Podcasts about viotti

durée : 00:25:17 - Marina Viotti, mezzo-soprano (1/5) - par : Judith Chaine - Saluée pour sa prestation lors de la Cérémonie d'ouverture des Jeux Olympiques, Marina Viotti est une personnalité flamboyante et éclectique. A l'occasion de la sortie de son nouvel album, "Melankhôlia", la mezzo retrace avec nous son parcours, entre baroque et heavy metal. - réalisé par : Pierre Willer

durée : 00:25:09 - Marina Viotti, mezzo-soprano (2/5) - par : Judith Chaine - Saluée pour sa prestation lors de la Cérémonie d'ouverture des Jeux Olympiques, Marina Viotti est une personnalité flamboyante et éclectique. A l'occasion de la sortie de son nouvel album, "Melankhôlia", la mezzo retrace avec nous son parcours, entre baroque et heavy metal. - réalisé par : Pierre Willer

durée : 00:25:16 - Marina Viotti, mezzo-soprano (3/5) - par : Judith Chaine - Saluée pour sa prestation lors de la Cérémonie d'ouverture des Jeux Olympiques, Marina Viotti est une personnalité flamboyante et éclectique. A l'occasion de la sortie de son nouvel album, "Melankhôlia", la mezzo retrace avec nous son parcours, entre baroque et heavy metal. - réalisé par : Pierre Willer

durée : 00:25:11 - Marina Viotti, mezzo-soprano (4/5) - par : Judith Chaine - Saluée pour sa prestation lors de la Cérémonie d'ouverture des Jeux Olympiques, Marina Viotti est une personnalité flamboyante et éclectique. A l'occasion de la sortie de son nouvel album, "Melankhôlia", la mezzo retrace son parcours, entre baroque et heavy metal. - réalisé par : Pierre Willer

durée : 00:25:07 - Marina Viotti, mezzo-soprano (5/5) - par : Judith Chaine - Saluée pour sa prestation lors de la Cérémonie d'ouverture des Jeux Olympiques, Marina Viotti est une personnalité flamboyante et éclectique. A l'occasion de la sortie de son nouvel album, "Melankhôlia", la mezzo retrace son parcours, entre baroque et heavy metal. - réalisé par : Pierre Willer

durée : 00:20:26 - Amina Edris, soprano - Vue par le monde entier lors de la cérémonie d'ouverture des Jeux Olympiques, la mezzo-soprano Marina Viotti fait paraître un nouveau disque, dans lequel elle évoque son cancer en associant John Dowland à des ballades rock. Elle est en ce moment sur la scène de l'Opéra de Paris dans Faust de Gounod.

durée : 02:04:03 - Musique matin du lundi 07 octobre 2024 - par : Jean-Baptiste Urbain - Vue par le monde entier lors de la cérémonie d'ouverture des Jeux Olympiques, Marina Viotti fait paraître un nouveau disque, dans lequel elle évoque son cancer en associant John Dowland à des ballades rock. Elle est en ce moment sur la scène de l'Opéra de Paris dans Faust de Charles Gounod. - réalisé par : Yassine Bouzar

O início de uma revolta que queria separar Minas Gerais de Portugal muito antes da nossa independência! Separe trinta minutos do seu dia e aprenda com o professor Vítor Soares (@profvitorsoares) sobre a Conjuração ou Inconfidência Mineira. - Se você quiser ter acesso a episódios exclusivos e quiser ajudar o História em Meia Hora a continuar de pé, clique no link: www.apoia.se/historiaemmeiahora Compre o livro "História em Meia Hora - Grandes Civilizações"! https://www.loja.literatour.com.br/produto/pre-venda-livro-historia-em-meia-hora-grandes-civilizacoesversao-capa-dura/ Compre meu primeiro livro-jogo de história do Brasil "O Porão": https://amzn.to/4a4HCO8 Compre nossas camisas, moletons e muito mais coisas com temática História na Lolja! www.lolja.com.br/creators/historia-em-meia-hora/ PIX e contato: historiaemmeiahora@gmail.com Apresentação: Prof. Vítor Soares. Roteiro: Prof. Vítor Soares e Prof. Victor Alexandre (@profvictoralexandre) REFERÊNCIAS USADAS: - CALDEIRA, Jorge. A nação mercantilista: ensaio sobre o Brasil . São Paulo: Companhia das Letras, 1999. - COSTA, Sérgio Corrêa da. As Quatro Coroas de Tiradentes . Rio de Janeiro: Nova Fronteira, 1997. - COSTA, Emília Viotti da. Da Monarquia à República: momentos decisivos . São Paulo: Fundação Editora da UNESP, 2010 - HOLANDA, Sérgio Buarque de. História Geral da Civilização Brasileira . Tomo II: O Brasil Monárquico. - Apoio ao roteiro: prof. João Vitor (@joaovitorferreirabr)

Le groupe Queens of the Stone Age ne se produira pas au Pukkelpop ce dimanche 18 août en raison des problèmes de santé du chanteur Josh Homme, qui se remet d'une opération d'urgence aux États-Unis. Le groupe de metal français Gojira se produira sur scène avec la chanteuse lyrique Marina Viotti, à la cérémonie d'ouverture des Jeux Olympiques de Paris ce vendredi soir. Le groupe Jane's Addiction revient avec un nouveau titre, "Imminent Redemption", disponible dès aujourd'hui, les membres originaux Perry Farrell, Dave Navarro, Stephen Perkins et Eric Avery sont à nouveau réunis pour ce comeback. Lors d'un concert mémorable, Billy Joel a été rejoint par Axl Rose, le leader de Guns N' Roses, pour interpréter trois titres, ils ont repris "Live and Let Die" des Wings, "You May Be Right" de Billy Joel et "Highway to Hell" d'AC/DC. Bill Ward, batteur originel de Black Sabbath, a confirmé sur X (anciennement Twitter) qu'il est prêt pour un dernier concert avec ses anciens collègues Ozzy Osbourne, Tony Iommi et Geezer Butler. U2 a annoncé la sortie de "Zoo TV – Live In Dublin", un EP rassemblant cinq titres enregistrés lors de leur concert au RDS de Dublin en 1993, une date clé de leur ZOO TV Tour. Mots-Clés : tournée européenne, annuler, date, organisation, festival, remplaçant, cancer, spécial, catacombes, Paris, Le Parisien, scène, chanteuse lyrique, choc, culture, journal, français, monde, star, domaine, Accor Arena, nommé, Grammy Awards, adoubé, Metallica, voix, franco-suisse, sacré, artiste, Victoires de la musique, Londres, guitariste, Tom Morello, Rage Against The Machine, Cologne, conclure, soirée, résidence, record, Madison Square Garden, Jimmy Fallon, banderole honorifique, performance, arène, emblématique, Sting, désir, enthousiaste, vieux, morceaux, 2005, carrière, tournée, The End Tour, officiel, fans, collectionneurs, copies pirates, événement, multimédia, satirique, spectaculaire, stade, million, disponible, précommande. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Die schweizerisch-italienische Mezzosopranistin Marina Viotti fokussiert sich in ihrem aktuellen Album auf Wolfgang Amadeus Mozart. Was aber ist gemeint mit "Mezzo Mozart", dem Titel des Arienprogramms? BR-KLASSIK-Redakteur Volkmar Fischer hat sich das neue Album angehört.

"Erst kommt die Poesie, dann die Musik": Das hat der Dirigent Marcello Viotti einst gesagt. Am 29. Juni dieses Jahres wäre er 70 Jahre alt geworden. Er wurde in der französischen Schweiz geboren. Sein Vater ein italienischer Schmied, er ein musikbegeistertes Kind. Er studierte Gesang, Klavier und Cello und legte anschließend eine beispiellose Dirigentenkarriere hin: Mailand, Paris, New York - er dirigierte an den bedeutendsten Opernhäusern der Welt. Ein volles und viel zu kurzes Leben. Kristin Amme blickt auf Viottis Leben zurück. 

durée : 02:04:23 - Musique matin du lundi 24 juin 2024 - par : Jean-Baptiste Urbain - C'est en véritable athlète que Marina Viotti mène sa carrière, un an après son sacre aux Victoires de la musique classique. La mezzo-soprano enchaîne les prises de rôle - après Carmen en avril, elle chante "L'Olimpiade" de Vivaldi à Paris ces jours-ci, et publie un nouvel album d'airs de Mozart. - réalisé par : Yassine Bouzar

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Lorenzo Viotti sieht aus wie ein Model und dirigiert meisterhaft. Studiert hat er Klavier, Gesang und Schlagzeug und ist bis zum Ende dieser Saison noch Chef des Netherlands Philharmonic Orchestra. Abseits der Bühne springt er gerne aus Flugzeugen, stürzt sich mit dem Mountainbike einen Berg hinab oder begeistert seine Fans auf Instagram mit seinem durchtrainierten Sixpack.

Marina Viotti ist die neue Zürcher Carmen. In Lausanne geboren, wuchs die junge Mezzosopranistin in einer Musikerfamilie auf. Sie studierte zunächst Flöte und widmete sich dem Heavy-Metal-Gesang. Wie und warum sie schliesslich doch noch zum Operngesang fand, erzählt die vielseitige Künstlerin im Podcast mit Kathrin Brunner.

Er gilt als Posterboy unter den Dirigent:innen. Lorenzo Viotti inszeniert weltweit gefeierte Opern in Frack und Sneakers - und sich selbst auf Instagram. Der gebürtige Lausanner will neue Generationen in die Opernhäuser einladen und entstaubt dafür die elitäre Bubble. Lorenzo Viotti wuchs in einer begnadeten Musikerfamilie auf, als Sohn des berühmten Maestros Marcello Viotti. «Die Frage war immer, wie ich aus seinem Schatten heraustreten werde. Oder er vielleicht gar dereinst aus meinem.» Doch so weit kam es nicht, als Teenager verlor Viotti plötzlich seinen Vater. «Heute sehe ich es als eine Befreiung, weil ich meinen eigenen Weg gehen durfte», sagt der 34-Jährige in «Focus». Weshalb es für ihn das grösste Kompliment ist, wenn das Publikum in der Oper einschläft, warum «Work Life Balance» ein Fremdwort für ihn ist und wie Kulturschaffende unsere Gesellschaft retten könnten, erzählt er im Gespräch mit Kathrin Hönegger. _ Gesprächspartner:innen: -Lorenzo Viotti  , Dirigent & Maestro der "Csardasfürstin " aktuell im Opernhaus Zürich  _ Kino: - Tar und Maestro  _ Musik: -Joao Gilberto, Rosa Morena  _ Team: -Autorin: Kathrin Hönegger 

durée : 00:25:13 - Viotti, un Italien à Paris - par : Anne-Charlotte Rémond - Au XVIIIe siècle, un jeune prodige du violon charme l'Europe entière, Giovanni Battista Viotti. Compositeur accompli pour son instrument, il sera la coqueluche de Paris un temps, mais ses accointances avec les nobles l'obligeront à fuir pour l'Angleterre lors de la Révolution Française. - réalisé par : Philippe Petit

Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   TRANSCRIPT   Kathleen Parlow Part 1  Welcome to this very first episode of the Historical Strings Recording Podcast.  A show that gives you a chance to hear rare and early recordings of great masters and their stories.  Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles',  a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past.  I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world' on par with Mischa Elman, or the ‘greatest lady violinist in the world', and ‘the girl with the golden bow'.  She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow.  And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890.  Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco.  Very soon, still aged six, she gave her first recital in San Francisco.  So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest.  So where would we be without the chin rest, really? He's attributed with inventing it.  Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition.  of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? Like the teacher of the teacher of and all of a sudden you're in like the Well, Spohr was born 14, he's 14 years younger than Beethoven. Oh, okay. So, he was born in 1784, but he lived a lot longer. He lived over 20 years longer than Beethoven. Oh, wow. And that's fascinating. So, Henry Holmes, Kathleen Parlow's teacher, was taught by this guy who would have known Beethoven? Yes, absolutely. And objected to Beethoven.  Was shocked by his music. Well, I mean, I think sort of the, you might say the more mature Beethoven or the more daring Beethoven. But I think, you know, I'm sure maybe some of Beethoven's early works were much more acceptable. They were more normative, so to speak. Oh, okay.  So Kathleen's in San Francisco and her parents' marriage is breaking down. Her father, Charlie, moves back to Calgary where he dies of tuberculosis the year after. But Kathleen, she rockets on and is becoming more and more well known. Her new teacher sees real talent in the girl, and this teacher, Henry Holmes, he has contacts to make things happen. And he helps arrange a tour for her and playing engagements in England. So for this to happen, Kathleen's mum, she's, she's I'm getting stage mum vibes. Yes.  Because she's still very, still very young. Oh, yeah. I mean, I can't believe she wasn't playing with dolls.  And this would have been a conversation between Minnie, Kathleen's mum, and the teacher. It probably wouldn't have been a conversation with her as a child. No, probably not.  You don't really choose much when you're six, seven. No, that's true. So the problem they have is that they have no money. So, so what do you do, Eric? You have no money, you have a prodigy. You exploit the prodigy by having them play and make an income for you, which is something that happens unfortunately to many, many talented musicians coming from, you might say, less well-off families. They end up becoming the breadwinner. All their focus gets put upon these, these kids. And so not only do they have the added burden of playing and making sure they keep up They're playing well, but they also have the burden of making sure that they play well enough to make an income so that their families can survive. I mean, that's a very familiar story, and it's a story that has more failures than winners, I'm afraid, because you do hear about the winners. You do hear about the Misha Elmans or the Yasha. Well, Heifetz is a little different because he had a more middle-class family, but you do hear of Oskar Shumsky, for example, who I know I knew personally, he says, don't believe that these violence that you hear about having normal childhood behind every great violence, there's always a mama or a papa. And I think he himself endured that kind of pressure, the pressure to somehow become. The breadwinner, or let's say the some, the pressure to become a great violinist, primarily because he would serve as the breadwinner for the family. Well, if you think about it, you could say that.  Violin playing in the early 20th century was very dominated by Russians, particularly Russian Jews. And one of the reasons for that was that in Russia, all the Jews were confined to an area known as the Pale of Settlement.  In other words, a designated area that they could live in, but they could not leave that particular area. And basically, some very gifted young students could get into university or could go into a conservatory, and one of the big examples was Misha Elman, and Misha Elman, you might say left the Pale of Settlement to go study with Leopold Auer in St Petersburg. And they had to get all sorts of permission to do that. Well, the success of Misha Elman, the global success, the international success, I think resonated so well. with the people in the ghetto that they sort of saw, wow, this is one of our boys and look what he's done. He's now playing for the crowned heads of Europe. So I think for them, they felt this was a way out. And if you think about it, the film, Fiddler on the Roof,  which is a famous musical and it was adapted as a famous film. And basically, that film, just the very title, talks about the Fiddler on the Roof. And the setting is in the Pale of Settlement, the Jewish ghetto in Russia. They're often subjected to random attacks by the Cossacks and all sorts of difficulties. But here, despite all that, you know they manage to survive. And of course the image of the Fiddler on the Roof. The violinist is exemplified, you might say, by Misha Elman, who literally grew up in the Russian ghetto. Yeah, and Misha Elman, he'll, he'll become, he He'll become important in our story, yeah. The money. This is not a problem. There is a wealthy admirer called Harriet Pullman, Carolan, in San Francisco. And she pays for Kathleen and her mother to take the trip to England. And in 1904, at the age of 14, Kathleen plays for King Edward VII at Buckingham Palace. And then in the next year in 1905, she and her mother, they come back to England. This tour marks the beginning of a life that she would lead for years to come of performing and playing. And so by the time she was 15, she was touring and playing with the London Symphony. And it was in a concert at the Wigmore Hall in London that she really shoots to fame.  So is the Wigmore Hall, is that, is that still today an important place to play? Oh, extremely so. It's funny because the Wigmore Hall was originally called the Bechstein Hall, and obviously during the wars, it became a much more the name was more neutralized to become less dramatic, and it became named after the street it's on, which is Wigmore Street. It was always a very important venue, but around the sort of 60s In the 70s it had declined a bit in its status because the South Bank had been built and so the Wigmore Hall was a little bit relegated to a sort of a little second class status. But in the past 20 years or so the Wigmore Hall has catapulted to  fame again and it's today one of the most distinguished halls. In London. All right. Okay. And this is, this is pre war. So it's, it would have been called? Bechstein. Okay. So it would have been called the Bechstein Hall when she played? Probably. Oh yeah, definitely. So the Bechstein Hall was, I think first opened in 1901 and it was built by the piano manufacturers, the German manufacturers Bechstein, hence the name. And after the First World War, I believe it was changed to a more neutral sounding, less Germanic name, and it adopted the name of the street that it's currently on, which is Wigmore Street. Incidentally, the first concert at Wigmore Hall was actually performed, was a violin and piano recital, performed by Eugene Ysaye and Federico Busoni.  And then one night in London, Kathleen and her mother went to another concert of another child prodigy called Mischa Elman. And he was, so he's the fiddler on the roof guy, and he was almost exactly the same age as Kathleen. He was just a few months there's just a few months difference between them. And she, she hears him playing this concert and she's, she's just blown away. Blown away, and after the concert, she and her mother decide that Kathleen, she just has to go and have lessons from the same teacher as this, as this, as Mischa. So the only thing, only little thing about Mischa Elman's teacher is that he is in Russia. And as far as anyone knows, no foreigners study in the St. Petersburg Conservatorium, but that is about to change. Definitely no ladies. So, Kathleen and her mother had arrived in England with 300 raised by their church in San Francisco and this was, it just wasn't enough to get them to Russia and to the conservatorium where the famed Leopold Auer was a professor, but get there they would because Kathleen's mum, Minnie, still had a few tricks up her sleeve. She went and petitioned the Canadian High Commissioner.  So she must have been, I feel like Minnie, she must have been very persuasive. Like there was nothing was getting in between, you know, her daughter and this career. Forceful, a task to be reckoned with, certainly. Yeah. She's like we'll get to England, we have no money. Not a problem. We're gonna, we're gonna get this teacher. He's in Russia. Not a problem. No foreigners. It, you know, it doesn't, it doesn't seem to be a problem for her, no girls. Not a problem. No foreigner has ever studied in this St. Petersburg conservatorium. Not daunted. They're off. They go. So to pay the cost travel, Minnie managed to get a loan from Lord Strathconia, the Canadian high commissioner.  And from there, mother and daughter travelled to Russia. And in October of 1906, Kathleen becomes the first foreigner to attend the St. Petersburg Conservatorium. And in her class are 45 Students and she's the only girl. And we have to remember this is pre-revolutionary Russia. So there's still the Tsar Nicholas the second at this point. Yeah. She's mixing in, in that set. So it's an interesting place to be as a musician. Cause you're frequenting the sort of the upper classes but you can come from, from nothing and arrive there. Her professor was the famed teacher, Leopold Auer, who had a knack of discovering talent. Leopold Auer was actually a Hungarian violinist, and he was trained in Vienna, and he also studied with Joachim.  And what happened was Russia has always had a sort of love for the violin, and they employed many people to teach at the conservatory, because they really embraced Western culture. They had A number of important French violinists come, but their big, you might say, catch was to get Vieuxtemps, Henri Vieuxtemps,  to teach for a number of years at, in St. Petersburg. And after Henry Vieuxtemps, they actually got Henry Wieniawski to teach at the conservatory. And when Wieniawski decided to go back to Europe, they employed Leopold Auer to take his place at St Petersburg. Right. So he's up there with the big names. Well, they were a little bit let down. I mean, that's what they were, I think, a little bit disappointed to replace Wieniawski with Leopold Auer because Wieniawski was such a major violinist. So he had initially a little rough time, but he was adored by Tchaikovsky and Tchaikovsky loved Auer's playing, dedicated a number of works for him, including the famous serenade melancholic, and wrote a lot number of ballet scores, which Leopold Auer played the solos for. But of course, they had a big rift when Tchaikovsky wrote his violin concerto for Auer, because Auer said it was unplayable.  And that really hurt Tchaikovsky's feelings. And it laid dormant for several years before another Russian violinist. Brodsky took it up, learned it, and. Premiered it in Europe first, and only after its success in Europe did he bring it back to Russia, where it became a big success, and Auer felt very bad about that, and in fact, just before Tchaikovsky died, a few months before Tchaikovsky died, story has it that Auer went to Tchaikovsky and apologized to Tchaikovsky for his initial mistrust of the concerto. In fact, by that time, Auer himself had actually performed the concerto, championed it, and taught it to many of his students.  Yeah, and we'll see in this story how sensitive composers are, and how easy it is to hurt their feelings and really create. Like a lot of emotional turmoil. That's coming up. So Auer, like he might not have been their first choice for replacing, but he did have a knack of finding star pupils. That is something that we see, that I see in the conservatorium. Every now and then you have a teacher who's very talented at finding talent. Absolutely. And I know in Australia you have one very distinguished teacher who I think now has been poached by the Menuhin School in, in England. Yes. And we're not going to talk about that. Yes, we won't.  Because it's Must be a sore point.  But we do see, we do see him every now and then when he comes back. So along with Elman and Efren Zimbalist, Parlow becomes one of Auer's star pupils and Auer was so taken with her playing that he often called her Elman in a skirt, which I think is supposed to be a compliment. And in Auer's biography, he writes, he says, “It was during this year that my first London pupil came to me, Kathleen Parlow, who has since become one of the first, if not the first, of women violinists”.  And that, he says that in his biography, My Long Life in Music.  So, Every year, Auer had a summer school in Kristiana, which is Oslo today. And Parlow spent her summers there and became a great favourite in Norway, which leads us to the next and perhaps one of the most marking events in her career and life. At 17, having spent a year at the conservatory in Russia, Kathleen begins to put on public performances she gives solo performances in both St. Petersburg and Helsinki. So these are two places she knows quite well by now. And these concerts were, they were very important as Kathleen's mother really had no money to support them. And so, with but you know, Minnie doesn't bother her, she just ploughs on. And so with the money from these concerts this would have to tide her over.  From letters that I've read, they were living in like this small apartment and then another friend writes, you know this other person, they've been saying you live in a tiny little place, but I'm not going to spread that rumor. And, and so it was a, it was a thing on the radar that they didn't have much money and they were scraping by and they were like frequenting people of much more wealthier than they were, so they were sort of on the fringes of society, but with her talent that was sort of pushing, people wanted to know her. So she makes her professional debut in Berlin and then began, she begins a tour of Germany and the Netherlands and Norway. And in Norway, she performs for the King Hakon and Queen Maud. Of whom she'll become a favorite. And, and her touring schedule was phenomenal. It was just like nonstop. So, yeah. For a 17-year-old that's, you know, she's going all over the world. And you were saying that Auer knew . Do Tchaikovsky do you think Auer, was he was giving her these pieces that did, that influenced him? Yes.  I mean, Tchaikovsky  wrote a number of violin, solo violin works before the concerto, the most famous of which is, of course, the Waltz Scherzo and the Serenade  Melancholique. One is a fast, virtuoso piece, the other is a slow, soulful piece. And I know that Auer was the dedicatee of certainly the Serenade Melancholique, which she did play. So, so Auer's giving her stuff from, you know, his friend Tchaikovsky to play. Now she's 17 and she's touring to support herself and her mother and she has an amazing teacher who probably understands her circumstances all too well because Auer growing up also found himself in her position, supporting his father in his youth with his playing. So she's studying in St. Petersburg, which is an incredible feat in itself. So she must have had quite a strong character and her mother, Minnie, also appears to be very ambitious for her daughter. We're talking about her mother being ambitious, but for Kathleen to, you know, she's her daughter, she, she must've had quite a strong wheel as well. Yes. Well, she certainly did.  I wish we knew more about her because maybe she was very subservient, you know, we have no idea. Maybe she didn't have, I mean, it's a speculation, of course. Yeah. We do have like hundreds of letters from Kathleen and there's a lot between her and Auer, and there's a real sort of paternal, he really sort of  cared for her like a daughter almost and she looked up to him like a father and he was always very correct about it, you know, he would always write the letter to her. To Minnie, her mother the correspondents, it was, and it was always very, everything was very above board, but a very, they were very close. Kathleen later says that after expenses, her Berlin debut netted her exactly 10 pounds.  She didn't know it at the time, but this was an indication of what her future would be like, and she would be sort of financially in a precarious state most of her life, and she would so her routine was she studies with Auer every summer in order to prepare, like they were preparing her repertoire for the next season of touring. So now she has a tour  in 1908, so she's still 17, almost 18. It's in Norway, and to understand just a little bit of the political climate in the country, We can see that Norway, only three years earlier, had become independent of Sweden and had basically become its own country. So there's this this great sense of nationalism and pride in being Norwegian. And they have a newly minted king, King Hakon, who she's played for, and his queen, who was, He was in fact a Danish prince. And then when Norway, the Norwegian parliament asked him if he would like to become the king of Norway when they had their independence. And he said, why not? As part of this great sense of nationalism Norwegian musicians, composers, writers, and poets, they were celebrated and became superstars. And, oh gosh, yes, We can sort of understand. Poets have sort of dropped off the list, but back then poets, they were a big deal.  So you add to this a young, fresh faced, talented Canadian girl who knows and understands their country. She arrives in Oslo to play in the National Theatre, where Norway's very own Johan Halvorsen who's conductor and composer and violinist, he's conducting the country's largest professional orchestra. And that night for Kathleen's concert, she plays Brahms and some of  Halvorsen's compositions and the two, Kathleen Parloe and Halvorsen, they would go on to become quite good friends and Halvorsen regarded her very highly in saying, he said that her playing was superior almost to all the other famous soloists who made guest appearances in the city. So, I mean, a lot of people went through Oslo, so that was, you know, high praise.  