile di BachBach Sonata n. 1 in sol minore per violino BWV 1001 Partita n. 2 in re minore per violino BWV 1004Mario Brunello, solista, direttore, musicista da camera e di recente pioniere di nuove sonorità con il suo violoncello piccolo, è stato il primo europeo a vincere il Concorso Čaikovskij a Mosca nel 1986. Il suo stile autentico e appassionato lo ha portato a collaborare con i più importanti direttori d'orchestra quali Antonio Pappano, Valery Gergiev, Myung-whun Chung, Yuri Temirkanov, Zubin Mehta, Ton Koopman, Manfred Honeck, Riccardo Muti, Daniele Gatti, Seiji Ozawa, Riccardo Chailly e Claudio Abbado. Nell'arco della sua lunga carriera si è esibito con le più prestigiose orchestre del mondo. Brunello suona un prezioso Maggini dei primi del Seicento, al quale ha affiancato negli ultimi anni il violoncello piccolo a quattro corde. L'integrale delle Sonate e Partite di Bach al violoncello piccolo è stata la sua prima rivelatoria incisione discografica per Arcana, nel 2019. Un secondo album, Sonar in Ottava è stato accolto con unanime entusiasmo da pubblico e critica (Best Concert Recording del 2020 da BBC Music Magazine). Le potenzialità del violoncello piccolo vengono esplorate appieno nel terzo disco dedicato a Giuseppe Tartini (premiato con il DIAPASON d'OR). Nel 2021 pubblica le Sei Suonate à cembalo certato è violino solo di Bach. Questo album è il secondo volume della Trilogia Brunello Bach Series per Arcana/OUTHERE; il progetto discografico si concluderà nel 2022 con l'ultimo disco Bach Transcriptions. È il Direttore Artistico dei Festival Arte Sella e dei Suoni delle Dolomiti. A ottobre 2020 è stato nominato Direttore Artistico del Festival di Stresa, succedendo a Gianandrea Noseda.Guido Barbieri, giornalista e musicologo, è docente di Storia ed estetica della musica al Conservatorio “Bruno Maderna” di Cesena. È stato critico musicale del Messaggero, di Repubblica; collabora alle pagine culturali del Manifesto. Voce “storica” di Rai Radio3 si dedica alla drammaturgica musicale, con particolare attenzione alla “musica della realtà”. Ha scritto testi e libretti per i maggiori compositori italiani, fra cui: Portopalo. Nomi su tombe senza corpi, Night Commuters, Three Mile Island, Al Kamandjati, Le ossa di Cartesio, In alloro mutò il suo pianto. Fra gli spettacoli dedicati alla musica della Shoah: La corda spezzata, radiodramma prodotto da Radio3, l'adattamento di Badenheim 1939 di Aharon Appelfeld e dei Cannibali di George Tabori, Le imperdonabili dai Diari di Etty Hillesum, Il diario di Dora Klein, Storia di Jean e Jean, sulla vicenda di Jean Le Boulaire/Jean Lanier, Il viaggio di Roberto. Un treno verso Auschwitz (musiche di P. Marzocchi), In alloro mutò il suo pianto (musiche di L. Sammarchi), The Running Game, Storia di un Gesù. Ha fondato la Human Rights Orchestra, la rassegna Contemporanea all'Auditorium di Roma, nel 2014 l'Associazione She Lives per la diffusione della musica contemporanea e il Comitato Terezin 17/10. È direttore artistico della Società dei Concerti G. Michelli di Ancona, del Festival del Quartetto al Teatro di Documenti di Roma.IL POSTO DELLE PAROLEascoltare fa. pensarehttps://ilpostodelleparole.it/

[@ 3 min] This week… In ‘Sportzando!', Ashlee draws a straight line from opera houses to ESPN, via baseball. Trust the OBS bullpen: it works. [@ 17 min] In the ‘Two Minute Drill'… Valery Gergiev is in the news again? More like Valery Grifter-giev. operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

Depuis le début de l'invasion russe en Ukraine, de nombreux artistes russes ont été déprogrammés d'évènements culturels. C'est le cas des chefs d'orchestre Valery Gergiev et Tugan Sokhiev, ou encore de la soprano Anna Netrebko. Des représentations du ballet du Bolchoï prévues cet été au Royal Opera House à Londres ont également été annulées. Par ailleurs, la Russie a été exclue du concours de l'Eurovision. En Ukraine, un mouvement de cinéastes appelle au boycott total du cinéma russe.

