Podcasts about Wolfgang Amadeus Mozart

GATEWAY CINEMA is a multi-part series of conversations centered on key ideas in film studies. In these conversations, we interpret and celebrate a set of eclectic feature films from across generations and from around the world, including “La Haine”, “Drum”, “Alien 3 (Assembly Cut)”, “Come and See”, “Perfect Days”, “Sweet Smell of Success”, “The Swimmer”, “Amadeus (Director's Cut)”, “Bring Me the Head of Alfredo Garcia”, “Friday”, “Marie Antoinette”, “The Night of the Hunter”, “Crank” and “Crank 2: High Voltage”, “Portrait of a Lady Fire”, “The Fabulous Baron Munchausen”, “Joker: Folie a Deux”, “Welcome to the Dollhouse”, “Heathers”, and “The Death of Stalin”.***Referenced media in GATEWAY CINEMA, Episode 8:"Alien 3 (Assembly Cut)” (David Fincher, 1992/2003)“Indiana Jones and the Temple of Doom” (Steven Spielberg, 1984)“Ghostbusters” (Ivan Reitman, 1984)“Gremlins” (Joe Dante, 1984)“The Karate Kid” (John G. Avildsen)“Purple Rain” (Albert Magnoli, 1984)“Silver Spoons” (Martin Cohan, Howard Leeds, and Ben Starr, 1982-1987)“Red Dawn” (John Milius, 1984)“Stop Making Sense” (Jonathan Demme, 1984)“The Terminator” (James Cameron, 1984)“At the Movies” (Gene Siskel and Roger Ebert, 1982-1986)“Conan the Barbarian” (John Milius, 1982)“Body Double” (Brian De Palma, 1984)“The Killing Fields” (Roland Joffé, 1984)“A Nightmare on Elm Street” (Wes Craven, 1984)“Beverly Hills Cop” (Martin Brest, 1984)“Dune” (David Lynch, 1984)“The Cotton Club” (Francis Ford Coppola, 1984)“The Cotton Club: Encore” (Francis Ford Coppola, 2017)“Starman” (John Carpenter, 1984)“E.T.” (Steven Spielberg, 1982)“The Thing” (John Carpenter, 1982)“Come and See” (Elen Klimov, 1985)“Star Wars” (George Lucas, 1977)“Time Bandits” (Terry Gilliam, 1981)“The Smurfs and the Magic Flute” (José Dutillieu, 1975)“Style Wars” (Tony Silver, 1983)“Mary Poppins” (Robert Stevenson, 1964)Audio quotation in GATEWAY CINEMA, Episode 8:“Amadeus (Director's Cut)” (Miloš Forman, 1984/2002), including “Piano Concerto In E Flat, K. 482; 3rd Movement” (1785), “Die Entfuhrung Aus Dem Serail: Finale” (1781), “Symphony 29 in A Major, 1st Movement” (1774), https://www.youtube.com/playlist?list=PLq6-EneBMiNHmdqqE_5TmkJ9neViFMvTL“Rock Me Amadeus” by Falco (1985), https://www.youtube.com/watch?v=cVikZ8Oe_XA&list=RDcVikZ8Oe_XA&start_radio=1“Purple Rain” (Albert Magnoli, 1984)“Come and See” (Elem Klimov, 1985), including “Requiem in D minor, K. 626: Sequentia, Lacrimosa” by Wolfgang Amadeus Mozart (1791)