And Kathleen quickly Becomes a admirer of his and she would become a driving factor in him finishing his violin concerto that he'd been dithering over for a very long time.  And this is Kathleen playing one of Halvorsen's compositions. It's not his concerto, it's Mosaic No. 4. So back to the theatre. And it was a magical night with the romantic music of Brahms to make you fall in love. And everyone did, just some more than others. And to finish off, there's music from their very own Johan Halvorsen to celebrate you know, a Norwegian talent. So Kathleen plays her heart out and when the concert ended, the crowd goes wild and the 17 year old soaks up the thunderous applause. She's holding on tight to her violin as she bows to adoring fans. Tonight she is the darling of Oslo.  In the uproarious crowd stands a man unable to take his eyes off this young woman. Her playing has moved him and her talent is unbelievable.  This man makes a decision that will change both their lives forever. So, Einar Bjornsson had fallen head over heels for the 17 year old Canadian there and then. She would turn 18 in a few months. And in that moment, he decided to give her the most beautiful gift she would ever receive.  So, who is Einar Bjornsson?  So what we were saying, poets, poets are less of a, you know, a hot shot today, but Einar was the son of a very, very famous poet. A Norwegian businessman and son of one of the most prominent public figures of the day, Bjørnstan Bjørnsson. He was a poet, a dramatist, a novelist, a journalist, an editor, a public speaker, and a theatre director. Five years earlier, in 1903, he was awarded the Nobel Prize for Literature, and one of his poems, called ‘Yes, We Love This Land', was put to music and is the Norwegian national anthem up to this day. So, you could say he was kind of famous in these parts, and his personality alone would have easily filled. A concert hall, that one in Oslo.  Einar's father here, we're talking about Einar's father, he's the poet. Einar himself doesn't appear to have written any poetry. And this, so this situation could have been just fine the whole infatuation, love at first sight thing, except for a few things that put a spanner in the works. To begin with, Einar Björnsson is somewhat older than the youthful Kathleen he's 26 years older.  Then her, in fact, and for a 17 year old, that is a big age gap. So he's 45, but that aside, there is a problem that he's also married and has two children. His daughter is actually almost the same age as Kathleen she's 16, but he doesn't really seem to  see that. All he can see is this violinist and her talent. And he's been just, he's besotted and he's going to make a grand gesture. So obviously, one way to support the arts is to, what patrons do is they will buy, a lovely instrument and lend it to someone. So that's your normal affair. Obviously, one way to show his devotion to her is to find her a better violin. Hers is absolutely not good enough for someone of her talent. And he has to find her something amazing because she is amazing. He's determined to give her the most wonderful gift she has ever received.  So he goes out and he's a businessman. And so he goes to his businessman contacts. And Kathleen would have spoken to her entourage. I imagine, and I now finally finds a violin worthy of Kathleen's virtuosity, and it happens to be one of the most expensive violins on the market in 1908, and it's a 1735 Giuseppe Guarneri Del Gesu violin. It had previously belonged to great violinists  such as Giovanni Battista Viotti and Pierre Baillot. So just to clarify in the violin making world Antonio Stradivari and Guarneri del Gesù are the two top makers. If you're comparing two instruments, if one was owned by no one not anyone that you know. And then another one was owned by Viotti and Pierre Baillot . The one that's owned by Viotti and Pierre Baillot is probably going to be worth more. Yeah. So Viotti, he was just huge. He had a lot of instruments. I think he did a little bit of teaching and dealing on the side, Viotti. Like with the number of instruments named after him, or he just went through a lot of instruments. So she buys this violin, and it's not all smooth sailing to get the violin. Because she, there's this, there's a big correspondence between her and Auer, and we see that actually there's this letter where it says from Auer saying, I saw Hamming very cross.  He says that the violin is compromised if he takes it back. So at one point, I think she may have changed her mind about this violin, but Hamming the dealer was not okay with this. All the I'm just trying to read his writing, it's not that easy. All the papers brought the news That Kathleen bought it so the newspapers have already, so the, you've got Hamming, that's annoyed, the papers have already said they've bought this violin and he could not, it says he could not sell it soon and repeat the sale, waiting till he finds something equal to the Guarneri. He showed me a Strad, indeed wonderful, asking 60, 000 livres, which must be pounds, right?  A nice fellow, isn't he?  And now, goodbye, write to me.  Love, Auer.  They do end up getting the violin. They, they don't get the 60, 000 Strad that Hamming Gets all upset about and offers, which I think he might have been exaggerating the price just to make him calm down about and to keep the del Gesu. Then Einar gives this to Kathleen. So this is a very kind of strange situation because normally you don't, you don't actually give, the patrons don't actually give their instrument to the No, absolutely. That's a remarkable gift. Just in terms of, I mean, the gesture is very magnanimous, but in terms of financial, there's just a financial cost or value of the gift is quite enormous. And  so really after only knowing her for a month, Einar transfers this money into her account and she travels, Kathleen travels to Germany to the Hamming workshop and purchases her del Gesu violin for two thousand pounds  and in today's money  according to an inflation calculator, that is three hundred thousand pounds. Almost four hundred thousand US dollars. More than half a million Australian dollars, which at the time was a lot for a violin as well. So we're not I mean, I, today you'd be kind of happy to buy a Del Gesu for half a million, but then it was, it'd be a bargain. So, it's interesting this, like, he buys this, this young violinist this very expensive present and it's a, and it's a grey area and it's fraught with debate ethically, really. And I feel like today musicians find themselves sometimes in this position where they're sort of indebted to the, to a benefactor. It's almost feudal. I I feel cause at the same time you're very happy that they're lending it to you, but got to keep an eye on if it's a healthy relationship to. To get the money he had to get, you know, half a million pounds pretty quickly. If you remember, Ina's father was a very famous poet who'd won a Nobel Prize in literature and part of the prize is that you win a large sum of money. And so, what does Einar do? He goes and asks Dad. So he asks, he borrows, he borrows most of the money actually. Goodness knows how he convinced him, but you know, he's a businessman. And also for the remaining, he's married, remember, and he's married to, actually, to an heiress, and he takes a bunch of her, her dowry money and transfers this to essentially a teenager he met a month ago. The purchase of this incredibly expensive violin attracted, it attracted the attention of the press internationally, but journalists It's never really questioned the fact that this, this gift was given to a young woman by a, by an established family man. So everyone was just like, Oh, isn't it amazing? Because normally in this circumstance, people don't often give the instrument. You buy it as an investment and you'll lend it to someone. I think I've heard of like very few, very few cases of things being gifted, but actually normally your standard practice is to, to lend it to people. And most people playing on strads, that's, that's what it is, someone's lent it to them. How would you feel about someone giving a 300, 000 instrument to your daughter, who's a teenager? Well, I'd be, I mean, I'd just hate the sort of obligation that would involve, because On one hand, it is a very wonderful gift if it is a gift, but you almost expect that  there is some expectation in return, don't you? Yeah. It's like he's bought her almost.  Kind of.  So, Einar, as, as I mentioned, he's, he's from a well known Norwegian family. They're very patriotic. His father's writings really established a sense of pride and meaning to what it was to be Norwegian. And he was. Like his father was this beloved figure in the country and he was quite frankly a hard act to follow. But his children gave it a good shot.  You have Einar was one of five children. His father Bjornstein Bjornsson was the poet and public figure. He worked in a theatre. His mother was an actress when he'd met her. Which is a little bit risque also for the time. So they're a bit more of sort of an acting bohemian theatre family. His older brother Bjorn Bjornsson, just to be complicated here, his brother's called Bjorn Bjornsson.  And not to be confused with Bjornstein Bjornsson, his father. So he was a stage actor and a theatre director.  Like his dad. He was a playwright and he was the first theatre director of the National Theatre. And that was the big theatre in Oslo where Kathleen played. He was also quite busy in his personal life, because his first wife was Jenny Bjornsson. I mean, another Bjornsson. Boarding house owner. So he married her for four years. So this is Einars older brother. He married her for four years, then he divorced her, then he married an opera singer. Called Gina Oselio for 16 years, but then he, they, they got divorced, and then he married in 1909 Aileen Bendix, who was actually Jewish, and that's an important point, that she was Jewish, because at this time, things are kind of soon things will start heating up in Europe. And then he was, then there was Einar's younger brother called Erling Bjørnson, and he was a farmer and a politician for the Norwegian Far Right Party. So he was extreme right. Bit of a fascist. The other brother. So he was elected to the parliament of Norway and he was very active during World War II. So his two brothers have very, like, polarized opinions. Einar himself, he was a passive member of the far right party, but during the war years at that time that was the only party that people were allowed to be part of, so you can't, it's hard to tell his political leanings from that. Then he has a younger sister.  Bergliot Bjornson, and she was a singer and a mezzo soprano, and she was married to a left wing politician Sigurd Ibsen, who was, he was the son of a playwright, and he becomes the Norwegian Prime Minister, so he plays a central role in Norway getting its independence. He met Einar's sister because he's a big patriot. Einar's father is a big patriot and that's how they were kind of family friends. It's not bad, you know, having your husband as the prime minister. Then he has another little sister called Dagny Bjornson and she was 19 when she marries a German publisher called Albert Langdon and so they're sort of like leftish as well. So Einar, he marries the sister of Albert Langdon. So they have this joint brother sister wedding. On the same day, the Bjornson brothers sisters marry the Langdon brothers sisters. But, the important thing to know is that the Langdons are very, very wealthy. They're orphans and they, they've inherited a lot of money. And so, but then Dagny, she ends up leaving her husband. Goes to Paris and works at another newspaper. And this is all in the, you know, the early 1900s.  So she had this amazing life and then and then she marries another man, a French literate called Georges Sartreau well he comes also from a very wealthy family. Then you have Einar, who's a businessman, and he marries Elizabeth and they have two children, and his life is like not that remarkable. I think the most exciting thing he does is fall in love with Kathleen, I suppose, and sort of runs after her and her violin. From Kathleen's diaries, we can see the day after this concert in Oslo on the 10th of January, it's written 10th January, Mr Bjornson, 11;30am She meets with him the day after skiing and tobogganing with the Bjornsons. She has a concert the next day, but the day after that it's dinner with the Bjornsons, then another concert. And then she plays for the King. Then she goes to dinner with the Bjornsons. So this is just an excerpt from her diary for those weeks. And the next day, it's just Mr. Bjornson. That's just her meeting him not with the family. And maybe this is where he says, you know, I'll get you a violin. Maybe that was that meeting. And then on the 28th of February, she's in Germany and, and he's there. Einar is there. He goes to see her. Then on the 6th of March, she's in Amsterdam and in her diaries, you know, Mr Bjornson, he's there. He's kind of like, I don't know if this is creepy. He's following her around and then, and it's around about this time that he buys the violin for her. So she finishes her tour and she goes back to England and a month later in her diary, who rocks up?  I know, he's there.  In England, and she's still only 17 there. It's like he's kind of shadowing her a bit. Yes, it's that next level patronage.  And then there's the, the aesthetic at the time, the, the pre-Raphaelite willowy type woman, which she fits perfectly into. And Kathleen, if you, if you see Kathleen, it's kind of like. John William Waterhouse, his paintings. There's women in these long flowy robes with flowers in their hair and long willowy postures and, they're often like, you know, they're flopping about on something like a chair or there's this one holding this pot of basil. And there's that famous painting, The Lady of Shalott, where you've got this woman float, is she, is she dead? She's floating in the water with her hair and, and all this fabric and flowers and.  In a promotional article, there was this quote from a review in the Evening Sun. “Kathleen Parlow, tall, straight, slim, and swaying as the white birch sapling of her native Canada, but a spring vision, but a spring vision all in pink from her French heels to her fiddle chin rest and crowned with parted chestnut hair of a deeper auburn than any Stradivarius violin made an astonishing impression of masterful ease”. I don't know if men were described like this, but they loved her. She's like a white birch.  Well she's very slender, she had beautiful long hair she was very thin, very fragile, and I think she sort of exemplified this pre Raphaelite beauty basically and that was so enchanting to have someone who  was almost from another world playing the violin divinely. I think she must have cut an incredibly attractive image  for the day. Absolutely. Yeah. And then she would have been like playing these like incredible romantic pieces. It would be juxtaposed with her playing. Yeah. And yeah. Yes. So she was this real William Waterhouse figure with her violin.  So she's lithe and willowy, and she has her touring schedule, which was phenomenal. She, so she tours England, Finland, Belgium, Germany, Poland, Denmark, Sweden, Norway. Just to name a few. It just kind of stopped after that. It was just never ending. And you have to remember it's the beginning of the 20th century,  and traveling, it's not like it is today. It was much more. Uncomfortable. I mean, it's incredible. You see one day she's in one country, the next day in another country. So this must have been quite fatiguing. And she's just playing night after night. Her mother, Minnie, she's her, she's, they're quite close. She's, and often like with these, with prodigies, often their parents. They're best friends, like they're the only constant in their life. So in the summers, she returns to Oslo every year for the summer school hour that's helping her for the next concerts. She spends quite a lot of time with Halverson, going to lunches and teas and rehearsals with him. You can see this in her diaries.  But is this, is this kind of the life of a musician as well? Like you have to, you have to go to a lot of teas and lunches with people to please patrons and so on. Yes, I think you do because musicians don't normally have much money and so to ingratiate themselves to patrons and sponsors they really had to coax them into help Yeah, because she's living this life sort of beyond her means, going to the theater, going to concerts and things, and sort of a balancing act. Back in Norway, and a week after she turns 18, there's an entry in her diary, play for Mr. Bjornson, and the next month her entries, they change slightly, and she'll now just call him E. B. For Einar Bjornson and the entries will say things like E. B. arriving and then often like a week later It's E. B. leaving and in her diaries, it's intermittently always though he'll be there for a week wherever she is often in England or and every few months He'll just pop up, you know in London in Germany in the Netherlands And he just always happens to be happens to be there and what's interesting is she has these hundreds of letters archived Of her writing to friends, to family, to her pianist. And it's really interesting that there's zero letters to Einar. There's no correspondence between them, which I think is maybe on purpose, they may be, they have to have been removed because she just writes letters to everyone, but we don't have these, any letters from them, so it just leaves things up to speculation. This brings us to the end of part one in the story of Kathleen Parlow. I would encourage you to keep listening to the music of Kathleen. To do this, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify, or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. I hope you have enjoyed her story so far, but stick around for part two to find out what will happen with her career, the violin, the man who gave it to her, and the mystery behind a missing concerto that Kathleen would, in part, help solve after her death.  Goodbye for now.   ​ 

