POPULARITY
9 episodes with Wozzeck
8 episodes with Wozzeck
5 episodes with Wozzeck
3 episodes with Wozzeck
4 episodes with Wozzeck
2 episodes with Wozzeck
2 episodes with Wozzeck
2 episodes with Wozzeck
2 episodes with Wozzeck
Ambur Braid is a Canadian soprano who's taken on some of the most coveted roles in opera. But it wasn't until she saw Alban Berg's “Wozzeck” as an undergraduate student that she knew opera would be her life. Now, Ambur is playing Marie in a new production of “Wozzeck” coming soon to the Canadian Opera Company. She sits down with Tom Power to talk about this full circle moment and her passion for classical music. Looking for more conversations about opera? Check out Tom's interview with composer John Adams on the role of opera in tackling contemporary issues.
Neste vídeo Gonzalo Córdoba fala sobre as perspectivas técnicas, estéticas e educacionais da iluminação na Argentina. Gonzalo Córdoba é iluminador, cenógrafo, diretor, artista visual, professor e pesquisador. Em produções de ópera, criou a iluminação para Ariadne auf Naxos, Così fan tutte, Candide, Tri Sestri, O Cônsul para Ruben Szuchmacher, O Estupro de Lucrécia, Wozzeck, A Flauta Mágica, O Morcego, Madama Butterfly para Horacio Pigozzi, O Traviata, Italiana em Argel, Serse para Pablo Maritano, cenografia e luzes para Leonor Manso em Lucia de Lammermoor e Tosca, para María Jaunarena em A Flauta Mágica, Outra Volta do Parafuso, Medea, Conde Ory e para Ana D'Anna em El barbero de Sevilla, Bohéme, Rigoletto, Hoffman's Tales, Turandot. Com André Heller Lopez iluminou Don Pasquale, Lucia de Lammermoor, Manon Lescaut, Merry Widow, Faust, Cosi fan tutte e As Bodas de Fígaro.Como diretor: "Proyecto Appia" para Enclaves no CETC, "El Límite de Schiller", iluminação da Puente de la Boca, Linha Azul do metrô de Buenos Aires. Mude a encenação de Emma Bovary e Maní con chocolate 2 com Ana Bovo, bem como "los Persas" de Ésquilo e "La Inhumana" com Alejandra Radano. Dirigiu Marta Roca em "Palabras Cuerdas". Escreveu dois ensaios sobre iluminação cênica "La Trampa de Goethe" e "La Iluminación Escénica", editados por El Rojas.Foi comtemplado com o Prémio Teatros do Mundo por "El Experimento Damanthal" e ACE 2005 por "Las Troyanas" e "Enrique IV"; Meu Deus". Ganhou os prêmios Teatros del Mundo em 2013 e o Maria Guerrero 2014 por Querido Ibsen, Soy Nora, Love Love e Cabaña Suiza, o Prêmio Trinidad Guevara 2015 por "La nueva autoridad" e em 2016 o Prêmio Trinidad Guevara por "Desonrado". Prêmio "Hugo" por Love Musik, 2017 Florencio Sánchez por "Todas as coisas do mundo" e Prêmio KONEX 2011.Atualmente trabalha como Professor na Universidade Nacional das Artes na disciplina de Projeto II, em História da Iluminação Cênica na carreira de design de iluminação de espetáculos, e em Teatro Musical. É membro da Associação ADEA de Designers Cênicos da Argentina.@gonzaloemicordova | SITE: gonzalocordova.com.ar
About Kate: Kate Caliendo enjoys a diverse musical career of symphonic playing, chamber music, recording, soloing and teaching. She is currently Second Horn of the Jacksonville Symphony and has also held Fourth Horn positions with the Houston Symphony and San Antonio Symphony. She is a frequent guest musician with groups including the Kansas City Symphony, Atlanta Symphony, Charleston Symphony, Houston Grand Opera, North Carolina Symphony, Louisiana Philharmonic and the Coastal Symphony of Georgia. As a recorded artist, she is featured on projects with the Kansas City Symphony, Rice University Horn Studio and the Houston Symphony, including their 2018 Grammy Award winning live concert performance of Wozzeck. During the summers, Kate performs with the Bellingham Festival of Music in Washington state, and has also been a musician at Festival Mozaic in California and the Tanglewood Music Center. An avid solo musician, she performed as guest soloist with the Charleston Symphony, and in 2011 commissioned and premiered “Vanishing Points, Six Aural Paintings for Low Horn and Piano” by Rice Doctorate composer Stephen Bachicha. A native of New Jersey, Kate began her musical studies with her father, who was her band director. She was a student of Michelle Baker at the Manhattan School of Music and received her Bachelors and Masters degrees in French Horn Performance from Rice University as a student of William VerMeulen. Her other notable teachers include Dale Clevenger, Julie Landsman, Douglas Lundeen, and Jeff Nelsen.