Merriam-Webster's Word of the Day for August 5, 2025 is: contentious • kun-TEN-shuss • adjective Contentious describes something that is likely to cause people to argue or disagree or that involves a lot of arguing. When used of a person, contentious describes someone likely or willing to argue. // I think it's wise to avoid such a contentious topic at a dinner party. // After a contentious debate, members of the committee finally voted to approve the funding. // The dispute involves one of the region's most contentious leaders. See the entry > Examples: “Next up will be Peter Shaffer's ‘Amadeus,' which opened in 1979 and won the Tony for best play in 1981 with Ian McKellen winning lead actor honors. ... The story is a fictional account of the contentious relationship between Wolfgang Amadeus Mozart and his rival, Antonio Salieri, the court composer of the Austrian emperor.” — Jessica Gelt, The Los Angeles Times, 12 June 2025 Did you know? If everyone has a bone to pick now and then, contentious types have entire skeletons. While English has plenty of words for people prone to fighting—combative and belligerent among them—contentious implies a fondness for arguing that others find particularly tedious or wearying. Thankfully, even the most contentious cranks and crabs among us have no cause to quibble over the history of the word contentious, as its origins are very clear: contentious comes (by way of Middle French) from the Latin adjective contentiōsus, meaning “persistent, obstinate, argumentative, or quarrelsome.”

São diversas as histórias e lendas ao redor da figura de Wolfgang Amadeus Mozart. Mas se algo é certo, é que a beleza das mulheres e o sabor do vinho foram alguns motivos para suas composições. Conhece essa história?

