Podcasts about wolf ferrari

durée : 01:28:36 - En pistes ! du vendredi 27 décembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On termine la semaine en beauté avec le disque de Théotime Langlois de Swarte et du Consort consacré à Vivaldi, mais aussi la musique de Wolf-Ferrari, le nouvel album de la pianiste Eloïse Bella Kohn et toujours le coffret Decca consacré à Jorge Bolet - réalisé par : Philippe Petit

durée : 01:28:36 - En pistes ! du vendredi 27 décembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - On termine la semaine en beauté avec le disque de Théotime Langlois de Swarte et du Consort consacré à Vivaldi, mais aussi la musique de Wolf-Ferrari, le nouvel album de la pianiste Eloïse Bella Kohn et toujours le coffret Decca consacré à Jorge Bolet - réalisé par : Philippe Petit

Ermanno Wolf-Ferrari (1876-1948) – Concerto per violino in Re Maggiore, Op.26 Dedicato a Guila Bustabo (1916-2002) 1. Fantasia                                         [00:05]2. Romanza                                        [10:28]3. Improvviso e Rondo - Finale          [16:42]Guila Bustabo, violinMünchner PhilharmonikerRudolf Kempe, conductor

Susanna: Graziella Sciutti Gil: Renato Césari Sante: Italo Pasini Conductor: Juan Emilio Martini Teatro Colón August 1968 Broadcast

(performed in German as Die Vier Grobiane) Lucieta: Barbara Bonney Margarita: Cornelia Wulkopf Marina: Cheryl Studer Felice: Nancy Shade Magd: Helena Jungwirth Lunardo: Artur Korn Maurizio: Bodo Brinkmann Filipeto: Yoshihisa Yamaji Simon” Hans-Günter Nöcker Cancian: Karl Christian Kohn Conte Riccardo: Christer Bladin Conductor: Alberto Zedda Bayerische Staatsoper 18 April 1982 Broadcast

SynopsisFor most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means, first and foremost, opera composers.But during the 1920s and 1930s, when great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many nonoperatic, symphonic works by modern Italian composers.On today's date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of Concerto dell ‘Estate (Summer Concerto), by contemporary Italian composer Ildebrando Pizzetti.In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari and others.Absent from Toscanini's New York programs were new works by the rising American composers of the day. There were no Toscanini premieres — or even performances — of works by Copland, Harris or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing.American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by “fashion-enslaved, prestige-hypnotized minds ... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.Music Played in Today's ProgramIldebrando Pizzetti (1880-1968): Rondo Veneziano; BBC Scottish Symphony; Osmo Vänskä, cond. Hyperion 67084

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Ermanno Wolf-Ferrari - The Secret of Susanna: Overture Oveido Filarmonia Friedrich Haider, conductor More info about today's track: Naxos 8.573582 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Ermanno Wolf-Ferrari: The Secret of Susanna: Overture Oveido Filarmonia Friedrich Haider, conductor More info about today's track: Naxos 8.573582 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

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durée : 01:45:55 - Été Classique Après-midi du lundi 11 juillet 2022 - par : Benjamin François - "Ravi de passer toute une semaine d'Été classique avec vous, et un programme tutti-frutti, entre musiques anciennes et du 20e siècle. Nous commençons cette semaine avec Charles Koechlin, un symphoniste français plutôt oublié ... " Benjamin François - réalisé par : Céline Parfenoff

Iniciamos una serie de programas en los que trataremos de estudiar las principales óperas de la historia basadas en las obras del dramaturgo inglés, así como de hablar de los principales cantantes que las han defendido. Arrancamos con La fierecilla domada y escuchamos fragmentos del sainete de Chapí Las bravías dirigido por Ataúlfo Argenta. Luego radiamos la obertura de la ópera de Wagenaar Feeks De getemde por Kondrachin y la Orquesta del Concertgebouw. A continuación el aria Un orso in musoliera de Sly de Wolf-Ferrari por Roberto Alagna. Nos trasladamos enseguida a la tragedia de Romeo y Julieta. Sobre ella Bellini compuso I Cauleti e i Montecchi. De esta ópera traemos dos ejemplos, sendas arias de Romeo y de Julieta: Lieto del dolce incarco… Ascolta. Se Romeo t’uccise un figlio y Eccomi in lieta vesta… O quante volte en las voces de Elina Garança y Mariella Devia respectivamente. Escuchar audio

Ermanno Wolf-Ferrari (1876-1948) – Concerto per violino in Re Maggiore, Op.26 Dedicato a Guila Bustabo (1916-2002) 1. Fantasia                                         [00:05]2. Romanza                                       [10:28]3. Improvviso e Rondo - Finale        [16:42]Guila Bustabo, violinMünchner PhilharmonikerRudolf Kempe, conductor Recording Dates: 1972

Chaque jour Nicolas Blanmont met en avant une nouveauté parmi les sorties discographiques classiques.