Valery Gergiev und Anna Netrebko sind zum No-Go auf westlichen Bühnen geworden. Aber wie steht es mit der Musik Tschaikowskys? Oder der Sängerin Olga Peretyatko? Diese moralische Bewertung alles Russischen ist zynisch, findet BR-KLASSIK-Autorin Sylvia Schreiber.

Hoy en la sección de los jueves damos la bienvenida a Malena Benavent, violinista y amiga del programa que nos habla de Sarasate, Rusia y muchas cosas más. Con su compañía, analizamos la polémica decisión del Festival Ravello con respecto a Valery Gergiev y los músicos rusos, y como la rusofobia puede ir calando en el panorama musical mundial como consecuencia de la realidad política del momento. Después, Malena participa en las ya tradicionales Olimpiadas de Conocimientos Musicales, en las que demuestra gran habilidad y pericia con nuestros juegos. ¡A disfrutarlo!

In ganz Europa werden russische Künstler von Kulturveranstaltungen ausgeschlossen – aus Solidarität mit der Ukraine. Auch in Russland auftreten will kaum noch jemand. Nicht alle finden das richtig.

Synopsis The eastern Russian city of Kuibyshev might seem an unlikely site for an important symphonic premiere, but from 1941 to 1943, Kuibyshev was the temporary capital of the Soviet Union. As German and Finnish troops advanced from the west, the Russian government and its cultural institutions moved east. Among the refugees relocated to Kuibyshev were the Bolshoi Theatre Orchestra from Moscow and the composer Dimitri Shostakovich from Leningrad. And so, on today's date in 1942, Kuibyshev was the venue for the world premiere of Shostakovich's Symphony No. 7, subtitled “Leningrad.” A microfilm copy of the new score was flown to Tehran, then transported by car to Cairo, then flown to Brazil for transfer by the U.S. Navy to New York, where the American premiere was given on July 19, 1942, by the NBC Symphony under Arturo Toscanini. Less than a month later, on August 9, 1942, the “Leningrad” symphony was even performed in the besieged and starving city of Leningrad. The few musicians still capable of performing were given extra rations to keep up their strength, and, to ensure a measure of quiet during their performance, a Russian artillery commander ordered an intensive artillery bombardment on the enemy troops surrounding the city. Music Played in Today's Program Dmitri Shostakovich (1906–1975) — Symphony No. 7 (Leningrad) (Kirov Orchestra and Rotterdam Philharmonic; Valery Gergiev, cond.) Philips 376-02

In München wurde Valery Gergiev als Chefdirigent der Philharmoniker entlassen, in Hamburg hat die Opernsängerin Anna Netrebko ihren Auftritt abgesagt. Beide gelten als Freunde Wladimir Putins und hatten sich zuvor nicht oder nicht eindeutig von ihm und seinem Überfall auf die Ukraine distanziert. Dürfen wir von russischen Künstlerinnen und Künstlern politische Bekenntnisse einfordern? Oder droht hier eine neue Form von »Cancel Culture«, die Kultur unnötig politisiert und Künstlerinnen und Künstler erpresst? Darüber spricht Oskar Piegsa, Redakteur im Hamburg-Ressort der ZEIT, mit Florian Zinnecker, der im aktuellen Feuilleton der ZEIT berichtet, wie russische Musikerinnen und Dirigenten um eine Haltung zum Angriffskrieg ihres Heimatlandes ringen.