durée : 01:59:00 - Adriana Gonzalez & Marina Viotti ; Concerto soave ; Trio Goldberg ; Académie Orsay/Royaumont ; Mama Shakers - par : Clément Rochefort - Adriana Gonzalez, soprano, Marina Viotti, mezzo-soprano, et Iñaki Encina, piano : "A deux voix" ; Concerto soave : Romain Bockler, baryton, et Jean-Marc Aymes, clavecin et orgue ; le Trio à cordes Goldberg ; Académie Orsay/Royaumont, 1er volet ; le quintet de jazz Mama Shakers - réalisé par : Claire Lagarde

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.

LE FESTE DEL SOLSTIZIO NELLA TRADIZIONE ROMANA - Emanuele Viotti --- Send in a voice message: https://podcasters.spotify.com/pod/show/libreria-il-sigillo/message

Clear, angelical, and powerful. That is the sound of Marina Viotti's voice. A woman of remarkable presence in stage, seductive and captivating, owner of an inherent talent which she combines with discipline and excellent technique. Jump with us into a fantastic voyage from the dramatic to the lyrical, while we listen to her talk about the energy that draws her closer to her audience, how she builds repertoires, her sense of humor and her love for her family. Like that of a siren, her chant will lure you to explore into deeper levels. Meet mezzosoprano Marina Viotti, recognized in 2019 as “Best Young Singer of the year” at the prestigious International Opera Awards in London and navigate with her through the waters of her colorful and versatile vocal range as we chat about kings, gods, goddess, cyclopes, and vagabonds, the world of Opera, her tribute to Pauline Viardot, the romanticism of the guitar, jazz's improvisation, and about performance, classical music, metal and crossover.

Dit najaar dirigeert Lorenzo Viotti, de chef-dirigent van het NedPhO, het meesterwerk Lohengrin. Het wordt zijn eerste Wagner-opera. Botte Jellema praat met Viotti over de unieke, vrije en intense klank van Wagners muziek. Hoe vang je die klank het best? Waarom wilde Viotti eerst wachten met een Wagner-opera, en waarom voelt hij dat hij er nu wél klaar voor is?

Você sabia que a Suíça chegou a cortar relações com o Brasil por conta da forma que o nosso governo tratou os imigrantes suíços? Separe trinta minutos do seu dia e aprenda com o professor Vítor Soares (@profvitorsoares) sobre como foi a Imigração no Brasil. - Se você quiser ter acesso a episódios exclusivos e quiser ajudar o História em Meia Hora a continuar de pé, clique no link: www.apoia.se/historiaemmeiahora - Compre nossas camisas, moletons e muito mais coisas com temática História na Lolja! www.lolja.com.br/creators/historia-em-meia-hora/ - PIX e contato: historiaemmeiahora@gmail.com Apresentação: Prof. Vítor Soares. Roteiro: Prof. Vítor Soares e Prof. Victor Alexandre (@profvictoralexandre) REFERÊNCIAS USADAS: - COSTA, Emília Viotti da. A Abolição. 9. ed. São Paulo. Editora Unesp, 2010 - DAVATZ, Thomas. Memórias de um colono no Brasil (1850). São Paulo: Martins Fontes, 1941 - DOMINGUES, Petrônio. Uma História Não Contada - Negro, Racismo e Branqueamento em São Paulo no Pós-Abolição. Editoria SENAC, 2003. - NOVAIS, Fernando A. (Coord.). História da vida privada no Brasil. São Paulo: Companhia das Letras, 1998. - STOLCKE, Verena. Cafeicultura: homens, mulheres e capital (1850-1980). São Paulo: Brasiliense, 1986 - KOWARICK, Lúcio. Trabalho e Vadiagem: A Origem do trabalho Livre no Brasil. Editoria Brasiliense, 1987

Nous recevons aujourd'hui Marina Viotti, une femme généreuse mais surtout hyperactive. Dans cet épisode, elle revient sur son parcours de chanteuse lyrique et sur les genres musicaux qui ont jalonné sa carrière musicale. Du jazz, au gospel, en passant par le métal puis le lyrique, elle remporte en 2023 la Victoire de la musique classique dans la catégorie "artiste lyrique de l'année". Découvrez un métier hors du commun et le parcours de Marina Viotti dans cet épisode d'Être une femme !

Gepresenteerd door: Leonard Evers Nederlands Philharmonisch Orkest Lorenzo Viotti, dirigent Bertrand Chamayou, piano Benjamin Britten - Sinfonia da Requiem op.20 Maurice Ravel - Pianoconcert voor de linkerhand in D. gr.t. Pjotr Iljitsj Tsjaikovski - De Storm op.18 Sergej Rachmaninov - Het dodeneiland op.29

‘Prelude' is de opmaat naar het AVROTROS Vrijdagconcert! Het Nederlands Philharmonisch Orkest geeft acte de presence met zijn chef-dirigent Lorenzo Viotti in muziek van Britten, Tsjaikovski en Rachmaninov. Voor Ravels Pianoconcert voor de linkerhand zit Bertrand Chamayou achter de toetsen. Nederlands Philharmonisch Orkest Lorenzo Viotti, dirigent Bertrand Chamayou, piano Britten - Sinfonia da requiem Ravel - Pianoconcert voor de linkerhand Tsjaikovski - De storm, op. 18 Rachmaninov - Het dodeneiland Gastspreker: dirigent en trombonist Joost Geevers Behind the scenes: Paul de Vugt, Sound Engineer bij het AVROTROS Vrijdagconcert Meer info & kaarten (https://www.nporadio4.nl/concerten/b8edd2ca-2f39-41c7-8bd4-c79b7be3a379/viotti-dirigeert-tsjaikovski-en-rachmaninov) In deze nieuwe podcast vertelt presentator Leonard Evers je iedere week meer over de bijzondere stukken die gaan klinken in TivoliVredenburg én op NPO Klassiek. Dat doet hij samen met verschillende gasten die in de studio aanschuiven. Aan de hand van muziekfragmenten word je warm gemaakt voor de mooie composities die je te wachten staan. Aboneer je nu! Alles over het AVROTROS Vrijdagconcert (https://www.nporadio4.nl/programmas/avrotros-vrijdagconcert) Prelude-Spotifylijst 'Leonards luistertips' (https://open.spotify.com/playlist/0HnaH8gzitGVB6zboIzgbu)

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.

#Mañana967

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durée : 01:28:46 - Musique matin été du jeudi 06 juillet 2023 - par : Clément Rochefort - Couronnée par une Victoire de la musique classique cette année, Marina Viotti est l'artiste lyrique qui monte ! A l'affiche de "Roméo et Juliette" à l'Opéra Bastille, elle fera ses débuts au Festival de Vérone cet été, et vient de publier son deuxième album, avec le guitariste Gabriel Bianco. - réalisé par : Colin Gruel

Au programme de C à vous la suite : Invités : Jean Reno et Amanda Sthers • Jean Reno devant la caméra d'Amanda Sthers L'Oeil de Pierre - Beatlemania : dans l'Oeil de Paul McCartney Suite interview : • Jean Reno & Johnny Hallyday, un long roman d'amitié • On a tous en nous quelque chose de Johnny • Roberto, mio palmo • « Le grand bleu », le film qui a changé sa vie • Jean Reno : tellement de rôles cultes ! • Sous la plume d'Amanda Sthers • Jean Reno & Texas : histoire d'une rencontre Le live : Marina Viotti - “Ah ! Que les hommes sont bêtes !” Invitée : Marina Viotti - Mezzo-soprano • La mezzo-soprano qui mélange les genres • Du heavy metal au chant lyrique L'ABC - Les actualités de Bertrand Chameroy • Est-ce qu'on s'échapperait pas à la campagne ? • Johnny éternel • Un grand moment de télé sur CNews

Con Soledad Luque Delgado y Pilar Navarro, de la Asociación Todos los niños robados son también mis niños. Y Marías Viotti, G.I. memoria social contra la impunidad. Existe un pesado silencio institucional en torno a la apropiación de bebés durante el Franquismo. La coacción sobre la crianza no es cosa del pasado. En la actualidad, asistimos a una nueva caza de brujas contra madres monomarentales que vemos, por ejemplo, en el montaje policial contra Infancia Libre. En esta jornada nos proponemos reflexionar sobre el inicio del discurso matrifóbico, la colonización del cuerpo materno, la persecución histórica de las mujeres y el disciplinamiento de los cuidados por parte de los poderes del Estado y la Iglesia.

durée : 00:30:09 - En compagnie de la guitare de Gabriel Bianco & de la voix de Marina Viotti : "Porque existe otro querer" - par : Sébastien Llinares - "La pochette, une mosaïque de photos qui épouse la silhouette des musiciens. On y voit les musiciens aux séances de travail, de répétitions, de discussions et on se plait à imaginer comment ce disque s'est construit petit à petit, chanson par chanson, une histoire après l'autre." Sébastien Llinarès - réalisé par : Patrick Lérisset

