Podcast appearances and mentions of william burden

New York Festival of Song (NYFOS) releases From Rags to Riches: 100 Years of American Song on its new in-house label, NYFOS Records. The label's debut album features the acclaimed voices of mezzo-soprano Stephanie Blythe and tenor William Burden, together with Steven Blier, Artistic Director of the NYFOS who accompanies Blythe and Burden, on the piano in works spanning art song, musical theater, jazz, and opera. The album is taken from a live concert recording at the Kaye Playhouse at Hunter College in New York on March 23, 2000: From Rags to Riches, a compendium of American songs celebrating the last century as the new century began.Purchase the music (without talk) at:From Rags to Riches (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Keturah discusses two forms of adaptation in this episode.Her first conversation is with tenor, William Burden, who chats with her about Igor Stravinsky and W.H. Auden’s adaptation of William Hogarth’s paintings, The Rake’s Progress.  They go into detail about one aria in the piece, then speak about how text and music get to the heart of our emotional world.Next up is a conversation with two time Pulitzer Prize winning playwright, Lynn Nottage, discussing adapting her award-winning play, Intimate Apparel, into an opera of the same name with Ricky Ian Gordon.  They go into what it was like to self-adapt, why the piece was tailor made for a musical adaptation, and what her experience of collaborating with Ricky Ian Gordon was like.Lynn Nottage - http://www.lynnnottage.com/William Burden - https://www.opus3artists.com/artists/william-burden/Igor Stravinsky - https://www.britannica.com/biography/Igor-StravinskyW.H. Auden - https://www.poetryfoundation.org/poets/w-h-audenRicky Ian Gordon - https://www.rickyiangordon.com/The Rake’s Progress - https://www.opera-online.com/en/items/works/the-rakes-progress-auden-stravinsky-1951Intimate Apparel - https://www.lct.org/shows/intimate-apparel/William Hogarth - https://www.nationalgallery.org.uk/artists/william-hogarthA Rake’s Progress - https://www.artble.com/artists/william_hogarth/paintings/a_rake's_progress

In this episode, Keturah speaks with singers, composers, and directors about the words and collaborative spirit of librettist, Gene Scheer.In order of appearance:Efrain Solis (https://www.efrainsolis.com/)Frederica Von Stade (http://www.fredericavonstade.com/)Emily Fons (https://www.emilyfons.com/)Jonathan Lemalu (https://jonathanlemalu.com/)Morgan Smith (https://www.baritonemorgansmith.com/)Stephen Costello (https://stephencostellotenor.com/)William Burden (https://www.opus3artists.com/artists/william-burden/)Jake Heggie (https://jakeheggie.com/)Leonard Foglia (https://en.m.wikipedia.org/wiki/Leonard_Foglia)Pieces with a libretto by Gene Scheer mentioned in this episode:American Anthem (https://youtu.be/RIGnlIymhUU)Cold Mountain (https://operawire.com/opera-profile-jennifer-higdon-gene-scheers-cold-mountain/)Everest (https://dallasopera.org/performance/everest/)For A Look Or A Touch (https://jakeheggie.com/for-a-look-or-a-touch-2013/)If I Were You (https://jakeheggie.com/if-i-were-you-2019/)It’s A Wonderful Life (https://jakeheggie.com/its-a-wonderful-life-2016/)Moby-Dick (https://jakeheggie.com/moby-dick-2010/)Statuesque (https://genescheer.com/project/statuesque/)Three Decembers (https://jakeheggie.com/three-decembers-2008/)To Hell and Back (http://genescheer.com/project/to-hell-and-back/)

Keturah starts her Second Season talking to a myriad of singers, conductors, and directors about how opera text affects them.Sound bites from:Joseph Mechavich https://www.ada-artists.com/conductor-joseph-mechavichStephen Costello https://stephencostellotenor.com/Karen Kamensek https://www.karenkamensek.com/Daniel Kramer http://www.danielkramerdirector.com/indexAlexandra Deshorties https://www.opera-arias.com/singers/alexandra-deshorties/Emily Fons https://www.emilyfons.com/Frederica Von Stade http://www.fredericavonstade.com/Efrain Solis https://www.efrainsolis.com/Thaddeus Strassberger https://www.tstrassberger.com/Patrick Summers https://www.opus3artists.com/artists/patrick-summers/Jonathan Lemalu https://jonathanlemalu.com/Steven Osgood http://www.srosgood.com/Alexandra LoBianco https://imgartists.com/roster/alexandra-lobianco/Crystal Manich https://www.crystalmanich.com/David Walker https://pbopera.org/about-us-2/general-director/Alexandra Loutsion https://www.alexandraloutsion.com/Ned Canty https://operawire.com/qa-opera-memphis-general-director-ned-canty-on-equity-in-the-arts-and-30-days-of-opera/Eva Maria Westbroek https://www.evamariawestbroek.com/William Burden https://www.opus3artists.com/artists/william-burden/

Seattle Opera Dramaturg Jonathan Dean introduces several different types of tenor, from the agile-voiced, graceful and elegant tenori di grazia, to the heroic and powerful tenori di forza, and all points in between. Includes musical examples featuring many favorite Seattle Opera tenors: Antonello Palombi, Edgardo Rocha, Laurence Brownlee, William Burden, Matthew Polenzani, Ben Heppner, James McCracken, Stefan Vinke, Francesco Demuro, Joseph Calleja, Alasdair Elliott, Peter Kazaras, Marcello Giordani, Neil Shicoff, Russell Thomas, Franco Corelli, and Vinson Cole.