Se em tempos de paz a cultura atua muitas vezes como moeda diplomática, o famoso soft power, em tempos de guerra seu papel assume tons mais sombrios, como mostram as ações movidas pelos atores culturais na França, após a invasão da Ucrânia. Se a guerra atualmente é híbrida, não há combatentes melhores que os artistas, experts em construir narrativas e convocar emoções. Da Bienal de Veneza ao Carnegie Hall, passando pela Filarmônica de Paris, o mundo ocidental manda seu recado à Rússia. Na França, da Ópera Nacional de Paris ao Festival de Avignon, muitas instituições culturais expressaram seu apoio "ao povo e aos artistas ucranianos" nos últimos dias. Mas artistas ucranianos que vivem na França também estão se mobilizando. É o caso, por exemplo, do famoso Quarteto Elysée, que inclui o violinista ucraniano Andrei Malakhov. Com seu grupo, ele decidiu gravar uma peça do repertório de um jovem compositor ucraniano, conforme contou em entrevista à RFI: "A iniciativa seria gravar um quarteto de cordas composto por o compositor e violonista ucraniano, Ilia Bondarenko, que tem 20 anos e está atualmente sob os bombardeios em Kiev", diz. "É uma música muito poderosa e sombria, e que traz um elemento inédito e precursor - os alarmes antiaéreos em primeiro plano", revela Malakhov. "Primeiro, vamos divulgar um vídeo tocando o quarteto para apoiá-lo, mas também estamos preparando, com músicos ucranianos e franceses e com o apoio da comunidade ucraniana na França, um concerto solidário para ajudar a Ucrânia, será provalemente na subprefeitura do 15° distrito de Paris, no dia 21 de março. E buscamos eventualmente também uma segunda data", declarou o músico. Nesta sexta-feira, 4 de março, a partir das 20h pelo horário da França, os canais de TV e rádio Culturebox e France Culture, que fazem parte do serviço público francês, farão uma vigília de cinco horas de apoio à Ucrânia no Teatro Nacional da Dança, o Palais de Chaillot, em Paris, que será transmitida ao vivo pela internet. Combate às fake news e acolhimento de artistas O cineasta ucraniano Igor Minaiev, 68 anos, que vive em Paris há vários anos, conversou com a RFI sobre sua vida depois da invasão, pontuada por telefonemas para seus amigos em Kiev e Kharkiv. "Todo dia de manhã eu telefono ou escrevo para todo mundo, começo por Kiev, depois Karkhiv e na sequência Odessa, para ficar por dentro de onde eles estão, e sobretudo como passaram a noite, que é o período mais angustiante", relata o diretor. "Tento trocar informações, porque existem muitas fake news circulando, então tento saber ao certo como as coisas estão acontecendo na realidade, se eles têm o que comer, se têm eletricidade, água, aquecimento", diz Minaiev. "Há alguns ucranianos que descem para dormir nos abrigos anti-bombardeios, sobretudo em Kiev. Outros que dizem que não descem mais, dormem no corredor, no banheiro", conta o cineasta. "Também repasso informações que temos aqui no Ocidente. Para eles é um incentivo saber que praticamente todos os veículos de imprensa na França falam deles o tempo todo e que não estão abandonados. Não poderíamos imaginar essa ajuda da Europa e do resto do mundo. Passamos por tantas coisas, e agora, todo mundo está conosco", vibra. Lucie Berelowitsch, diretora do Centro Nacional de Teatro da Normandia, falou sobre o desejo de ajudar os artistas na Ucrânia. "Uma parte dos artistas ucranianos ficou no país e se mobiliza de todas as maneiras possíveis, tomando a palavra e organizando redes de ajuda entre eles. Hoje em dia a questão não é saber que hospitalidade poderemos lhes oferecer, mas como ajudá-los na Ucrânia", sublinha a diretora. "Estamos criando redes de solidariedade com a Polônia e a Romênia para que possamos ajudar de maneira rápida no acolhimento dos artistas. Eles dizem que sentem uma mobilização muito grande por parte da Europa e que isso é muito importante para eles. Eles dizem sentir a necessidade de lutar para continuarem livres, simplesmente", afirma Berelowitsch. Cancelamento Mas não só de solidariedade que a guerra cultural é feita. Na França, o nome Valery Gergiev é o emblema de uma verdadeira ruptura cultural. O maestro russo pró-Putin, ao mesmo tempo diretor geral do prestigioso Teatro Mariinsky em São Petersburgo e até então um dos maestros mais procurados do mundo, foi ostracizado e está enfrentando uma onda de cancelamentos como um sinal de "solidariedade com o povo ucraniano". Depois do Carnegie Hall em Nova Iorque e dos prestigiosos festivais suíços em Verbier e Lucerna, a Filarmônica de Paris cancelou a presença de Gergiev, agendada para 9 e 10 de abril. Na Bienal de Veneza deste ano não foi diferente: a equipe do pavilhão ucraniano cancelou sua participação, ao mesmo tempo em que convocou no Instagram "a comunidade artística internacional a usar toda nossa influência para deter a invasão russa da Ucrânia". Uma mensagem que foi ouvida. Na segunda-feira 28 de fevereiro, a equipe russa em Veneza renunciou à sua participação no evento, anunciando que o pavilhão russo permaneceria fechado na abertura da Bienal em abril, para não servir de justificativa para uma invasão militar. Assista a mensagem das artistas ucranianas do cabaré punk Dakh Daughters:

Tras el ataque ruso contra Ucrania, el mundo cultural multiplica sus alertas y su repudio contra la política de Vladimir Putin. Varias iniciativas han nacido en todo el mundo. Entre los conciertos e iniciativas artísticas contra la invasión rusa y por el regreso de la paz, también hubo renuncias, despedidas de los artistas rusos cercanos al líder ruso. Es el caso de Valery Gergiev, que fue despedido por no haberse desligado de la política de Vladimir Putin. Nueva York y París anularon sus prestaciones previstas en los próximos meses en esas ciudades, convirtiendo el ex jefe de la Orquesta Filarmónica de Múnich y cercano de Putin en el símbolo del quiebre cultural con Moscú en tiempos de guerra. Al interior de Rusia, se registró una ola de fuertes gestos de protesta. Peticiones inéditas han florecido, firmadas por miles de artistas. Elena Kovalskaia, directora del centro cultura Vsevolod Meyerhold dimitió, seguida por Mindaugas Karbauskis, director del teatro Maiakovski entre los más notorios. Por su parte, el equipo del Teatro de Arte de Moscú remplazó su emblema tradicional por una paloma de la Paz y los colores de la bandera de Ucrania. El rapero ruso más popular Oxxxymiron también denunció en las redes sociales un “crimen” cometido por el Kremlin. En Francia Entre los franceses, se destaca Laurent Hilaire, director de la tropa del ballet del Teatro Académico Musical Stanislavski de Moscú, quien dimitió por estar en contra de la guerra en Ucrania. Aquí en Franica, Lucie Berelowitsch, directora del Centro Dramático Nacional de Normandía-Vire, lanzó una iniciativa para que los artistas se movilicen y se reciba a los artistas refugiados de Ucrania.   A raíz de esas reacciones, surgió el debate sobre si se debe boicotear la obra de los artistas rusos, un debate algo peligroso para la cultura y la paz, según algunos artistas.

Der Krieg macht auch vor der Kultur nicht Halt und hat auch Auswirkungen auf Festivals bei uns im Burgenland. Der Auftritt von Valery Gergiev beim Herbstgold-Festival ist fraglich. Weltweit gibt es Absagen für den russischen Dirigenten, wegen dessen Nähe zu Wladimir Putin. Beim "Herbstgold Festival" im September in Eisenstadt war ein Konzert mit ihm geplant. Meine Kollegin Bettina Treiber hat nachgefragt:

Para esta edición de los tempos que corren, volvemos a contar con la colaboración de Salva Sánchez, que nos visita por tercera vez para, una vez más, charlar y jugar con nosotros. En este caso, la actualidad nos lleva a Rusia y Ucrania, en concreto a la situación de persecución a Valery Gergiev como consecuencia de su posición cercana al presidente ruso. Junto a Salva, debatimos acerca de las razones que le han llevado a perder su trabajo al frente de la Filarmónica de Múnich y nos aventuramos a lanzar una opinión sobre un tema muy importante en el mundo musical actual. Después, las clásicas PCR vuelven al programa, un juego en el que Salva demuestra gran pericia, y además jugamos a El Precio Justo, cosa que nos hace descubrir algunos datos realmente sorprendentes del mundo musical.

Ganz raus: Dirigent Valery Gergiev und sein Rausschmiss bei den Münchner Philharmonikern // Hoch Hinaus: Der Architekten Werner Sobeck über nachhaltigen Hochhausbau // Kehraus: Postpandemischen Karnevalhits // Peruanischer Proletariats-Sound: "Chicha Popular: Love & Social Political Songs from Discos Horoscopo 1977-1987”.

Dans son excellent livre paru en 2018 chez Acts Sud (Rencontre, entretiens avec Valery Gergiev), Bertrand Dermoncourt avait eu le courage d'interroger le chef russe sur une série de sujets d'actualité : Pussy Riots, droits des homosexuels, proximité avec le pouvoir. Des thèmes que la situation géopolitique ont remis à l'avant-plan. Nous vous proposons d'écouter une brève archive audio de l'entretien que nous accordait le journaliste, précisément sur ces questions. Celui-ci rappelle, notamment, que Gergiev s'était plusieurs fois exprimé sur le respect dû aux homosexuels. 

Dean Richards, entertainment reporter for WGN, joined Bob Sirott to provide the latest news in entertainment. Dean discussed Sean Penn’s documentary, conductor Valery Gergiev absence from the upcoming Carnegie Hall shows, and Sally Kellerman’s death. He also talked about Ben Stiller and Christine Taylor’s reconciliation, Garth Brooks tickets, and Dean’s weekly movie reviews.