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.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2023.04.13.536748v1?rss=1 Authors: Boileau, C., Deforges, S., Peret, A., Scavarda, D., Bartholomei, F., Giles, A., Partouche, N., Gautron, J., Viotti, J., Janowitz, H., Penchet, G., Marchal, C., Lagarde, S., Trebuchon, A., Villeneuve, N., Rumi, J., Marissal, T., Khazipov, R., Khalilov, I., Martineau, F., Marechal, M., Lepine, A., Milh, M., Figarella-Branger, D., Dougy, E., Tong, S., Appay, R., Baudouin, S., Mercer, A., Smith, J. B., Danos, O., Porter, R., Mulle, C., Crepel, V. Abstract: Objective: Temporal lobe epilepsy (TLE) is characterized by recurrent seizures generated in the limbic system, particularly in the hippocampus. In TLE, recurrent mossy fiber sprouting from dentate gyrus granule cells (DGCs) creates an aberrant epileptogenic network between DGCs which operates via ectopically expressed GluK2/GluK5-containing kainate receptors (KARs). TLE patients are often resistant to anti-seizure medications and suffer significant comorbidities; hence there is an urgent need for novel therapies. Previously we have shown that GluK2 knockout mice are protected from seizures. This study aims at providing evidence that downregulating KARs in the hippocampus using gene therapy reduces chronic epileptic discharges in TLE. Methods: We combined molecular biology and electrophysiology in rodent models of TLE and in hippocampal slices surgically resected from patients with drug-resistant TLE. Results: Here we confirmed the translational potential of KAR suppression using a non-selective KAR antagonist that markedly attenuated Interictal-like Epileptiform Discharges (IEDs) in TLE patient-derived hippocampal slices. An adeno-associated virus (AAV) serotype-9 vector expressing anti-grik2 miRNA was designed to specifically downregulate GluK2 expression. Direct delivery of AAV9-anti grik2 miRNA into the hippocampus of TLE mice led to a marked reduction in seizure activity. Transduction of TLE patient hippocampal slices reduced levels of GluK2 protein and, most importantly, significantly reduced IEDs. Interpretation: Our gene silencing strategy to knock down aberrant GluK2 expression demonstrates inhibition of chronic seizure in a mouse TLE model and IEDs in cultured slices derived from TLE patients. These results provide proof-of-concept for a gene therapy approach targeting GluK2 KARs for drug-resistant TLE patients. Copy rights belong to original authors. Visit the link for more info Podcast created by Paper Player, LLC

A megújult Patreon oldalunk, ahol támogathatod a rendszeres heti két és félóra adás, és persze a sokkal több időt igénylő elő- és utómunka elvégzését, vagy csak egyszerűen kiengedheted a belülről feszítő háládat. Akárhogy is, nagyon köszönjük!Ne feledd, az öt és több dolláros támogatás esetén minden évben megkapod az év gombapólóját! ........A sejk fia c. film.Bánky Vilma háza (8:23-tól).Az a bizonyos akcentus, ami véget vetett Vilma filmes karrierjének.A könnyűlovasság támadása c. film.Az egri rác templom Elek Máté videójában. (Dobjátok meg egy kicsit a 135 megtekintést, hadd örüljön Máté.)Milarépa halála, Garai Gábor verse.Viotti mester darabja, a Tema e variazioni in Do maggiore.Borítókép: Bánky VilmaAdászene: Giovanni Battista Viotti..............................................................Support the showHa támogatnád a gombapresszót, akkor a Patreon oldalunkon megteheted.A gombapresszó Twitter csatornája.Az élő adások helyszine, az MR4 csatorna.MR4 keresőA gombapresszó Buzzsprout oldala.Az adászenéket tartalmazó Spotify lista.

Friedrich, Uwewww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Entrevistas com elenco de Chainsaw Man - Erick Bougleux https://got.cr/3hPWFFp - Luísa Viotti https://got.cr/3TPz84D Crunchyroll na CCXP 2022 https://got.cr/3TGIOi0 Anime de My Clueless First Friend https://got.cr/3UKWCt9 Anime de Dead Mount Death Play https://got.cr/3X9xyxp Novas informações sobre Me & Roboco https://got.cr/3UOlaRV Yuri is My Job! revela previsão de estreia https://got.cr/3OfdXaU Suzume tem o melhor final de semana de estreia de todos os filmes Makoto Shinkai https://got.cr/3gdzAfe Coleção completa de Yu Yu Hakusho terá reimpressão pela JBC https://got.cr/3V4dvic Attack on Titan Final Season Parte 3 revela nova arte promocional https://got.cr/3Alx9hK Grogu é a estrela da animação especial do Studio Ghibli para Star Wars https://got.cr/3V0JD6f Criador de Pop Team Epic desenha capa para mangá para Umamusume: Pretty Derby https://got.cr/3gchQkt Projeto de anime da Kizuna AI revela título e previsão de estreia https://got.cr/3EDSllx 2ª Temporada de In/Spectre ganha novo vídeo promocional https://got.cr/3tzg0xa Produção: Samir Fraiha e Júlia Stefanel Apresentação: Júlia Stefanel Edição: Gabriela Oberhofer Redação da Crunchyroll Notícias: Fábio[portuga], Talles Queiroz, Samir Fraiha, José Sassi

KSQD 11-02-2022: Professor Paul Viotti tells his story about his surfing accident, a concussion, CSF (cerebrospinal fluid ) leaks, POTS (Postural orthostatic tachycardia syndrome), an ACDR (Anterior Cervical Disc Replacement) and spinal CSF venous fistulas

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.

Nem lado A, nem lado B! @viotmusic é a forma artística que o DJ e produtor mineiro Lauro Viotti encontrou para expressar e dar sonoridade para a sua essência e raizes. Suas influências como o house, techno, disco, hip-hop e outras vertentes se misturam em produções pessoais que refletem a sua realização musical e seu lifestyle. Com um groove pista, Viot dá liberdade e espaço para que o artista possa falar com a sua verdade sem se encaixar em estereótipos, mas, o que o move: música, moda e arte. Apresentamos a vocês o convidado da semana.

durée : 00:12:28 - Le Disque classique du jour du mercredi 14 septembre 2022 - Christophe Rousset et Les Talens Lyriques rendent hommage à la cantatrice la plus marquante du XIXe siècle : Pauline Viardot, diva aux multiples talents. La voix de Marina Viotti sublime les airs les plus célèbres tirés de certains grands rôles de Pauline Viardot .

durée : 01:29:47 - En pistes ! du mercredi 14 septembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de ce mercredi : le dernier opus du pianiste Aurèle Marthan mais également Dvorak par le Quatuor Talich et un bel hommage à Pauline Viardot par Marina Viotti et les Talens Lyriques qui lui consacrent un disque reprenant ses airs les plus célèbres.

In deze bijzondere laatste aflevering van het seizoen is chef-dirigent Lorenzo Viotti te gast. Hij praat met Botte over het doorbreken van tradities, de rol die dirigent Bernard Haitink in zijn leven heeft gespeeld en hoe hij omgaat met eenzaamheid. Ook beantwoordt hij vragen van de luisteraars.

O Prof. Fedeli é um "apóstata" da TFP que, após sair da entidade, passou a caluniá-la. A acusação que ele faz não poderia ser mais absurda: de que a TFP colocou o Dr. Plinio no lugar de Nosso Senhor e a Da. Lucília (mãe do Dr. Plinio), no lugar de Nossa Senhora!

Ende April dirigiert mit Lorenzo Viotti ein Shootingstar der internationalen Klassik-Szene das Zürcher Tonhalle Orchester. Der 32-jährige Schweizer inszeniert sich selbst auf den Sozialen Medien und erreicht damit auch ein neues, jüngeres Publikum. Das bringt uns zur Frage: Ist Klassik im Trend? Im Treffpunkt sprechen wir mit SRF2-Musikredaktor Benjamin Herzog über Lorenzo Viotti und das jüngere Klassikpublikum. Viotti und andere Stars die in den Sozialen Medien aktiv sind, können Türöffner in die Welt der klassischen Musik sein, ist Herzog überzeugt. Mit Figuren wie Viotti, aber auch gezielter Programmierung von Veranstaltern bringe man klar ein jüngeres Publikum in die Konzerte.  Ilona Schmiel, die Intendantin des Tonhalle Orchester Zürich erzählt in der Sendung weiter von den Bemühungen ein jüngeres und ganz junges Publikum für die Klassik zu begeistern. Social Media Stars wie Viotti helfen dabei, sagt sie, die vier Jahre in der modernen Maag-Halle habe auch geholfen, ausserdem arbeite man eng mit Schülern zusammen und habe einen eigenen Club für jüngere Klassik-Fans initiiert.  Ausserdem wollen wir von den Hörerinnen und Hörern wissen: Was hat sie zur klassischen Musik gebracht? 

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.

Binnenkort is chef-dirigent Lorenzo Viotti te gast in Klankcast. Heb je een vraag aan Lorenzo? Stel hem dan via een DM op ons Instagram-account of door een mail te sturen naar klankcast@orkest.nl

Enter the world of Lorenzo Viotti, a Franco-Swiss conductor with a very Italian style. Embodying the spirit of Bulgari's record-breaking Octo Finissimo watch collection, challenging the rules has already led the young maestro to great success. But Lorenzo is so much more. Listen as the Chief Conductor tells the B*Maestro Podcast about his relationship with time itself and his forward-thinking approach to life and music.

Pittsburgh Symphony Orchestra Guest Conductor Lorenzo Viotti makes his Heinz Hall debut to conduct music of Verdi, Rachmaninoff, Strauss and Ravel.  He spoke with WQED-FM's Jim Cunningham about the concert, knowing former PSO Music Director Mariss Jansons and more.  

…und dieses Date hat er gerade mit dem Leipziger Gewandhausorchester. Lorenzo Viotti zierte das Cover der „Men`s Health“. Mit Grit Schulze spricht er über gesunde Ernährung, mentale Fitness und neue Musikvermittlung.

Lorenzo Viotti sprang für Valery Gergiev als Dirigent der Münchner Philharmoniker bei Klassik am Odeonsplatz ein. BR-KLASSIK-Redakteur Gino Thanner im Gespäch mit Lorenzo Viotti über das Open-Air-Programm.

In der siebten Episode geht es um eine der berühmtesten Melodien der Welt, eine Melodie, wie kann es anders sein, die es irgendwie und irgendwo schon gab. Der Fall scheint klar und hat bereits Literaturgeschichte geschrieben. Stefan Zweig hob ihn empor zum „Genie einer Nacht“. Der Franzose Claude Joseph Rouget de Lisle (1760–1836) hat Text und Musik der Marseillaise verfasst. Wirklich? Wie kommt es dann, dass wir die Melodie viele Jahre vorher schon bei den beiden Italienern Boccherini und Viotti hören können, ja sogar bei Mozart? Welche Schlüsselrolle spielt der Komponist Ignaz Pleyel? Pleyel? Ja, der war seinerzeit einer der bekanntesten und meist gespieltesten Komponisten, Verleger, Klavierbauer, man kann sagen ein musikalisches Universum. Er kannte sie alle und seine Verbindungen führen immer wieder zu seinem Freund Rouget de Lisle. Pleyel hat nachweislich führt ihn komponiert, etwa auch die Marseillaise? Ein Podcast von CRESCENDO in Kooperation mit der Deutschen Welle.

durée : 00:25:13 - Viotti, un Italien à Paris - par : Anne-Charlotte Rémond - Au XVIIIe siècle, un jeune prodige du violon charme l'Europe entière, Giovanni Battista Viotti. Compositeur accompli pour son instrument, il sera la coqueluche de Paris un temps, mais ses accointances avec les nobles l'obligeront à fuir pour l'Angleterre lors de la Révolution Française. - réalisé par : Philippe Petit

Acompáñame en esta entrevista de Hagamos Negocios con Mauro Viotti, para platicar sobre Vitor Trabajos, su plataforma donde ayuda a las personas en Uruguay a ofrecer sus servicios, así como buscar una mejor oportunidad laboral.