[18+] After Archie's mid-performance flashback, he finds himself lost. The band, of course, has him covered, even if he doesn't know it yet…Today's story is the second and final part of “Cozy Beginnings” by Herr Wozzeck, who is a composer, violist, Thereminist, and writer based in Boston. They are the author of the novels Whip and Boot and Lost Inside the Blue Line, as well as the poetry collection The Enigma Letters. You can also see them perform with Trio Menagerie, and you can find more of their stories on their FurAffinity account.Last time, Archie suffered a traumatic flashback mid-performance in his first not-safe-for-work show with Dark Tryst that left him rattled, and uncertain of what to do next.Read by Solomon Harries, Cuddly Badger Dad.CW: Sexual Content, Trauma Flashback, Mention of Sexual Assaultthevoice.dog | Apple podcasts | Spotify | Google PodcastsIf you have a story you think would be a good fit, you can check out the requirements, fill out the submission template and get in touch with us.https://thevoice.dog/episode/18-cozy-beginnings-by-herr-wozzeck-part-2-of-2
[18+] Archie joins metal band Dark Tryst on their latest tour. Little does he know all that he's signed up for.Today's story is the first of two parts of “Cozy Beginnings” by Herr Wozzeck, who is a composer, violist, Thereminist, and writer based in Boston. They are the author of the novels Whip and Boot and Lost Inside the Blue Line, as well as the poetry collection The Enigma Letters. You can also see them perform with Trio Menagerie, and you can find more of their stories on their FurAffinity account.Read by Solomon Harries, Cuddly Badger Dad.CW: Sexual Content, Trauma Flashback, Mention of Sexual Assaultthevoice.dog | Apple podcasts | Spotify | Google PodcastsIf you have a story you think would be a good fit, you can check out the requirements, fill out the submission template and get in touch with us.https://thevoice.dog/episode/18-cozy-beginnings-by-herr-wozzeck-part-1-of-2
durée : 00:17:20 - Disques de légende du lundi 13 janvier 2025 - En 1963, Pierre Boulez a 38 ans. Il est déjà bien connu comme compositeur et comme animateur du milieu musical. Mais il commence à peine à faire ses preuves comme chef de grand répertoire...
durée : 00:17:20 - Disques de légende du lundi 13 janvier 2025 - En 1963, Pierre Boulez a 38 ans. Il est déjà bien connu comme compositeur et comme animateur du milieu musical. Mais il commence à peine à faire ses preuves comme chef de grand répertoire...
durée : 01:28:46 - Relax ! du lundi 06 janvier 2025 - par : Lionel Esparza - Quelques millésimes de l'année 1925 : "L'enfant et les sortilèges" de Ravel, la Symphonie n°2 de Prokofiev, le quatuor de Fauré, "Wozzeck" de Berg et le Concerto en fa de Gershwin...
durée : 01:28:46 - Relax ! du lundi 06 janvier 2025 - par : Lionel Esparza - Quelques millésimes de l'année 1925 : "L'enfant et les sortilèges" de Ravel, la Symphonie n°2 de Prokofiev, le quatuor de Fauré, "Wozzeck" de Berg et le Concerto en fa de Gershwin...
durée : 00:03:59 - Le Zoom de France Inter - Wozzeck d'Alban Berg ouvre la saison à l'Opéra de Lyon. Le compositeur s'inspira d'une pièce de Georg Büchner, elle-même tirée d'un fait divers : un homme condamné pour le meurtre de sa maitresse qui, pour la première fois, fait l'objet d'une expertise médicale.