In June of 2021, Enrique Márquez arrived on the campus of the renowned Interlochen Center of the Arts in Interlochen, MI as its new Director of Music. Founded in 1928, Interlochen offers students from grades 3 through 12 a wealth of arts-education opportunities through several programs, including its boarding school, the Arts Academy, and its Summer Arts Camp.Before becoming an admired arts administrator and educator, Enrique was a professional violist who made his Carnegie Hall debut in 2005. He served as principal viola of The Orchestra of the Americas and the Jeunesses Musicales World Orchestra, performing in over 25 countries in the Americas, Asia and Europe with such conducting giants Kurt Masur, Lorin Maazel, Gustavo Dudamel and Valery Gergiev.  In his native Mexico, Enrique went on to become the youngest Director General of the Veracruz Cultural Institute. He also founded the Orquesta Filarmónica de Boca del Río, which quickly became treasured not only for its performances but also for its impact in the community as a cultural and educational hub. He also earned a Master's in Cultural Policy and Management from City University London and a master's in education at Harvard University Graduate School of Education. In this interview with Pier Carlo Talenti, Enrique describes how a fundamental belief in music's power to draw out every young person's most vibrant qualities has determined his career path.  https://www.interlochen.org/news/interlochen-center-for-arts-names-enrique-marquez-director-music?fbclid=IwAR2CKijIQEjWsce8Y_uo0432wBfIZpKYhDeVmB23vdB5nlygLL-xKY1j8X4https://www.filarmonicadeboca.org.mx/

Como cada viernes hay mucha música en LREM, con el regreso estelar de la Versioteca de Carlos Sierra. Estrenamos unas cuantas canciones de grupos asturianos y Marta Teijido, nuestra pianista de cabecera, nos invita al concierto de Valery Gergiev en el Auditorio de Oviedo. Antes Mero nos cuenta qué se siente al padecer covid persistente. Xuan Pandiella, de Iniciativa pol Asturianu, analiza el revés parlamentario a la oficialidad de la llingua. Conocemos el más completo catálogo de flora silvestre de la Cordillera Cantábrica, coordinado desde la Universidad de Oviedo. Y los oyentes se confiesan: ¿qué es lo que más trabajo te ha costado dejar? ¿Un hábito, un vicio, a una persona...?

Como cada viernes hay mucha música en LREM, con el regreso estelar de la Versioteca de Carlos Sierra. Estrenamos unas cuantas canciones de grupos asturianos y Marta Teijido, nuestra pianista de cabecera, nos invita al concierto de Valery Gergiev en el Auditorio de Oviedo. Antes Mero nos cuenta qué se siente al padecer covid persistente. Xuan Pandiella, de Iniciativa pol Asturianu, analiza el revés parlamentario a la oficialidad de la llingua. Conocemos el más completo catálogo de flora silvestre de la Cordillera Cantábrica, coordinado desde la Universidad de Oviedo. Y los oyentes se confiesan: ¿qué es lo que más trabajo te ha costado dejar? ¿Un hábito, un vicio, a una persona...?

Como cada viernes hay mucha música en LREM, con el regreso estelar de la Versioteca de Carlos Sierra. Estrenamos unas cuantas canciones de grupos asturianos y Marta Teijido, nuestra pianista de cabecera, nos invita al concierto de Valery Gergiev en el Auditorio de Oviedo. Antes Mero nos cuenta qué se siente al padecer covid persistente. Xuan Pandiella, de Iniciativa pol Asturianu, analiza el revés parlamentario a la oficialidad de la llingua. Conocemos el más completo catálogo de flora silvestre de la Cordillera Cantábrica, coordinado desde la Universidad de Oviedo. Y los oyentes se confiesan: ¿qué es lo que más trabajo te ha costado dejar? ¿Un hábito, un vicio, a una persona...?