Synopsis At Queen’s Hall in London, on today’s date in 1920, conductor Albert Coates led the premiere of the revised version of the “London” Symphony of Ralph Vaughan Williams. A longer version of this Symphony had premiered six years earlier, and Vaughan Williams would continue to tinker with this work, on and off, for decades. “The London Symphony is past mending,” wrote Vaughan Williams in 1951, “though with all its faults I love it still; indeed, it is my favorite.” For most music lovers, Vaughan Williams means English folk tunes or hymns woven into lush works for strings, or musical pictures of English countryside… But it was a city view that inspired his “London Symphony,” described by Vaughan Williams himself as “a good view of the river and a bridge and three great electric-light chimneys and a sunset.” In fact, you could call the Vaughan Williams Second a “sunset” symphony. Its final pages were inspired by an H. G. Wells novel describing a night passage on the Thames to the open sea: “To run down the Thames so is to run one’s hand over the pages in the book of England from end to end... The river passes... London passes… England passes…“ Music Played in Today's Program Ralph Vaughan Williams (1872 – 1958) A London Symphony (Symphony No. 2) London Symphony; Richard Hickox, cond. Chanos 9902 On This Day Births 1744 - Austrian composer of Spanish descent Marianne (Anna Katharina) von Martínez, in Vienna; She studied composition with Haydn, and Haydn and Mozart attended her musical soirées; 1860 - Austrian composer Emil Nikolaus Von Reznicek, in Vienna; 1905 - Hungarian-born British composer and teacher Mátyás(György) Seiber, in Budapest; Deaths 1604 - Italian composer and publisher Claudio Merulo, age 71, in Parma; 1955 - Rumanian composer Georges Enesco, age 73, late on May 3 or early on May 4, in Paris; Premieres 1795 - Haydn: Symphony No. 104, conducted by the composer, at the King's Theater in London; This symphony is sometimes nicknamed the "Salomon" Symphony, although it (along with Haydn's Symphonies 102 and 103) was in fact commissioned for and premiered at Viotti's Opera Concerts, not as part of the earlier series of Haydn concerts arranged by the impresario Salomon; 1895 - Dvorák: cantata "The American Flag," Op. 102, in New York; 1920 - Vaughan Williams : revised version of Symphony No.2 ("A London Symphony") at Queens Hall in London, conducted by Albert Coates; The first version of this symphony had premiered at Queen's Hall in London on March 27, 1914, conducted by Geoffrey Toye; A final (twice revised) version of this symphony was published in 1936; 1924 - Miaskovsky: Symphony No. 6, in Moscow; 1974 - Rautavaara: Flute Concerto, in Stockholm, with flutist Gunilla von Bahr and the Swedish Radio Symphony, Stig Westerberg conducting; 1976 - Bernstein: musical "1600 Pennsylvania Avenue" at the Mark Hellinger Theater in New York City, conducted by Roland Gagnon; A trial run of this show had opened in Philadelphia at the Forrest Theater on February 24, 1976; 1976 - Sondheim: revue "Side by Side by Sondheim" (compiled from various Sondheim musicals by British singer-actor David Kernan and others); This revue opened on Broadway on April 18, 1977; 1989 - Joan Tower: "Island Prelude" for oboe and strings, by soloist Peter Bowman and the St. Louis Symphony, Leonard Slatkin conducting. Links and Resources Vaughan Williams Society Web site (biography, timeline, and more)

Synopsis At Queen’s Hall in London, on today’s date in 1920, conductor Albert Coates led the premiere of the revised version of the “London” Symphony of Ralph Vaughan Williams. A longer version of this Symphony had premiered six years earlier, and Vaughan Williams would continue to tinker with this work, on and off, for decades. “The London Symphony is past mending,” wrote Vaughan Williams in 1951, “though with all its faults I love it still; indeed, it is my favorite.” For most music lovers, Vaughan Williams means English folk tunes or hymns woven into lush works for strings, or musical pictures of English countryside… But it was a city view that inspired his “London Symphony,” described by Vaughan Williams himself as “a good view of the river and a bridge and three great electric-light chimneys and a sunset.” In fact, you could call the Vaughan Williams Second a “sunset” symphony. Its final pages were inspired by an H. G. Wells novel describing a night passage on the Thames to the open sea: “To run down the Thames so is to run one’s hand over the pages in the book of England from end to end... The river passes... London passes… England passes…“ Music Played in Today's Program Ralph Vaughan Williams (1872 – 1958) A London Symphony (Symphony No. 2) London Symphony; Richard Hickox, cond. Chanos 9902 On This Day Births 1744 - Austrian composer of Spanish descent Marianne (Anna Katharina) von Martínez, in Vienna; She studied composition with Haydn, and Haydn and Mozart attended her musical soirées; 1860 - Austrian composer Emil Nikolaus Von Reznicek, in Vienna; 1905 - Hungarian-born British composer and teacher Mátyás(György) Seiber, in Budapest; Deaths 1604 - Italian composer and publisher Claudio Merulo, age 71, in Parma; 1955 - Rumanian composer Georges Enesco, age 73, late on May 3 or early on May 4, in Paris; Premieres 1795 - Haydn: Symphony No. 104, conducted by the composer, at the King's Theater in London; This symphony is sometimes nicknamed the "Salomon" Symphony, although it (along with Haydn's Symphonies 102 and 103) was in fact commissioned for and premiered at Viotti's Opera Concerts, not as part of the earlier series of Haydn concerts arranged by the impresario Salomon; 1895 - Dvorák: cantata "The American Flag," Op. 102, in New York; 1920 - Vaughan Williams : revised version of Symphony No.2 ("A London Symphony") at Queens Hall in London, conducted by Albert Coates; The first version of this symphony had premiered at Queen's Hall in London on March 27, 1914, conducted by Geoffrey Toye; A final (twice revised) version of this symphony was published in 1936; 1924 - Miaskovsky: Symphony No. 6, in Moscow; 1974 - Rautavaara: Flute Concerto, in Stockholm, with flutist Gunilla von Bahr and the Swedish Radio Symphony, Stig Westerberg conducting; 1976 - Bernstein: musical "1600 Pennsylvania Avenue" at the Mark Hellinger Theater in New York City, conducted by Roland Gagnon; A trial run of this show had opened in Philadelphia at the Forrest Theater on February 24, 1976; 1976 - Sondheim: revue "Side by Side by Sondheim" (compiled from various Sondheim musicals by British singer-actor David Kernan and others); This revue opened on Broadway on April 18, 1977; 1989 - Joan Tower: "Island Prelude" for oboe and strings, by soloist Peter Bowman and the St. Louis Symphony, Leonard Slatkin conducting. Links and Resources Vaughan Williams Society Web site (biography, timeline, and more)

Matthieu Belliard est aux commandes de la matinale d'Europe 1. Un point complet sur l'actualité pour l'observer sous tous les angles et mieux la comprendre avec de nombreux entretiens, sans oublier l'interview politique de Sonia Mabrouk. Les auditeurs retrouvent les chroniques de Nicolas Barré, Vincent Hervouët, Nicolas Beytout, Fanny Agostini et Virginie Phulpin.La "Revue de presque" de l'infatigable Nicolas Canteloup, accompagné de Julie, apporte une touche d'humour. Information, convivialité et proximité rythmeront cette matinale !

Matthieu Belliard reçoit Lorenzo Viotti, chef d’orchestre de 31 ans. Il dirige "Faust" de Charles Gounot à l’Opéra Bastille, qui sera diffusé ce vendredi soir à 20h55 sur France 5.

durée : 01:59:19 - Musique matin du lundi 22 mars 2021 - par : Jean-Baptiste Urbain - A défaut de représentations avec public, le tout nouveau Faust de Gounod à l'Opéra de Paris, dirigé par le chef Lorenzo Viotti, sera retransmis à la télévision le vendredi 26 mars sur France 5, et le 3 avril sur France Musique. - réalisé par : Yassine Bouzar

In this episode of "Jokes Aside", Nadiv sits down with his friend and world renown classical music conductor, Lorenzo Viotti. 'Lore' generously allows us to glimpse inside of his artistic universe and guides us through everything that comes with it: passion, dedication, focus, the importance of being alone, the pressures of the outside world and how to feel fulfilled and 'at one' with yourself through it all. The two of them discuss all of the above and still manage to find the time and space to lighten up the room. Fasten your seatbelts (or hide under a desk), because Lore's voice vibrates like an earthquake!

El domingo 7/2/21 la revista del diario Clarín "Viva" dedica tapa y nota "Los Anticiencia" de M.F. PÉREZ. Nuevo rótulo para la gente despierta. Cansados del hostigamiento y la mentira abrimos nuevo segmento para responderles. --- Send in a voice message: https://anchor.fm/centesimo-mono/message

durée : 01:58:18 - Brouillamini / XAMP / Trio Zarathoustra / Marina Viotti & Gabriel Bianco / Marie-Josèphe Jude & Michel Béroff - par : Clément Rochefort - Avec Brouillamini, consort de flûtes à bec / le Duo XAMP (Fanny Vicens & Jean-Etienne Sotty, accordéons) / le Trio Zarathoustra (piano et cordes) / Marina Viotti, mezzo-soprano, & Gabriel Bianco, guitare / Marie-Josèphe Jude & Michel Béroff, piano à quatre mains - réalisé par : Claire Lagarde

O Fronteiras no Tempo viajou para o Brasil dos séculos XIX e primeiras décadas do XX junto com os milhões de imigrantes que aqui aportaram em busca do sonho por terras e liberdade. Mas a realidade foi bem diferente e vários obstáculos surgiram nas trajetórias destes grupos ao longo do tempo. A imigração também é parte de uma história que foi pensada pelos intelectuais e burocratas do Império: quais imigrantes trazer, o que eles fariam por aqui e como contribuiriam para tornar o Brasil uma nação “moderna e civilizada”. Sobre tudo isso C. A. e Beraba conversaram. Venham ouvir esse papo! Neste episódio Conheça o que é migração, imigração e emigração e como os historiadores trabalham com estes temas. Entenda os principais motivos que levaram à criação de políticas de atração de imigrantes para o país, surpreenda-se com o que planejavam os burocratas do Estado Imperial. Compreenda a relação entre a imigração e o trabalho escravizado. Conheça a história de diversos povos que vieram para o Brasil, os choques culturais, as influências de variados tipos – o CA e o Beraba se empolgaram pra falar sobre comidas haha – por fim, compreenda as razões por que estudar este tema é tão importante para a História do Brasil. Arte da Capa Publicidade Ajude nosso projeto! Você pode nos apoiar de duas formas: PADRIM  – só clicar e se cadastrar (bem rápido e prático) PIC PAY – Baixe o aplicativo do PicPay: iOS / Android Redes Sociais Twitter, Facebook, Youtube, SPOTIFY, Instagram Contato fronteirasnotempo@gmail.com Expediente Produção Geral e Hosts: C. A e Beraba, Recordar é Viver: Willian Spengler. Vitrine:  Augusto Carvalho, Edição: Adriano João Como citar esse episódio Fronteiras no Tempo #52 Imigração no Brasil. Locução: Cesar Agenor F. da Silva, Marcelo de Souza e Silva e Willian Spengler [S.l.] Portal Deviante, 11/11/2020. Podcast. Disponível em http://www.deviante.com.br/?p=42587&preview=true Material complementar Podcast Fronteiras no Tempo: Historicidade #4 Histórias da Imigração no Brasil Sites Museu da Imigração: https://museudaimigracao.org.br/ Livros ALENCASTRO, Luiz Felipe de. RENAUX, Maria Luiza. Caras e modos dos migrantes e imigrantes. IN: _____. (org) História da vida privada no Brasil. Império. São Paulo: Cia das Letras, 1997. ALVIM, Zuleika. Imigrantes: a vida privada dos pobres no campo. IN: SEVCENKO, Nicolau. História da Vida privada no Brasil. República. São Paulo: Cia das letras, 1997. FAUSTO, Boris. (org). Fazer a América. São Paulo: Ed. da Universidade de São Paulo, 2ª ed., 2000. COSTA, Emília Viotti da. Da monarquia à república: momentos decisivos. São Paulo: Unesp, 2010 Artigos PEREZ MELENDEZ, José Juan. Reconsiderando a política de colonização no Brasil Imperial: os anos da Regência e o mundo externo. Rev. Bras. Hist.,  São Paulo ,  v. 34, n. 68, p. 35-60,  dez.  2014 .   Disponível em . acessos em  09  nov.  2020.  http://dx.doi.org/10.1590/S0102-01882014000200003. OLIVEIRA, Márcio de. Origens do Brasil meridional: dimensões da imigração polonesa no Paraná, 1871-1914. Estud. hist. (Rio J.),  Rio de Janeiro ,  v. 22, n. 43, p. 218-237,  jun.  2009 .   Disponível em . acessos em  09  nov.  2020.  http://dx.doi.org/10.1590/S0103-21862009000100012. FREITAS, Nelly de. Retrato de mulheres migrantes: o perfil socioeconômico e as trajetórias das imigrantes madeirenses no Estado de São Paulo, 1886-1899. História,  Franca ,  v. 33, n. 2, p. 288-306,  dez.  2014 .   Disponível em . acessos em  09  nov.  2020.  http://dx.doi.org/10.1590/1980-436920140002000014. SCHULZE, Frederik. A constituição global da nação brasileira: questões de imigração nos anos 1930 e 1940. Hist. cienc. saude-Manguinhos,  Rio de Janeiro ,  v. 21, n. 1, p. 237-246,  mar.  2014 .   Disponível em . acessos em  09  nov.  2020.  Epub 25-Out-2013.  https://doi.org/10.1590/S0104-59702013005000014. Madrinhas e Padrinhos Alexandre Strapação Guedes Vianna, Alexsandro de Souza Junior, Aline Lima, Anderson O Garcia, Anderson Paz, André Luis Santos, Andre Trapani Costa Possignolo, Andréa Silva, Andressa Marcelino Cardoso, Artur Henrique de Andrade Cornejo, Bruno Scomparin, Carlos Alberto de Souza Palmezani, Carlos Alberto Jr., Carolina Pereira Lyon, Ceará, Charles Calisto Souza, Cláudia Bovo, Eani Marculino de Moura, Eduardo Saavedra Losada Lopes, Elisnei Oliveira, Ettore Riter, Felipe Augusto Roza, Felipe Sousa Santana, Flavio Henrique Dias Saldanha, Iago Mardones, Iara Grisi, Isaura Helena, João Carlos Ariedi Filho, José Carlos dos Santos, Leticia Duarte Hartmann, Lucas Akel, Luciano Beraba, Manuel Macias, Marcos Sorrilha, Mayara Araujo dos Reis, Mayara Sanches, Moises Antiqueira, Paulo Henrique de Nunzio, Rafael, Rafael Alves de Oliveira, Rafael Igino Serafim, Rafael Machado Saldanha, Rafael Zipão, Raphael Almeida, Raphael Bruno Silva Oliveira, Renata Sanches, Rodrigo Olaio Pereira, Rodrigo Raupp,  Rodrigo Vieira Pimentel, Rubens Lima, Sr. Pinto, Wagner de Andrade Alves, Willian Scaquett, Willian Spengler e ao padrinho anônimoSee omnystudio.com/listener for privacy information.