Violinist Kelly Hall-Tompkins joins series host, soprano Allison Charney, in the second episode of the series, discussing and performing classical works by Bach, Shostakovich and Strauss along with an original adaptation of “Miracle of Miracles” from Fiddler on the Roof, sharing their un-Google-able insights and exploring the theme of hope – a commodity that feels hard to come by in our current world. MUSICAL SELECTIONS: C Major Sonata, 4th movement/ JS Bach – preformed by Kelly Hall-Tompkins, violin 1st Violin Concerto, cadenza/Shostakovich; preformed by Kelly Hall-Tompkins, violin Morgen/R. Strauss – preformed by Allison Charney, soprano; Kelly Hall-Tompkins, violin; Craig Ketter, piano “Miracle of Miracles” Bock/Eldor/Hall-Tompkins – preformed by Kelly Hall-Tompkins, violin; Craig Ketter piano Zuiegnung/R. Strauss – preformed by Allison Charney, soprano; Craig Ketter, piano In its pre-pandemic live incarnation – the innovative classical concert series PREFORMANCES with Allison Charney invited audiences to experience celebrated classical musicians in anticipation of their upcoming engagements on the world’s most prestigious stages. Now that live classical music has all but stopped, thus curtailing any upcoming engagements, acclaimed opera singer and series founder and host, Allison Charney, asks the existential question: If classical musicians are playing music but there’s no one there to hear it, have they really made music? Her answer: Not without an audience. Enter PREFORMANCES: Season of Hope! In these half-an-hour long episodes, Charney continues the PREFORMANCES mission of blurring the traditional barriers which exist between classical musicians and their audiences by providing an intimate and personal glimpse into top-level artists’ practices along with her signature “un-Google-able” insights – all with a focus on the series’ theme of hope. In addition, Allison and her guests will perform multiple musical selections on each episode. New episodes will air every other Tuesday night and be made available the following morning on the PREFORMANCES website, as well as in podcast form on iTunes and Spotify. Throughout its previous eleven seasons, PREFORMANCES With Allison Charney has presented over 100 of the preeminent musicians of our time. Notable appearances include those by New York Philharmonic Music Director Alan Gilbert, Metropolitan Opera stars William Burden and Maria Zifchak, “Queen of the Flute,” Carol Wincenc, violinist Kelly Hall-Tompkins of Broadway’s “Fiddler on the Roof” fame, and concert pianists Joel Fan and Navah Perlman, just to name a few. In addition, the series has presented new classical works by composers such as Michael Ching, Moshe Knoll, Mary Ellen Childs, Russell Platt and Kim D. Sherman. Live concerts typically run an hour and a half, with no intermission. PREFORMANCES with Allison Charney embraces artists, audiences and music of all backgrounds, ethnicities, orientations and world-views. PREFORMANCES denounces racism and bigotry of any kind. We stand committed to equality, diversity, accessibility and combatting injustice; anything less is unacceptable. Support the show (http://www.preformances.org/support/)

Pianist Benjamin Loeb, joins series host, soprano Allison Charney in this premiere episode of the series, discussing and performing works by Scott Joplin, Harold Arlen, Kurt Weill and Ernesto Nazareth and exploring the theme of hope - a commodity that feels hard to come by in our current world.Episode 1: Allison Charney and Benjamin Loeb Musical Selections:Gladiolus Rag/Joplin - preformed by Benjamin Loeb, pianoOver the Rainbow/Arlen- preformed by Allison Charney, soprano; Benjamin Loeb, pianoMy Ship/Weill - preformed by Allison Charney, soprano; Benjamin Loeb, pianoVem ća, branquinha/Nazareth - preformed by Benjamin Loeb, pianoZuiegnung/R. Strauss - preformed by Allison Charney, soprano; Craig Ketter, pianoIn its pre-pandemic live incarnation - the innovative classical concert series PREFORMANCES with Allison Charney invited audiences to experience celebrated classical musicians in anticipation of their upcoming engagements on the world’s most prestigious stages. Now that live classical music has all but stopped, thus curtailing any upcoming engagements, acclaimed opera singer and series founder and host, Allison Charney, asks the existential question: If classical musicians are playing music but there's no one there to hear it, have they really made music?Her answer: Not without an audience.Enter PREFORMANCES: Season of Hope - the podcast!In these half-an-hour long episodes, Charney continues the PREFORMANCES mission of blurring the traditional barriers which exist between classical musicians and their audiences by providing an intimate and personal glimpse into top-level artists' practices along with her signature "un-Google-able" insights - all with a focus on the series' theme of hope. In addition, Allison and her guests will perform multiple musical selections on each episode.Throughout its previous eleven seasons, PREFORMANCES With Allison Charney has presented over 100 of the preeminent musicians of our time. Notable appearances include those by New York Philharmonic Music Director Alan Gilbert, Metropolitan Opera stars William Burden and Maria Zifchak, “Queen of the Flute,” Carol Wincenc, violinist Kelly Hall-Tompkins of Broadway’s “Fiddler on the Roof” fame, and concert pianists Joel Fan and Navah Perlman, just to name a few. In addition, the series has presented new classical works by composers such as Michael Ching, Moshe Knoll, Mary Ellen Childs, Russell Platt and Kim D. Sherman. Live concerts typically run an hour and a half, with no intermission.PREFORMANCES with Allison Charney embraces artists, audiences and music of all backgrounds, ethnicities, orientations and world-views. PREFORMANCES denounces racism and bigotry of any kind. We stand committed to equality, diversity, accessibility and combatting injustice; anything less is unacceptable.Support the show (http://www.preformances.org/support/)