This Day in Legal History: Switzerland's Federal CharterOn August 1, 1291, the seeds of what would become modern Switzerland were planted with the signing of the Federal Charter, or Bundesbrief, by the cantons of Uri, Schwyz, and Unterwalden. This wasn't the dramatic formation of a nation-state as we think of it today—it was three rural Alpine communities making a legal pact for mutual defense and cooperation in the face of growing Habsburg pressure. The document itself is barely over 300 words long, written in Latin, and mostly focuses on conflict resolution and how not to stab each other in the back (literally and figuratively). But make no mistake, this was a radical assertion of local legal autonomy during a time when imperial rule was the norm.The Federal Charter stands as an early example of federalism—three small political entities entering into a horizontal, legally binding agreement without ceding total sovereignty to a monarch or emperor. In legal terms, it was more covenant than constitution, but its emphasis on mutual aid, lawful arbitration, and collective security laid the groundwork for Switzerland's famously decentralized structure. The signatories agreed to resist foreign judges and unlawful acts of violence, a precursor to ideas we now enshrine in due process and the rule of law.This wasn't a flashy revolution. There were no declarations of independence or fiery speeches. Just some pragmatic legalese scratched onto parchment that said, in effect, “Let's have each other's backs, settle disputes fairly, and not get bossed around by some distant duke.” Over time, this unassuming agreement evolved into the Swiss model of federalism and neutrality that still defines the nation today. It's not just legal history—it's a reminder that even minimalist governance structures can have maximal staying power.Federal judges who issued rulings against Donald Trump's policies have come forward with disturbing accounts of harassment, threats, and violent intimidation. At a “Speak Up For Justice” event, five judges—including Chief U.S. District Judge John McConnell—described receiving death threats, being targets of “swatting” incidents, and even having pizzas delivered to their homes under the name of a murdered judge's son. McConnell, who blocked a major White House funding freeze earlier this year, disclosed that he received six credible death threats and over 400 hostile voicemails. One threat involved someone searching the dark web for his address, saying they wanted "Smith & Wesson to pay him a visit."Judge John Coughenour, who ruled against Trump's effort to limit birthright citizenship, recounted a terrifying police raid on his home due to a false murder report. The FBI later alerted him to a bomb threat. Despite being appointed by Republican President Reagan, Coughenour criticized political attacks on the judiciary as damaging to democratic institutions. The White House called the threats unacceptable and emphasized the importance of judicial safety. On the same day as the event, the Senate confirmed Trump's nominee Gadyaces Serralta to lead the U.S. Marshals Service, who pledged to prioritize judge protection.By mid-June, 408 threats against 297 judges had been logged in the fiscal year. Judge Esther Salas, whose son was murdered in 2020, praised the speaking judges for breaking their silence in defense of judicial independence.US judges recount death threats, 'swatting' after rulings against Trump | ReutersAccording to exclusive reporting done by Reuters, the U.S. State Department plans to allocate up to $7.85 million to support deportation operations in Costa Rica, marking a significant expansion of American-backed regional immigration enforcement. The funds, redirected from an economic development account, will be transferred to the Department of Homeland Security, which will coordinate with Costa Rican authorities to carry out deportations of migrants—especially those transiting through the country en route to the U.S.This arrangement resembles a 2024 Biden-era agreement with Panama, where the U.S. financed detention and deportation of migrants moving northward. The new Costa Rica program is framed as a capacity-building effort that will fund deportation logistics and training on asylum screening. Still, critics warn it could deny vulnerable populations fair access to asylum protections.The plan follows a Trump administration request earlier in the year for Costa Rica to accept 200 migrants from Africa, Asia, and Europe previously detained in the U.S. Many of them remain in Costa Rica, raising questions about long-term outcomes. Details on when deportations will begin or the final destination countries remain unclear.Officials have also acknowledged that some migrants are now traveling south through Costa Rica, fleeing northward crackdowns and the end of Biden's humanitarian parole options. The agreement does not require a direct connection between the migrant and the country to which they may be deported, a detail likely to fuel ongoing human rights concerns.Homeland Security Secretary Kristi Noem has been visiting countries throughout Latin America to explore similar arrangements, suggesting this may be part of a broader regional deportation strategy under Trump's immigration policy.Exclusive: US plans to fund deportations from Costa Rica, document shows | ReutersThe U.S. Court of Appeals for the Federal Circuit closely examined whether President Donald Trump overstepped his authority by using emergency powers to impose sweeping tariffs on foreign imports. The legal challenge, brought by 12 Democratic-led states and five small businesses, centers on Trump's use of the International Emergency Economic Powers Act (IEEPA)—a 1977 law typically used for financial sanctions—to justify tariffs against countries like China, Canada, and Mexico. Judges on the panel, many of whom were appointed by Democratic presidents, expressed skepticism, with one noting the law “doesn't even say tariffs.”This is the first major appellate test of Trump's tariff authority, and it comes just as a deadline approaches for new tariff hikes. Trump has used tariffs aggressively in his second term as both an economic and geopolitical tool, citing trade imbalances and foreign inaction on fentanyl as justifications. The challengers argue that only Congress has the constitutional power to impose tariffs, not the president.While the court has allowed the tariffs to remain in place during the litigation, a final ruling could have major implications. A previous lower court decision had already questioned whether IEEPA allows for tariffs tied to longstanding trade deficits. Meanwhile, tariffs have become a significant revenue source, generating over $100 billion so far this fiscal year—money the administration may need after passing new tax cuts.The case won't affect tariffs enacted under other legal provisions, like those on steel and aluminum. Trump's legal team argues that restricting presidential tariff power would hinder trade negotiations. The president has recently secured agreements with the EU and Japan, and is currently working on deals with Mexico and others to avoid further tariff hikes.US appeals court scrutinizes Trump's use of tariffs as trade deadline looms | ReutersThis week's closing theme is by Wolfgang Amadeus Mozart, a composer of some note.This week's closing theme is a bright and confident slice of Mozart at his most charming: the Piano Concerto No. 19 in F major, K. 459, first movement, Allegro. Written in 1784 during a period of remarkable productivity, this concerto is one of the six that Mozart composed that year alone—each one displaying a different facet of his evolving style. No. 19 stands out for its buoyancy and rhythmic vitality; it's elegant without being self-serious, energetic but never frantic.Mozart, still in his late twenties, was performing regularly in Vienna, dazzling audiences with works that showcased both his pianistic skill and his compositional inventiveness. This piece was likely written for one of his own concerts, tailored to suit both his technical flair and his subtle wit. The Allegro opens with a playful orchestral theme, crisp and sunny, which soon gives way to the piano's entrance—graceful, witty, and full of character.There's a conversational quality to the movement: the orchestra tosses out ideas, the piano responds, elaborates, jokes, and dances. But beneath its lightheartedness lies Mozart's usual sophistication: unexpected harmonic turns, rhythmic displacements, and crisp motivic development keep the listener alert. The movement doesn't strive for drama or tragedy—it's pure Mozartian joy, rendered in tight musical logic and unfailing charm.As a closer, it offers an ideal farewell note: upbeat, clean, and full of clarity. You leave the room a little taller, a little lighter, like the music has tidied your thoughts and restored your sense of order. Mozart's No. 19 may not be the flashiest of his concertos, but it radiates something rarer: calm confidence, musical humor, and the sense that everything—at least for a few minutes—is exactly where it should be.Without further ado, Wolfgang Amadeus Mozart's Piano Concerto No. 19 in F major, K. 459, first movement, the Allegro. Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