Welcome to the third episode of season 6 of the TFTuesday Podcast! In this episode, Herr joins us to take us on a magnificent journey into the world of opera (and ballet), specifically as it pertains to TF! The crew is greeted with the stunning vistas of Russian, French, and German opera, all while learning just how deep of a rabbit hole transformation goes in the musical arts. Remember to dress up for this one, it's showtime! - - - A podcast for all your TF-ey needs! Featuring in-depth discussions amongst longtime TF artists. The TFTuesday podcast focuses on transformation, mainly in the niche of the furry community. Content warning: This podcast occasionally touches on NSFW topics. Support us on Patreon! https://www.patreon.com/tftuesdaypod Twitter: https://twitter.com/TFTuesdayPod Spotify: https://open.spotify.com/show/1cYhqNGb4033ucISNdxaIk Apple Podcasts: https://podcasts.apple.com/us/podcast/tftuesday-podcast/id1599438910 - - - Featuring Herr Wozzeck: Twitter - https://twitter.com/HerrWozzeck BlueSky - https://bsky.app/profile/herrwozzeck.bsky.social Furaffinity - https://www.furaffinity.net/user/herr-wozzeck/ Hosted by Zil: Twitter - https://twitter.com/Zilepo_Opeliz BlueSky - https://bsky.app/profile/zilepo.bsky.social Furaffinity - https://www.furaffinity.net/user/zilepo Co-hosted by K-Libra: Twitter - https://twitter.com/The_K_Libra BlueSky - https://bsky.app/profile/k-libra.bsky.social Mastodon - https://transfur.social/@k_libra Art by HoneyBear, K-Libra, and SpelunkerSal: https://bsky.app/profile/honey-bear.bsky.social & https://bsky.app/profile/k-libra.bsky.social - - - The music used for the intro and outro is [Ambient soundscape with drums by Erokia]; Sounds provided by Erokia/Jordan Powell from Freesound.org
Jules Armstrong's attachment to Charlie grows stronger as they continue moving about the town. Will one thing lead to another…?Today's story is the second and final part of “It Only Takes A Moment” by Herr Wozzeck, who is a composer, violist, Thereminist, and writer based in Boston. They are the author of the novels Whip and Boot and Lost Inside the Blue Line, as well as the poetry collection The Enigma Letters. You can also see them perform with Trio Menagerie, and you can find more of their stories on their FurAffinity account.Read by the Author themselves.thevoice.dog | Apple podcasts | Spotify | Google PodcastsIf you have a story you think would be a good fit, you can check out the requirements, fill out the submission template and get in touch with us.https://thevoice.dog/episode/it-only-takes-a-moment-by-herr-wozzeck-part-2-of-2
Ayako Ohtake, a Sydney-based Japanese soprano singer, hosts monthly music segment called VIVA! Opera for SBS Japanese. - ４月25日アンザックデーの放送。大武さんが選んだのは、第一次世界大戦の時期に生まれたオペラ作品「ヴォツェック」から、夫をなくした母親が歌う異色の子守唄「おいで、坊や！」です。３分ちょっとのベルクの強烈な世界、聞いたことはありますか。
Today we present a poem by Herr Wozzeck, who is a composer, violist, Thereminist, and writer based in Boston. This poem is from their recently-released poetry collection The Enigma Letters, currently out in paperback and ebook formats on Amazon. They are also the author of the novels Whip and Boot and Lost Inside the Blue Line. You can also see them perform with Trio Menagerie, and you can find more of their stories on their FurAffinity account.Read by Ta'kom Ironhoof, the Equine Charmerthevoice.dog | Apple podcasts | Spotify | Google PodcastsIf you have a story you think would be a good fit, you can check out the requirements, fill out the submission template and get in touch with us.https://thevoice.dog/episode/murky-waters-by-herr-wozzeck
In unserer Reihe über Opernfiguren, die Sie kennen sollten, beleuchten wir heute Alban Bergs "Wozzeck". Franz Wozzeck durchsteht und durchzittert sein Leben in Bergs Oper als riesigen, verschlingenden Alptraum, mit teilweise psychedelischer Musik.