For most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means first and foremost OPERA composers. But during the 1920s and 1930s, when the great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many non-operatic, symphonic works by modern Italian composers. On today’s date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of the “Concerto dell ‘estate” or “Summer Concerto of the contemporary Italian composer, Ildebrando Pizzetti. In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari, and others. Absent from Toscanini’s New York programs were new works by the rising AMERICAN composers of the day. There were no Toscanini premieres—or even performances—of works by Copland, Harris, or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing. The American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by (quote): “fashion-enslaved, prestige-hypnotized minds... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.

For most music lovers, the phrase “Italian composers of the 19th and 20th centuries” means first and foremost OPERA composers. But during the 1920s and 1930s, when the great Italian opera conductor Arturo Toscanini was music director of the New York Philharmonic, American audiences heard many non-operatic, symphonic works by modern Italian composers. On today’s date in 1929, for example, Toscanini led the New York Philharmonic in the world premiere performance of the “Concerto dell ‘estate” or “Summer Concerto of the contemporary Italian composer, Ildebrando Pizzetti. In addition to premieres by Pizzetti, New York audiences heard recent Italian symphonic works by Respighi, Tommasini, Martucci, Castelnuovo-Tedesco, Wolf-Ferrari, and others. Absent from Toscanini’s New York programs were new works by the rising AMERICAN composers of the day. There were no Toscanini premieres—or even performances—of works by Copland, Harris, or Piston. Those composers had to look to the Boston Symphony under Serge Koussevitzky if they wanted a hearing. The American composer Daniel Gregory Mason complained in 1931 that the Philharmonic was run by (quote): “fashion-enslaved, prestige-hypnotized minds... totally devoid of any American loyalty to match the Italian loyalty” that was, as Mason admitted, “rather likeable” in the charismatic Italian maestro.

From the Producer's Office is a series of informal podcasts with Opera Holland Park’s Director of Opera, James Clutton. In conversation with creatives and collaborators across the industry, we explore the process of putting opera on stage, and how the artists involved approach their craft. In this fifth episode, James is joined by John Wilkie and John Andrews, who directed and conducted our 2019 production of Wolf-Ferrari's romantic comedy, Il segreto di Susanna.

durée : 01:57:50 - En pistes ! du vendredi 27 septembre 2019 - par : Emilie Munera - Dans En Pistes ce matin : un hommage à Paul Badura-Skoda récemment disparu, le pianiste François Dumont joue Ravel aux côté de l'Orchestre National de Lyon que dirige Leonard Slatkin - réalisé par : Lionel Quantin