In this week's episode, Derek delves into the enduring keyboard works of Mozart with live CRC performances by pianists Jonathan Biss, Rafał Blechacz, and Barry Douglas with the Camerata Ireland. Adagio in B Minor, K. 540Menuet in D Major, K. 355Jonathan Biss [12/9/2018 performance]Rondo in A Minor, K. 511Rafał Blechacz [4/8/2018 performance]Piano Concerto No. 27 in B‐flat Major, K. 595LarghettoAllegroCamerata Ireland; Barry Douglas, piano/conductor [10/27/2001 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

GATEWAY CINEMA is a multi-part series of conversations centered on key ideas in film studies. In these conversations, we interpret and celebrate a set of eclectic feature films from across generations and from around the world, including “La Haine”, “Drum”, “Alien 3 (Assembly Cut)”, “Come and See”, “Perfect Days”, “Sweet Smell of Success”, “The Swimmer”, “Amadeus (Director's Cut)”, “Bring Me the Head of Alfredo Garcia”, “Friday”, “Marie Antoinette”, “The Night of the Hunter”, “Crank” and “Crank 2: High Voltage”, “Portrait of a Lady Fire”, “The Fabulous Baron Munchausen”, “Joker: Folie a Deux”, “Welcome to the Dollhouse”, “Heathers”, and “The Death of Stalin”.***Referenced media in GATEWAY CINEMA, Episode 4:“Drum” (Steve Carver, 1976)“Shoah” (Claude Lanzmann, 1985)“Paths of Glory” (Stanely Kubrick, 1957)“Platoon” (Oliver Stone, 1986)“Ran” (Akira Kurosawa, 1985)“Solaris” (Andrei Tarkovsky, 1972)“Full Metal Jacket” (Stanley Kubrick, 1987)“Hamburger Hill” (John Irvin, 1987)“Casualties of War” (Brian De Palma, 1989)“Atonement” (Joe Wright, 2007)“Dunkirk” (Christopher Nolan, 2017)Audio quotation in GATEWAY CINEMA, Episode 4:“The Sacred War” by Alexander Vasilyevich Alexandrov and Vasily Lebedev-Kumach (1941), https://www.youtube.com/watch?v=maYCStVzjDs&list=RDmaYCStVzjDs&start_radio=1“Circus” (Grigori Aleksandrov and Isidor Simkov, 1936), including the song “Trip to the Stratosphere”, https://www.youtube.com/watch?v=SCEWd_zDYmc“Drum” (Steve Carver, 1976), including the song “Tell My Story” by Charlie Smalls“Moments in Love” by Art of Noise (1983), https://www.youtube.com/watch?v=cen22TBHo9M&list=RDcen22TBHo9M&start_radio=1“Come and See” (Elem Klimov, 1985), including “Requiem in D minor, K. 626: Sequentia, Lacrimosa” by Wolfgang Amadeus Mozart (1791)