En la emisión Nº36 de #DemasiadoHumano 2020 hablamos del número uno ¿Quién es tu número uno? + Hablamos de Safo y de Larga distancia de Tali Goldman @concreto.editorial + reflexiones de Negra Vernaci, Ezequiel Fernandez Moores, Lucila De Ponti, Nicolás Viotti, Lucas Catalano.

En la emisión Nº36 de #DemasiadoHumano 2020 hablamos del número uno ¿Quién es tu número uno? + Hablamos de Safo y de Larga distancia de Tali Goldman @concreto.editorial + reflexiones de Negra Vernaci, Ezequiel Fernandez Moores, Lucila De Ponti, Nicolás Viotti, Lucas Catalano.

Notas sobre Historiadoras é uma série do podcast História Presente, organizado pelo Laboratório de Pesquisa e práticas de Ensino em História da UERJ, com o objetivo de pensar o papel de protagonismo de mulheres dentro da historiografia. Estamos em tempos difíceis. Por isso mesmo, mais que nunca, faz-se necessário pensar a História e quem faz dela seu ofício. Neste episódio, apresentamos a historiadora Emília Viotti da Costa. "No programa notas sobre historiadoras de hoje, falaremos de Emília Viotti da Costa historiadora, escritora, pesquisadora e ativista nascida no dia 28 de fevereiro de 1928 no estado de São Paulo. Emília Viotti foi uma grande historiadora e suas contribuições metodológicas foram de suma importância para a historiografia da escravidão. Sua formação acadêmica, paralelamente aos seus engajamentos políticos, iniciou-se na sua graduação em história pela Universidade de São Paulo, onde também cursou o mestrado e o doutorado. Por anos, dedicou-se à pesquisa sobre escravidão em conjunto com o mundo do trabalho. Os desdobramentos de sua pesquisa foram um marco na historiografia brasileira, trazendo novas perspectivas para a corrente historiográfica que destaca narrativas sobre o cotidiano, as abordagens culturais e as mentalidades. Da Senzala à colônia é um dos seus trabalhos principais. Nessa obra, que vai da independência à abolição, Emília Viotti discorre sobre como foi processo de abolição no Brasil no espaço rural e a sua desintegração a partir das estruturas paternalistas. Outros dois de seus trabalhos importantes foram os livros Da Monarquia à República - momentos decisivos, publicado no ano de 1966, pela editora Unesp; e A abolição publicado no ano 1982, também pela então editora Unesp. No ano de 1999, Emília Viotti da Costa recebeu o título de professora emérita da Faculdade de Filosofia, Letras e Ciências Humanas da USP, universidade onde lecionou de 1964 a 1969, quando foi aposentada de forma precoce pelo AI-5. Por conta disso, Emília deixaria o país, diante do clima de insegurança instaurado pela ditadura, e se mudou para os Estados Unidos com a sua família, passando a lecionar na faculdade de Yale, situada em New Haven, Connecticut. Emília Viotti morreu no 02 dia de novembro de 2017, aos 89 anos, na cidade de São Paulo. O papel de historiadora e mulher foi imensurável na historiografia brasileira e até hoje segue como referências nos estudos sobre a história do Brasil." --- Send in a voice message: https://anchor.fm/lppe/message

Una pareja italiana salió a navegar para confirmar que la Tierra tiene “un final”... Pero terminó siendo rescatada por el Ministerio de Sanidad italiano. En este episodio, junto a Nicolás Viotti, doctor en antropología e investigador del CONICET, y Claudio Martínez, investigador adscripto de la Fundación Azara de Historia Natural, analizamos por qué hay cada vez más personas que creen que la Tierra es plana, por qué hay cada vez más adeptos a las pseudociencias y cómo las redes sociales e internet influyeron en el resurgimiento de estas teorías. Conduce Martina Soto Pose. Producción: Galia Moldavsky y Federico Ferreira. Edición: Leo Fernández. Dirección general: Luciano Banchero y Diego Dell' Agostino. Hoy es lunes 7 de septiembre 2020 y Esto Pasó Posta.

Der Schweizer Dirigent Lorenzo Viotti ist mit 30 Jahren an den renommiertesten Opern- und Konzerthäusern der Welt angekommen und gehört zu den grossen Hoffnungsträgern einer aufstrebenden Musiker-Generation.

Dasjenige mit der Pauke - Beethovens Violinkonzert Was hat es mit den Paukenschlägen auf sich, die gleich am Anfang des Opus 61 von Beethoven erklingen? Die berühmte Fünfte hatte er noch nicht fertiggestellt, aber die Schicksalsschläge erklingen hier bereits an, nur viel leiser, diskreter. Eher leicht, mit silbrigem Ton soll der Geiger Franz Clement damals gespielt haben, nicht à la Viotti oder Rode, die damals tonangebend waren als Geigenlehrer und denen es um den grossen Ton und die Virtuosität ging. Clement mochte eher das Zarte, Mitfühlende. Heutige Geigerinnen und Geiger können selber wählen, was ihnen besser liegt. Gäste von Annelis Berger sind der Bratschist Markus Fleck und die Dirigentin Johanna Malangré.

Um papo com o stylist, gay do pop, polêmica, ainda não cancelada e Britney lover desde 1999, Caio Sobral e, a advogada Maria Claudia Viotti sobre o assunto irrelevante que ficamos obcecados: o movimento de libertação da rainha do pop Britney Spears. Aqui eu trago o viés de um fã e observações das leis do entretenimento com uma advogada para refletirmos juntos o "bafão" todo. Segura que 2020 nem começou. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/rafaela-bagali/message Support this podcast: https://anchor.fm/rafaela-bagali/support

Domenico Nordio's career began after his first recital at the age of ten, and at the age of sixteen he won the international Viotti competition in Verchel. Along with various other achievements in international competitions was the European Grand Prix in 1988, when D. Nordio became the first and only Italian to win this award. Now known as the Venetian Wunderkind, the violinist performs in the world's most important halls, such as La Scala in Milan, Carnegie Hall in New York, the Barbican Center in London, and collaborates with London, Paris, Rome, Switzerland, and other symphony orchestras. D. Nordio, who is returning to Lithuania, talked about his connection with Italian composers, the ups and downs of classical music, and imperfect performance.

Bem-vindes ao Babel! Neste episódio, falamos de uma língua com cerca de 76 milhões de habitantes, falada principalmente no Vietnã, mas também no Laos, Camboja e... República Tcheca! Venham ouvir sobre a língua desse povo com um histórico milenar de resistência. Edição: Thiago Corrêa. Playlist Spotify: Torre de Dança Financiamento coletivo: https://apoia.se/babelpodcast Capa: Cecilia Farias, com cartaz de propaganda vietnamita dos anos 1970 que diz "Libertar o Sul, proteger o Norte". *Referências do episódio* [APRENDER] Vietnamese Typography: https://vietnamesetypography.com/alphabet/ Transparent Vietnamese [inglês], tem língua e viagens pelo Vietnã: https://www.youtube.com/channel/UCGZHZPOXqJTGkjlSsudmxrw Interdisciplinary Perspectives on Vietnamese Linguistics: https://benjamins.com/catalog/slcs.211 [VÍDEO] Canal ReVisão, série com participação do Akira sobre a história do Vietnã: https://www.youtube.com/watch?v=1kmLyGcnBxI Luna Oi: https://www.youtube.com/channel/UCN4l7I2RxGBJ3i_EFi1SzuA [LEITURA] Vietnã: a guerrilha vista por dentro, de Wilfred Burchett, Editora Expressão Popular. *SORTEIO* A revolução vietnamita, de Paulo Visentini (coleção Revoluções do Século XX, org. Emília Viotti), Editora da Unesp. [CINEMA] O cheiro do papaia verde (1993, dir. Tran Anh Hung) Corações e mentes (1974, dir. Peter Davis) Longe do Vietnã, https://www.youtube.com/watch?v=eRbtGqmc1p0 [PODCAST] Lesser Know - Sobre as irmãs Trung https://www.lesserknown.net/episodes/2018/6/29/episode-one [MÚSICA] Xẩm: Tre Việt Nam - NSND Xuân Hoạch Gỗ Lim: Người đàn bà làm đầu Ngọt: Cho Tôi Đi Theo Suboi : N-SAO? [encerramento] Bài Ca Hồ Chí Minh: Hồ Quỳnh Hương [teaser] Ta và Nàng - Đen ft. JGKiD Apoiamos a iniciativa #mulherespodcasters e a iniciativa #opodcastédelas e participamos da #PodosferaAntifascista

"Um povo sem memória é um povo sem história. E um povo sem história está fadado a cometer, no presente e no futuro, os mesmos erros do passado." Emília Viotti da Costa Apresentado por Natália Salazar e Monika de Lima Knutsen. Edição: Natália Salazar This is non-commercial podcast, meaning we are not charging for this content. Any support for this podcast is completly optional. Our Intro music is: Wicked Samba - s.c.mixer Album Internet Archive: Details: DanceMixter Sessions 2009 - Vol. 1 : Sunset s.c.mixer (as DJ) http://dig.ccmixter.org/files/scmixer/13362 To donate to cc.mixter, please visit: http://dig.ccmixter.org/keep-ccmixter-open-and-free THIS SONG WAS COMBINED WITH THE FOLLOWING SOUNDS: - Monsters Sounds by Bernuy » Major Demon Sound FX by Bernuy CC BY https://freesound.org/people/Bernuy/sounds/416176/ His channel: youtube.com/user/Miguelbernuy Please support him on Patreon: http://www.patreon.com/bernuy - Chainsaw - Hard3eat Soundz https://freesound.org/people/Hard3eat/sounds/351775/ - Screams » Screaming2.wav - Prucanada https://freesound.org/people/prucanada/sounds/415353/ - Gunshots » Tikka M65_2.wav - fastson https://freesound.org/people/fastson/sounds/399065/ - Get out Demonic Voice - flex0rnaut https://freesound.org/people/flex0rnaut/sounds/240241/ Any legal issues should be addressed to patriaamadapod@gmail.com

Was bewegt die Künstlerinnen und Künstler in Zeiten von Corona? Im concerti Klassik-Daily blickt Moderator Holger Wemhoff ins Innere der Klassikszene und liefert in tagesaktuellen Interviews Einschätzungen und persönliche Geschichten der Stars. In der sechsten Folge berichten Klarinettist Andreas Ottensamer und Dirigent Lorenzo Viotti im Doppelinterview, wie sie ihre Zeit getrennt zuhause mit einer Social-Media-Challenge verbringen, wie sie versuchen, ihren Fans täglich etwas von ihrer positiven Energie zu schicken und warum die Musik gerade in diesen Zeiten besonders wichtig ist.