"I'm a maid mad to marry And will take double-quick Any Tom, Dick or Harry, Any Tom, Harry or Dick!" - Lois Lane / Bianca, in Cole Porter's Kiss Me, Kate We're back with episode 10! Today I explore the critical and theatrical history of The Taming of the Shrew, from folk tales to musicals, from the Victorians to vaudeville, from an overacting Christopher Sly to Hollywood's take on the rebel. Come join me!   You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can subscribe to the podcast at iTunes, Stitcher, Soundcloud, or download direct from Libsyn. The Patreon campaign is up and running, with bonus Sonnet episodes! We also have a brand spanking new Spotify playlist, which will be updated as we work through the plays. Key links below. You can also visit the bibliography page here, which is a work in progress. Links mentioned: BBC's Upstart Crow Aarne-Thompson classification system for folklore narratives. The story of "Ledasha" 1550s ballad: “A Merry Jest of a Shrewd and Curst Wife Lapped in Morel’s Skin for Her Good Behaviour” George Gascoigne, Supposes Ovid, Metamorphoses 1601 anecdote about William "the Conqueror" Shakespeare John Fletcher, The Woman's Prize, or the Tamer Tamed (1611) The Enid Blyton Society John Lacy, Sauny the Scot; or, The Taming of the Shrew: A Comedy David Garrick, Catharine and Petruchio 1976 American Conservatory Theatre production on Youtube, starring Marc Singer and Fredi Olster Kiss Me Petruchio (1978) on Youtube The Taming of the Shrew (2012), Globe Theatre production on DVD, starring Samantha Spiro (Kate) and Simon Paisley Day (Petruchio) The Taming of the Shrew (1929), d: Sam Taylor, starring Mary Pickford (Katharina) and Douglas Fairbanks (Petruchio) on Dailymotion The Taming of the Shrew (1967), d: Franco Zeffirelli, starring Elizabeth Taylor (Kate) and Richard Burton (Petruchio) The Taming of the Shrew (1980), BBC, d: Jonathan Miller, starring Sarah Badel (Kate) and John Cleese (Petruchio) Vermeer’s music lesson - copied in Miller's production Pieter Janssens Elinga - Interior with Painter, Woman Reading and Maid Sweeping [1668] The Taming of the Shrew (1994) from Shakespeare: The Animated Tales on Dailymotion 10 Things I Hate About You (1999; d: Gil Junger), starring Julia Stiles (Kat) and Heath Ledger (Patrick) Atomic Shakespeare from Moonlighting, with Cybill Shepherd and Bruce Willis - cropped version on Youtube ShakespeaRe-Told: The Taming of the Shrew (2005; d: David Richards) Shakespearean Whodunnits (1997): Murder Mysteries based on the Bard, including The Taming of Lord Thomas Vinegar Girl (2016) by Anne Tyler, adapted from The Taming of the Shrew as part of the Hogarth Shakespeare series. Wolf-Ferrari, Sly (opera) - review of the 2002 Met Opera production starring Placido Domingo, at the New York Times Kiss Me Kate (1948) by Cole Porter - 1999 production on Youtube Art inspired by The Taming of the Shrew Music clips: Nino Rota, soundtrack to Zeffirelli's "The Taming of the Shrew", 1967 (Columbia Picutres, US / Italy) orchestra conducted by Carlo Savina -Nocturne -In the House of Petruchio Cole Porter, Kiss Me Kate, 2000 Broadway cast recording: Stanley Wayne Mathis (Paul) and company "Come, Kiss Me Kate" from Ross W. Duffin's Shakespeare's Songbook Luciano Michelini, ‘Frolic’, from Curb Your Enthusiasm, 2000 – present Hans Werner Henze, Royal Winter Music: First Sonata on Shakespearean Characters (1975-76), movement based on Richard of Gloucester Porter, Kiss Me Kate, 1999 London cast, Nancy Kathryn Anderson (Lois Lane / Bianca) and company Letters to Cleo, I Want You to Want Me, from 10 Things I Hate About You (1999) Porter, Kiss Me Kate, 2014 BBC Proms, Michael Jibson & James Doherty (Gangsters) Reference: Garner, Shirley Nelson. "The Taming of the Shrew: Inside or Outside the Joke?." "Bad" Shakespeare: Revaluations of the Shakespeare Canon. Ed. Maurice Charney. Fairleigh Dickinson University Press, 1988. p105-19.

Aside from the wit and charm of the libretto and music, the one act farce for two singers and a silent actor, Il segreto di Susanna, is known for only one thing: the fact that its heroine smokes. So how did Wolf-Ferrari come to write this particular comedy in 1909? To put Il segreto di Susanna in context, we brought together Donald Macleod of BBC Radio 3, Josh Spero, author and art critic, and Dr Rosemary Elliot of the University of Glasgow. Il segreto di Susanna is at Opera Holland Park this summer in a Double Bill with Tchaikovsky's Iolanta from 22 July-3 August. Tickets are on sale now: http://bit.ly/2PRWoxR