On this episode of Inside the Music, Derek explores works of Mozart following his departure from his home of Salzburg in favor of Vienna. Join us for live CRC performances by the Artemis Quartet and pianist Jonathan Biss.Quartet in G Major, K. 387Allegro vivace assaiMenuettoArtemis Quartet [3/3/2002 performance]Piano Sonata in C Major, K. 545AndanteJonathan Biss [4/15/2009 performance]Piano Sonata in C Minor, K. 457Molto allegroAdagioAllegro assaiJonathan Biss [4/15/2009 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

durée : 00:25:01 - Requiem de Mozart - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur les conditions d'écritures de l'ultime "Requiem" de Wolfgang Amadeus Mozart (1756-1791). - réalisé par : Philippe Petit Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Una proposta sense fronteres dotada d'una aura internacional. Crítica teatral de l'espectacle «Operetta». Dramatúrgia de Jordi Purtí. Arranjaments musicals: Pere Mateu Xiberta i Esteve Palet Mir. Música: Vincenzo Bellini, Georges Bizet, Wolfgang Amadeus Mozart, Jacques Offenbach, Gioachino Rossini, Camille Saint-Saëns, Giuseppe Verdi i Richard Wagner. Intèrprets de Cor de Teatre 2025: Sara Costa, Mariona Ginès i Martina Majó (Sopranos); Sara Gómez i Natàlia Menció (Mezzosopranos); Nataliya Nesterchuk, Laura Pla i Llum Pérez (Contralts); Jordi Forcadell, Eduard Mas i Nasi Marco (Tenors); Aleix Fernández, Enric López i Joan Rigat (Baixos). Escenografia: Xavier Erra. Vestuari: Marta Rafa. Il·luminació: Luis Martí. Direcció de producció i producció executiva: Llorenç Gómez. Direcció tècnica: Joan-Carles Ros. Coordinació de vestuari: Alba Paituví. Tècnic de llums: Antoni Pujol. Tècnic de so: Joan-Carles Ros. Cap tècnic del teatre: Jordi Ballbé. Tècnics del teatre: Aleix Arbonès i Víctor Bartolomé. Màrqueting i comunicació de la companyia: Albert Olivas (Un a un). Màrqueting i comunicació del teatre: Focus. Reportatge fotogràfic: David Ruano. Disseny d’imatge: Isabel Oliver. Disseny gràfic: Estudi Oliver Gràfic. Vídeos i teasers: Quim Paredes. Amb el suport de: Generalitat de Catalunya – ICEC Institut Català de les Empreses Culturals, Diputació de Girona, Ajuntament de Banyoles i Fundació Lluís Coromina. Distribució: Joan Costa. És una producció de Somfònics S.L. Direcció escènica: Jordi Purtí. Direcció musical: David Costa. Reposició: Teatre Condal, Barcelona, 8 juliol 2025. Fitxa artística 2011. Intèrprets Cor de Teatre de Banyoles: Montse Baeza, Carles Besalú, Gerard Capdevila, Mariona Callís, Lluís Coll, David Costa, Paula Costabella, Ginesta Ferrer, Anna Figueras, Lali Figueras, Gemma Fontbernat, Llorenç Gómez, Lluís Gratacós, Arcadi Juncosa, Alicia Lorente, Iona Llagostera, Eduard Mas, Albert Massip, Natasha Nesterchuck, Laura Pla, Adriana Planagumà, Pere Quintana, Joan Rigat, Rosa Rigau, Mònica Vilà i Joan Vilà. Escenografia: Montse Baeza i Pablo Paz. Vestuari: Rosa Lugo. Il·luminació: Ramón Rey. So: Joan-Carles Ros "Rosky". Maquillatge i perruqueria: Montserrat Oliveras. Assessorament moviment ballet: Anna Sarró. Producció: El Canal Centre d'Arts Escèniques Salt / Girona i Simfònics. Direcció escènica: Jordi Purtí. Direcció musical: David Costa. Sala Gran, Teatre Nacional de Catalunya, Barcelona, 15 maig 2011. Veu: Andreu Sotorra. Música: Operetta. Interpretació: Cor de Teatre. Composició: Diversos autors. Àlbum: Operetta, 2011.