No episódio de hoje nosso host @laelrodrigues foi até a cidade de Jacutinga no interior de Minas Gerais contar a trajetória do atleta Júlio Viotti até o número 1 do ranking no Gi Master 1 da Ibjjf.  Uma história de muito esforço e superação  Nos siga nas redes sociais  @bjj.bump @laelrodrigues @julio.viotti

L'ottava e ultima puntata di SX per analizzare quanto discusso nelle puntate precedenti, fare un bilancio e capire ancora qualcosa di più sullo stato della Sinistra con due ospiti d'eccezione. Simone Alliva giornalista che collabora con L'Espresso e Andrea Orlando, ex ministro della giustizia e vicesegretario del Partito Democratico.

29 Jahre alt ist er und bereits Chefdirigent des Netherlands Philharmonic Orchestra: Lorenzo Viotti. Studiert hat er neben Dirigieren, auch Schlagzeug und Gesang. Vor seinem Debüt beim Bayerischen Staatsorchester hat Sylvia Schreiber mit Lorenzo Viotti gesprochen.

Die Hornisten der Bayerischen Staatsoper treten auch alleine, unabhängig vom Orchester auf. Als Munich Opera Horns sind sie erfolgreich unterwegs. Christian Loferer und Milena Viotti, haben Uta Sailer im BR-KLASSIK-Studio besucht.

Una puntata dedicata a come la Sinistra affronta il tema dell'immigrazione e dell'integrazione. Ragionamenti, numeri, politiche, passi falsi e prospettive.

Cos’è, oggi, la questione femminile? E come la affronta la Sinistra?Una puntata sulle donne, che deve essere ascoltata soprattutto dagli uomini.

Come possiamo informarci oggi? Dove possiamo trovare una informazione accurata ma con un orientamento e una lettura dei fatti di Sinistra? Quali giornali italiani e stranieri leggere? Come si crea una opinione pubblica di sinistra nell'epoca in cui l'informazione arriva da mille fonti diverse?A questa e ad altre domande risponderanno gli ospiti. Armatevi di carta e penna e prendete appunti!

Em um momento em que a empatia e as relações humanas são tão relevantes no ambiente dos negócios, a mulher se destaca e traz contribuições significativas para o mundo corporativo. Liderança feminina é o tema da que explorei junto com Amanda Gomes, fundadora do Programa ELAS e Daniela Lara, sócia do Rolim, Viotti e Leite Campos Advogados, no episódio de hoje! Vamos conversar?

Cosa sono oggi le periferie delle città, le aree marginali, le aree interne?Come affrontiamo l’aggressione delle destre che cercano di generare rancore, astio e odio tra le medesime classi sociali?Come affrontiamo i temi della cura e i temi del rancore?Cercherò di spiegarlo in questa puntata di SX anche con tre storie, da Torino, da Petrosino in Sicilia e da Casal Bruciato a Roma.

Il Lavoro, il tema nuovamente centrale per la Sinistra in Italia e in Europa. I nuovi lavori, il welfare, le garanzie e i salari, la flessibilità e il precariato. Ospiti della puntata il Ministro Peppe Provenzano, la parlamentare europea Patrizia Toia, la parlamentare Chiara Gribaudo e Marco Grimaldi, consigliere regionale di LEU in Piemonte.

Come sta la Sinistra in Europa? Cosa fa la Sinistra in Europa? Una puntata per capire errori, possibilità e prospettive della Sinistra nella nuova stagione istituzionale che si è appena aperta. Con un veloce sguardo anche alle elezioni generali del Regno Unito.

Boris Casoy foi locutor da Rádio Eldorado e o primeiro jornalista a transmitir uma reportagem ao vivo pela emissora. Foi na eleição de Castelo Branco pelo Congresso Nacional em Brasília. Ele conta com detalhes como tudo aconteceu nessa entrevista concedida a Geraldo Nunes no São Paulo de Todos Tempos. De sobra narrações sobre acontecimentos políticos na voz de Sérgio Viotti.

Ha ancora senso all'alba del 2020 distinguere tra diritti sociali e diritti civili? Cominciamo il nostro viaggio nella Sinistra italiana ed europea parlando con Monica Cirinnà, Elly Schlein e Giuditta Pini. Con un prezioso contributo di Enrico Sola meglio conosciuto come SuzukiMaruti su internet.Per interagire:mail: info@danieleviotti.euwhatsapp: 3791196802

Acompanhe a segunda parte da entrevista de Geraldo Nunes com o ator e diretor de teatro Sergio Viotti. Nesta gravação de 2008, ele dá dicas de como vencer o temor aos microfones e como se portar diante das câmeras.

O ator e diretor de teatro, cinema e televisão Sérgio Viotti trabalhou durante 25 anos na Rádio Eldorado apresentando programas como Bastidores e a Música no Cinema. Você poderá ouvir trechos desses programas na edição especial do São Paulo de Todos os Tempos. Confira na apresentação de Geraldo Nunes.

No episódio de hoje do Lawyer to Lawyer, Gabriel Magalhães entrevista Stephanie de Lucca Ozores.Ela é advogada no escritório Rollim, Viotti & Leite Campos Advogados, possui especialização em Gestão com ênfase em Negócios pela Fundação Dom Cabral e atualmente é responsável por implementar projetos de inovação em seu escritório.Por que escritórios de advocacia bem sucedidos e consolidados devem inovar?E como esses escritórios podem implementar a inovação na prática? Quais são as dificuldades enfrentadas?E, o que escritórios menores podem aprender com os "grandes"?No episódio de hoje, a Stephanie compartilha dicas práticas que ela implementa na rotina do seu escritório.Comunidade da Freelaw no Telegram: https://t.me/comunidadefreelawConheça o Blog da Freelaw: https://blog.freelaw.work/Conheça o site da Freelaw: https://freelaw.work/Acompanhe a Freelaw nas Redes SociaisLinkedin: https://www.linkedin.com/company/freelaw-work/Facebook: https://www.facebook.com/Freelaw.work/Instagram: https://www.instagram.com/freelaw.work/Youtube: https://www.youtube.com/channel/UCT6_26wyQV7GXriS0kogw1gMúsica utilizada no Podcast: www.bensound.com

In die episode drink Roedolph en Christiaan ‘n h"O"ps is for orange deur Karoo Craft Breweries/Kennel Brewery en ‘n Soul Power deur Shields Indie Brewing Company. Hulle gesels oor Blizzard (#FreeHongKong), NBA en 'n stoute juffrou.Episode word geborg deur https://www.namibkameeldoringbraaihout.com/Vind hier die notas wat ons in die episode gebruik het:Yuppiechef League of Beers -https://www.yuppiechef.com/league-of-beers-monthly-club.htmBlizzard (#FreeHongKong) -https://www.cnet.com/news/blizzard-hearthstone-and-the-hong-kong-protests-heres-what-you-need-to-know/NBA -https://time.com/5694150/nba-china-hong-kong/Stoute juffrou -https://www.timeslive.co.za/sunday-times/news/2019-10-13-former-springbok-coachs-niece-in-an-affair-with-bishops-school-boy/Biere gedrink in hierdie episode -h"O"ps is for orange -https://www.facebook.com/thekennelbrewery/https://www.kcbrew.co.za/Soul Power-https://www.facebook.com/ShieldsIndieBrewing/

Dirigent Lorenzo Viotti hört und kommentiert Musikaufnahmen von Kollegen, ohne dass er weiß, wer spielt. Holger Wemhoff spricht im Klassik-Podcast von concerti mit dem designierten Dirigenten des Netherlands Philharmonic Orchestra und der Dutch National Opera.

Juan is the software engineer team lead at Balena.io He focuses on building high-quality software and is passionate about open-source, maintainability, testing, software correctness, and static program analysis. He’s been with Balena for 4 years moving from a Software Engineer to a team lead and now he is the Engineering Lead. Prior to Balena.io Juan worked as a Software Engineer for Rulemotion and PikaPay.

O pesquisador Fernando Baião Viotti defendeu esse ano tese de autor da tese 'Um mundo feito de ferro: a lírica de Drummond e Bob Dylan', na Faculdade de Letras da UFMG. Ele traça um comparativo entre os dois escritores e procura iluminar a obra de um a partir do trabalho do outro. Confira, no Ondas da Ciência! Nesse programa, você ouve os poemas No meio do caminho e Viagem na Família, de Carlos Drummond de Andrade. E as músicas Visions Of Johanna, Desolation Row e Like a Rolling Stone, de Bob Dylan, e E agora José, poema de Drummond musicado por Paulo Diniz.

Beim Hornfestival "Carnaval du Cor" sind die beiden Hornisten Milena Viotti und Marc Gruber als Dozenten dabei. Im Interview mit Uta Sailer stellen sie sich musikalisch vor, sprechen über das Kiecksen, das Hornspiel als Hochleistungssport und über den Spirit des Festivals.

LIVE FROM NEW YORK, IT’S uma referência que não funciona em português! O Made of Things teve a primeira edição ao vivo DE SEMPRE no Muvi Lisboa, o festival internacional de música no cinema. Falámos do vídeo que o realizador Bruno Ferreira não quer que se veja, do novelo que o editor Sérgio Pedro tem… Continue reading 50 Made of Things LIVE 1: Muvi Lisboa 2016 com Bruno Ferreira, Sérgio Pedro, Ana Viotti

In 1955, Cappuccilli auditioned for La Scala in Milan, where the auditioners, deeply impressed, encourage him to enter the Viotti competition. After his first place award, he made his official operatic debut in 1957 at the Teatro Nuovo in Milan, singing Tonio in Pagliacci. In 1960, he made his debut at the Metropolitan Opera, singing Giorgio Germont in La traviata, which was to be Cappuccilli spent most of his career singing in Europe, with only infrequent travels to North and South America. He made his debut at the Teatro alla Scala in 1964, as Enrico, at the Royal Opera House in London as Germont in 1967, and his Opéra de Paris debut took place in 1978, as Amonasro. He also appeared at the Vienna State Opera and the Salzburg Festival. He worked with the greatest European conductors of his time (Karajan, Gavazzeni, Abbado, Kleiber) and became one of the finest interpreters of the Italian repertoire. Cappuccilli was highly respected as a "Verdi baritone", where his beautiful voice, fine vocal technique, musical elegance, and dignified stage presence, were shown to their best advantage. He left an impressive discography, he recorded Lucia di Lammermoor twice, first with Maria Callas in 1959, and with Beverly Sills in 1970. Other notable recordings include; Rigoletto, opposite Ileana Cotrubas and Placido Domingo, under Carlo Maria Giulini, Macbeth, opposite Shirley Verrett, and Simon Boccanegra, opposite Mirella Freni and Nicolai Ghiaurov, both under Claudio Abbado. He also recorded Don Carlos, Il Trovatore and Aida under Herbert von Karajan Cappuccilli sang until his mid-sixties; an automobile accident in 1992 ended his stage career. He died in his native Trieste, at the age of 78.[2]  Pagliacci,Zaza,Macbeth,Attila,Due Foscari,Forza,Trovatore,Do Carlo,Pearl Fishers, Chenier, Nabucco,Ernani,Roberto Devereux. (68 min.)