Melbourne born soprano Maureen Howard was beloved by audiences and critics alike. At twelve years of age, she was a regular voice on the weekly 3DB Radio programme Swallows Juniorsand she later won the Vocal Section of television’s Swallow’s Parade. Though she studied singing from an early age, she wanted to be a hairdresser and, it was serendipitous that one of her ‘clients’ was associated with the two major theatre entrepreneurs J.C. Williamson and Garnet H. Carroll Management. A simple conversation during a hairdressing appointment gained Maureen a stage audition for J.C.Williamson at Her Majesty’s Theatre in Melbourne . They had just opened their production of My Fair Lady. The following week, the same ‘client’ arranged an audition for Garnet H. Carroll at the Princess Theatre in Melbourne and she was immediately offered a contract for Chorus - and later ‘stand-by’ for Marian the Librarian - in The Music Man. As would occur many times during her early career, Maureen went on in the star’s role. In April of 1961, she was cast in Lock Up Your Daughters with an additional song especially written for her character by the conductor Dobbs Franks. In August that year, she performed in Loesser’s Most Happy Fella with Inia Te Wiata and Ronal Jackson. Later that year, Garnett H. Carroll Management cast her as June Bronhill’s ‘stand-by’ in The Sound of Music and, again, Maureen was frequently seen in the role of Maria. In 1962, Maureen Howard won First Prize in the celebrated Sun Aria and left her contract for The Sound of Music. She was a frequent face and voice on television especially on the popular Sunny Side Up in 1963.After study, a year in Italy and then London – with the noted teacher Vera Rózsa - her operatic career started with Puccini’s Tosca in 1967 – starting her career at the top – with the Elizabethan Trust Opera. The production opened at the Perth Festival on February 11th and featured Reginald Byers and the Hungarian baritone Alexander Major as Cavaradossi and Scarpia along with the twenty-seven years old Maureen Howard. Her operatic debut was a success, with one critic writing “She may not be as imperious as some Toscas, but she certainly is more vocally secure than many … A powerful voice which is always beautifully controlled, and dominated the stage.”The same year, she performed Zerlina in Don Giovanni with a stellar cast featuring Neil Warren-Smith, Marcella Reale, Rosemary Gordon, Robert Gard, Ronald Maconaghie and John Germain. It was a controversial production directed by the young Jim Sharman. A production of Die Fledermaus as Rosalinda (and June Bronhill as the maid, Adele) was a hit with audiences. Next came performances of Venus in Tannhäuser, Tebaldo in Don Carlo, Liù in Turandot, Micaela in Carmen and the cover of Minnie in the Australian premiere of Puccini’s La fanciulla del West. Her career reached a new high with her assumption of Cio Cio San in Madama Butterfly in 1969 with a new production mounted especially for her talents. As a company member, she was also cast as Felice in Wolf-Ferrari’s School for Fathers, Josephine in HMS Pinafore, Elsie Maynard in Yeoman of the Guard along with Giulietta in a concert version of The Tales of Hoffmann.Along with Cio Cio San in Madama Butterfly, the roles of Nedda in Pagliacci and Musetta in La bohème fitted Maureen Howard to a tee. To many audiences, her performances in all three roles have never been surpassed by an Australian born performer. She created Musetta in the famous La bohème production by Tom Lingwood in 1971. “Maureen Howard’s Musetta stole the show … she has the wonderful ability for stance, stage presence and poise of hand which just fix one’s eyes upon her.” During the following season, she performed her first Mimi in the same production. Her debut as Nedda came in 1972 and she was usually cast alongside the Canio of Donald Smith – who also seemed ‘born for the role’. Sparks flew on stage when they ignited each other’s performances. “Maureen Howard was attractively wayward, singing powerfully in the final scene, yet making something tender of the ballatella.”From 1976, Maureen Howard appeared in various operatic and music theatre productions. Man of La Mancha and La belle Hélène were prominent during this time. Other operetta roles ensued – Kathy in The Student Prince, Eurydice in Orpheus in the Underworld, Violet Gray in The Belle of New York, Angèle in The Count of Luxembourg (with Robert Gard as her René), Ottilie Giesecke in White Horse Inn, Marianne in New Moon (with John Larsen as her leading man), Yum Yum in The Mikado and Phyllis in Iolanthe. She returned to Opera Australia for the role of the Foreign Woman in Menotti’s The Consul in 1986 after a decade hiatus from that company.A decade later, she appeared as a guest at the Robert Allman Farewell Gala at the Sydney Opera House singing the Pagliacci duet with her long-time colleague. This led to her being contracted Lady Macbeth in Verdi’s opera and the Witch in Hansel and Gretel. Her stage farewell came in 1998 in Sondheim’s Follies when she performed Heidi Schiller – singing “One More Kiss” to perfection. The career of Maureen Howard was as varied as the roles and styles she played. She was a Star of each medium (radio, television and stage) and was adored by a myriad of fans.

선곡표 1.Dvorak -현악 4중주 12번 F장조 op.96 중 1. Allegro ma non troppo 2.Mendelssohn -교향곡 1번 C단조 op.11 중 3. Menuetto, allegro molto 3.Wolf-Ferrari -볼프 페라리 `성모의 보석` 간주곡 I gioielli della Madonna - Intermezzo 4.Tchaikovsky -현을 위한 세레나데 C장조 op.48 중 1. Pezzo in forma di sonatina 5.Rossini -윌리엄텔 서곡 Guillaume Tell - Overture 6.John Williams - 군대 토카타 Vaughan Williams - Toccata Marziale 7.Brahms- 바이올린 협주곡 D장조 op.77 중 3. Allegro giocoso, ma non troppo vivace 8.Debussy-어린이 차지 (Children's corner) - 제6곡:Golliwogg's cake-walk (골리워그의 케이크워어크)
9.Albeáis -스페인 모음곡 Suite Espanola Op.47 - 5. Asturias (Leyenda) (전설) 10.니나시몬- Mississippi Goddam

Works by Liszt, Villa-Lobos, Rodrigo, Wolf-Ferrari, and Gheorghe performed by Melissa Gurrola, soprano on May 11, 2016

Works by Liszt, Villa-Lobos, Rodrigo, Wolf-Ferrari, and Gheorghe performed by Melissa Gurrola, soprano on May 11th 2016

The  2/8/77 Amsterdam farewell recital of Elizabeth Schwarzkopf, accompanied by Geoffrey Parsons. (70 min.) She performs songs of R.Strauss, Wolf, Schubert, MahlerLiszt, Schumann, Wolf-Ferrari.