Inside the Music continues exploring the music of Mozart, this time his compositions for wind instruments. Join Derek Delaney, Artistic Director of Capital Region Classical, and live CRC performances by the Nash Ensemble, wind soloists of the Chamber Orchestra of Europe, and horn player Richard Watkins.Oboe Quartet in F Major, K. 370AllegroAdagioRondeau: AllegroThe Nash Ensemble of London; Gareth Hulse, oboe [5/10/2001 performance]Horn Quintet in E‐flat Major, K. 407AllegroThe Nash Ensemble of London; Richard Watkins, horn [4/11/2003 performance]Wind Serenade in C Minor, K. 388AllegroAndanteMenuetAllegroWind Soloists of the Chamber Orchestra of Europe [3/1/1997 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

durée : 01:28:38 - Une heure et plus, un compositeur : Wolfgang Amadeus Mozart - par : Aurélie Moreau - Né à Salzbourg en 1756, enfant prodige révélé dans les cours d'Europe, Mozart compose sa première symphonie à 8 ans, son premier opéra à 12. Mais ce génie précoce est un homme libre. À Vienne, il s'émancipe des puissants, refuse les contraintes et choisit d'écrire pour lui-même. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In this episode, we talk about these transitional chapters between the events at Lyme and the move to Bath. We consider the position of the old nurse in the Musgrove household, how Anne is feeling a bit sorry for herself, the delightful scenes with the Crofts and with Charles and Mary, how Mr Elliot is described as ‘underhung', and the way Anne and Mr Elliot get on well with each other.The characters we discuss are Mr and Mrs Musgrove. In the historical section, Ellen talks about Bath, and for popular culture Harriet discusses the 2019 YouTube series Rational Creatures.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Noel Streatfeild, Gran-Nannie (1976) and Ballet Shoes (1936)Novels of Charlotte M. YongeEvelyn Waugh, Brideshead Revisited (1945)Alexander Pope, ‘The Rape of the Lock‘ (1712)Historical discussion:The Venerable Bede (c.672-735)Nennius (9th century Welsh monk)Google map of locations in Persuasion, zoomed in on BathPopular culture discussion:Rational Creatures (2019, YouTube) – starring Kristina Pupo and Peter GiesslHarriet's interview with the creators of Rational CreaturesCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Inside the Music begins its exploration of the music of Mozart, starting with the composer's earlier works as he matured from being a child prodigy. Join Derek, Artistic Director of Capital Region Classical, as he delves into live CRC performances by the Ensemble Haydn-Berlin, Budapest Strings, and pianist Rafal Blechacz.Symphony No. 28 in C Major, K. 200Allegro spiritosoAndanteMenuetPrestoEnsemble Haydn‐BerlinHansjörg Schellenberger, conductor [10/14/2000 performance]Divertimento in F Major, K. 138AllegroAndantePrestoBudapest Strings [11/13/2002 performance]Piano Sonata in A Minor, K. 310Allegro maestosoAndante cantabile con espressionePrestoRafal Blechacz [4/8/2018 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Die Motette "Exsultate, jubilate": eine Melodie des Himmels, komponiert von einer jugendlichen, unbeschwerten Seele: dem gerade mal 17-jährigen Wolfgang Amadeus Mozart. BR-KLASSIK hat mit der Sopranistin Edith Wiens über dieses Starke Stück gesprochen.

Wolfgang Amadeus Mozart - Requiem: BenedictusMagdelena Hajossyova, sopranoJaroslava Horska, contralto Jozef Kundlak, tenor Peter Mikulaslk, bass Slovak Philharmonic Orchestra Zdenek Kosler, conductorMore info about today's track: Naxos 8.573562Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.