Gestern wurde an der Wiener Staatsoper Peter Iljitsch Tschaikowskys „Pique Dame“ in der Inszenierung von Vera Nemirova wieder aufgenommen. radio klassik Stephansdom Opernexperte Richard Schmitz war auch diesmal wieder dabei. Die Premiere war im Oktober 2007 und hat sich im Repertoire bis 2015 gehalten. Damals sangen Martina Serafin und Neil Shicoff das Liebespaar, Seiji Ozawa hat dirigiert. Das war gestern ein packender unsentimentaler Tschaikowsky. Valery Gergiev ist im russischen Repertoire authentisch. Spannend wurde es erst nach der Pause, da kamen auch die Sängerinnen und Sänger besser in Fahrt. Wendepunkt war der Monolog der Gräfin. Nicht zu Unrecht stellt sie fest: „Was ist das für eine Welt! Die können sich nicht einmal amüsieren.“ Olga Borodina macht mit eindringlichen Pianomelismen und mit herrischen Befehlen viele ihrer Vorgängerinnen in dieser Rolle vergessen. Elena Guseva kann aus der Lisa kein unschuldiges junges Mädchen machen; aber sie bewältigt die Partie mit Anstand. Ihre Arie erntet Szenenapplaus. Ihr geliebter Hermann ist ja nicht gerade ein Sympathieträger. Da ist es zu akzeptieren, dass er keine schöne Stimme hat. Die manische Spielsucht in den letzten Szenen geraten deshalb dramatisch und glaubwürdig. Fürst Jeletzki Boris Pinkhasovich begeistert mit seiner Arie das Publikum. Das übrige Ensemble sorgte für einen gelungenen Ablauf des Abends. Vera Nemirovas Regie hat ihre Repertoiretauglichkeit ja schon bewiesen. Die immer noch üblichen Tricks, wie Sopranistin bloßfüßig im Negligé oder Transgenderfiguren in den Tanzszenen regen heute niemanden mehr sonderlich auf. Auch dass sich Lisa nicht in die Newa stürzt sondern in ein Meer von Regenschirmen ist nicht mehr bemerkenswert. Im ersten Bild geht die wunderbare Frühlingsmusik von Tschaikowsky im Schlafsaal eines Kinderinternats vollkommen unter. Enttäuschend nach wie vor das Einheitsbühnenbild von Johannes Leiacker und die Kostüme von Marie-Luise Strandt. Es ist zu erwarten, dass in den Folgevorstellungen nicht nur der Chor und das Staatsopernorchester schon in den ersten drei Bildern zu Hochform auflaufen, sondern auch die Solisten auch vor der Pause ihre Qualitäten ausspielen. Herzlicher Applaus, der aus Gründen der Sperrstunde durch das Senken des Vorhanges verkürzt wurde.. Wertnote: 7,9/10 Punkten

Bruckner and Mahler, those behemoths of the romantic symphony, have recently enjoyed lavish boxsets of their complete cycles, with the Münchner Philharmoniker and Valery Gergiev tackling Bruckner, and eight conductors with the Berliner Philharmoniker for Mahler. Peter Quantrill, who reviewed both of these sets in latest edition of Gramophone joins me this week to assess the relationship between these composers, as well as bringing his perspective on how performance practices, and his own personal relationship to these composers have changed over the years.Harriet Smith returns to the show to discuss some of her favourite pianists, drawing upon 85 years of piano recordings from the earliest recorded ivory tinklers to the most recent trailblazers. Harriet is well know to readers of Gramophone Magazine and BBC Radio 3's Record Review, and her deep knowledge and passion for piano music brings insights into the world of piano playing and pianists themselves to this weeks show.

Watch here   Listen below    ★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on: Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Karli Vina, Casey Cangelosi, Ben Charles, and Ksenija Komljenović Intro music by Reese Maultsby - reesemaultsby.com   0:00 Intro and hello. Ksenija - History: Magic Melody, Guns n Roses, David Lee Roth injury, world's worst album. 8:04 Welcome, Joe! 8:50 Nine French American Rudimental Solos- Volume 3 13:40 What is distinctive about French rudimental style? 22:30 Advice to young people on publication? 28:18 Notation systems for snare drum? 36:00 Ben: Drumheads spotlight 43:25 Calf heads 46:15 How has COVID effected your work? 48:00 Performance highlights? Met. NY Phil. ? How do you follow Valery Gergiev?! 54:15 Any NY re-opening in sight?

Neste episódio, os músicos de nossa Orquestra Renata Xavier (flauta) e Rodrigo Bustamante (violino) falam sobre Sinfonias. Você ouve trechos de: Sinfonia Mannheim nº 1, de Stamitz, pela Orquestra de Câmara Eslovaca Sinfonia nº 94, de Haydn, com a Filarmônica de Berlim sob a regência de Mariss Jansons Sinfonia nº 4, de Richard Schumann, com John Eliot Gardiner e a Orquestra Sinfônica da Rádio da Baviera Sinfonia clássica, de Prokofiev, com a Filarmônica de Viena sob regência de Valery Gergiev

Arrenquem la nostra 18a temporada! Despr

Arrenquem la nostra 18a temporada! Despr