Tchaikovsky’s most beloved opera is a breathtaking and unique work about the human heart. Seattle Opera Dramaturg Jonathan Dean introduces Eugene Onegin, with musical examples from Seattle Opera’s 2002 archival recording of Eugene Onegin, starring Vladimir Chernov as Onegin, Kurt Streit as Lensky, Helene Schneidermann as Olga, Nuccia Focile in her Seattle Opera debut as Tatyana, and Alexander Anisimov as Prince Gremin. Andreas Mitisek conducted the chorus and orchestra of Seattle Opera. Excerpt of Lensky’s aria sung by William Burden at the 2014 Speight Celebration, conducted by Sebastian Lang-Lessing.

Seattle Opera Dramaturg Jonathan Dean introduces several different types of tenor, from the agile-voiced, graceful and elegant tenori di grazia, to the heroic and powerful tenori di forza, and all points in between. Includes musical examples featuring many favorite Seattle Opera tenors: Antonello Palombi, Edgardo Rocha, Laurence Brownlee, William Burden, Matthew Polenzani, Ben Heppner, James McCracken, Stefan Vinke, Francesco Demuro, Joseph Calleja, Alasdair Elliott, Peter Kazaras, Marcello Giordani, Neil Shicoff, Russell Thomas, Franco Corelli, and Vinson Cole.

Tchaikovsky’s most beloved opera is a breathtaking and unique work about the human heart. Seattle Opera Dramaturg Jonathan Dean introduces Eugene Onegin, with musical examples from Seattle Opera’s 2002 archival recording of Eugene Onegin, starring Vladimir Chernov as Onegin, Kurt Streit as Lensky, Helene Schneidermann as Olga, Nuccia Focile in her Seattle Opera debut as Tatyana, and Alexander Anisimov as Prince Gremin. Andreas Mitisek conducted the chorus and orchestra of Seattle Opera. Excerpt of Lensky’s aria sung by William Burden at the 2014 Speight Celebration, conducted by Sebastian Lang-Lessing.

‘It’s romantic opera, reinvented for the twenty-first century.’ In this episode of the Glyndebourne podcast we explore Samuel Barber’s Pulitzer Prize-winning opera, Vanessa, a story of longing, loss and manipulation set to a sumptuous score. Contributions come from critic David Benedict, opera director Keith Warner and Alexandra Coghlan, Glyndebourne’s Opera Content Specialist. Presenter: Katie Derham Produced by Katherine Godfrey for Whistledown Productions for Glyndebourne Festival 2018 The music in this podcast is from the Chandos and BBC Co-production of Vanessa. Music courtesy of G. Schirmer Inc (Chester Music Ltd). Leonard Slatkin conducts the BBC Symphony Orchestra, the role of Vanessa is performed by Christine Brewer with Susan Graham as Erika, Catherine Wyn-Rogers as The Old Baroness and William Burden as Anatol. Image: Shadric Toop painted collage Images: Wikimedia Commons

For this edition of In Tune, host Michael Bolton speaks to tenor William Burden, who stars in Silent Night as Nikolaus Sprink, an operatic tenor turned soldier inspires a moment of peace through the sound of his voice and the power of music. Mr. Burden talks about the thrill of creating a new opera and losing himself in his characterizations.For tickets and more information on Silent Night, visit http://www.operaphila.org/production/silent-night.

For this edition of In Tune, host Michael Bolton speaks to tenor William Burden, who stars in Silent Night as Nikolaus Sprink, an operatic tenor turned soldier inspires a moment of peace through the sound of his voice and the power of music. Mr. Burden talks about the thrill of creating a new opera and losing himself in his characterizations. For tickets and more information on Silent Night, visit http://www.operaphila.org/production/silent-night.