Matthew Bannister onHannah Deacon who ran a successful campaign to allow her son – and many others – to be treated with cannabis after he was diagnosed with a rare form of epilepsy. Andrew Norfolk, the journalist who exposed the Rotherham grooming gang scandal.Dame June Clark, the President of the Royal College of Nursing who argued for more education to increase the skills of the nursing profession.Martin Graham the businessman who built his own opera house in the Cotswolds so he could stage Wagner's Ring Cycle. Producer: Ed PrendevilleArchive used: No More Nightingale, BBC, 1991; One O'Clock News, BBC, 03/04/1989; Open Country, BBC Radio 4, 27/06/2019; The Longborough Ring 2024: Wagner – Der Ring des Nibelungen, Longborough Festival Opera, Music Director Anthony Negus, Director Amy Lane; Today, BBC Radio 4, 2013; Utopia: In Search of the Dream, BBC Four, 05/05/2020; Sportsday, BBC News 24, 15/09/2016; BBC Breakfast, BBC, 19/02/2018; This Morning: Should Medical Cannabis Be More Accessible, ITV, Uploaded to YouTube, 29/10/2018; Morning Live, BBC, 07/11/2022; The Today Programme, BBC Radio 4, 19/06/2018; ITV News, ITV, 19/06/2018; Wogan, BBC, 19/01/1990; Raising a Glass to Cheers, BBC Radio 4, 26/07/2012; Cheers, TV Programme, Produced by Charles/Burrows/Charles Productions; Groomed for Sex, BBC Three, 06/12/2011; The Media Show, BBC Radio 4, 27/08/2014; Frontlines of Journalism, BBC Radio 4, 04/07/2023; Symphony No. 39 in E-flat major, KV 543: Adagio. Allegro, Performed by Bruno Walter, BBC Symphony Orchestra, Composed by Wolfgang Amadeus Mozart; Siegfried, Act II Scene 3: Willkommen, Siegfried, Performed by Manfred Jung, Heinz Zednik, Bayreuther Festspielorchester, Conductor Pierre Boulez, Composed by Richard Wagner; Le nozze di Figaro, K.492, Act 3: Ricevete, o padroncina, Performed by Radio-Symphonie-Orchester Berlin, RIAS Kammerchor, Conductor Ferenc Fricsay, Composed by Wolfgang Amadeus Mozart; Das Rheingold, Scene 1: Lugt, Schwestern! Die Weckerin lacht in den Grund, Performed by Norma Sharp, Ilse Gramatzki, Marga Schiml, Hermann Becht, Bayreuther Festspielorchester, Conductor Pierre Boulez, Composed by Richard Wagner

Today, we're celebrating nothing but music with three stops! First up is Opera Mississippi as they present: Wolfgang Amadeus Mozart's "THE MAGIC FLUTE," happening April 26th in Clinton, then it's stop in Natchez with blues Musician, Vasti Jackson at the Natchez Festival of Music's: BB, King of the Mississippi Blues concert, April 26th, before a final stop at Martin's Downtown in Jackson to catch Tennessee's own Southern Avenue tear up the stage! We'll check out what's happening around your neck of the woods! Stay tuned, buckle up and hold on tight for your Next Stop, Mississippi!Watch this episode on MPB's YouTube Channel: Next Stop, Mississippi | THE MAGIC FLUTE, Natchez Festival of Music, & Southern AvenueNext Stop, Mississippi is your #1 on-air source for information about upcoming events and attractions across the state. Get to know the real Mississippi! Each week the show's hosts, Germaine Flood and entertainment attorney Kamel King, highlight well-known and unknown places in Mississippi with the best food, parks, music and arts. Check out our Sipp Events calendar to help plan your next trip! Hosted on Acast. See acast.com/privacy for more information.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Serenade in C Major, K. 648 "A Very Little Night Music" I: March by Wolfgang Amadeus Mozart, recorded by Gewandhausorchester & Herbert BlomstedtSong 1: Funky Situation by The Commodores (1977)Song 2: You Know You're Right by Nirvana (2002)Song 3: Making Cash Money by Busy Bee (1982)Song 4: Another Day in the Sun by La La Land Cast (2016)Song 5: One by Bee Gees (1989)Song 6: I Miss Those Days by Bleachers (2017)Song 7: Lay It Down by Al Green (2008)Song 8: That Was Then, This is Now by The Monkees (1986)Song 9: Cinnamon Girl by Neil Young & Crazy Horse (1969)Song 10: Shooting Stars by Bag Raiders (2008)