Women of Substance with Dr. Scarlett Horton Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171
Women of Substance with Dr. Scarlett Horton Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171
JAZZ FEED lundi, mercredi et vendredi à 17h30. Serge Mariani présente régulièrement un choix d'albums sortis récemment ou sur le point de l'être, des extraits de leur musique, des informations, des commentaires, des impressions, des émotions, c'est la nouvelle émission de Serge Mariani sur Art District Radio: JAZZFEED ! Au programme de cet épisode 2: l'album JEU de Louise Jallu / Oizel de Marion Rampal et Modular de Srdjan Ivanovic En ce début 2024, Srdjan Ivanovic nous propose de découvrir avec l'album Modular d'autres facettes de sa créativitéetdesoninspiration.Silestraditionsdes Balkans, de la Bosnie, de la Grèce, ne sont jamais très éloignées dans l'esprit et le coeur du compositeur commede l'instrumentiste, l'ouverture sur les autres cultures et une vision personnelle riche du jazz des plus récentes décennies,participentàconféreràl'albumModulartoute sa saveur. Pour Srdjan Ivanovic, la modulation est au coeur de toute vie et spécialement de l'univers infini des sonsdont la musique nous permet d'entrevoir la puissance créatrice. Le plus remarquable dans l'art de Marion Rampal, c'est certainement cette maîtrise d'une alchimie qui fait de savoix l'instrument le plus délicat et transforme son grain, chaque syllabe, chaque phonème, presque chaque lettre,en perles de musique. De chaque mesure de ses chansons, émane aussi un parfum unique, intime, organique. Ça sent lebayouetMarseille,LaNouvelle-Orléansetlescalanques. Le travail réalisé en studio avec le guitariste Matthis Pascaud depuis 2020 a trouvé au fil des compositions de Oizel une matière propice à ce qu'il n'est pas exagéré d'appeler son génie des climats. Et Marion Rampal nous ensorcelle à nouveau au cours d'un genre de descente tranquille d'un fleuve sûr de sa puissance, un fleuve nommé Oizel, dont les larges méandres nous laissent le temps de savourer sa musicalité naturelle et nous invite à nous baigner dans l'eau limpide de sa poésie. Il en fallait de la force pour se libérer de l'attraction d'un astre aussi puissant que la musique, et la stature, d'Astor Piazzolla. C'est pourtant ce qu'a réussi Louise Jallu avec son nouvel album, JEU. Le Schumann et Wozzeck de l'ouverture, un adagio de Bach transfiguré un peu plus loin, et surtout une exceptionnelle version bandoneonienne jallumée et cubiste du Bolero de Ravel, affirment une volonté de mettre sereinement le cap sur quelques-uns des horizons les plus lumineux de la musique universelle. Mathias Lévy, Karsten Hochapfel, Grégoire Letouvet, Alexandre Perrot et Ariel Tessier sont de son équipage, sans oublier Bernard Cavana, que l'on retrouve avec plaisir au poste éminent de directeur artistique et d'arrangeur éclairé. AvantqueLouiseetsonéquipagenereviennentaccoster au port de Gennevilliers après leurs aventures extraordinaires sur les océans de la musique, on aura entendu Georges Brassens dire que « les gens qui écrivent, écriventpourça,pourcréerautrechosequecequi existe ». Et bien je crois que l'on peut en dire autant de la musiquedeLouiseJalludansJEU:ellefaitchanterson bandoneonetl'orchestrequil'accompagnepourcréer autre chose que ce qui existe et cette « autre chose » est magnifique. Programmationmusicale 1- Kapetan Mihalis / Srdjan Ivanovic AlbumModular(sortiele2février2024) Label Rue des Balkans
My friend and fellow opera podcaster Howard Hart introduces the first of this week's Listeners' Favorites episodes, my 2021 tribute to the superb zwischenfach singer Christa Ludwig, who died nearly three years ago. Ludwig was a singer whose repertoire centered around the great German composers but who also sang Verdi and French repertoire with stunning results; a mezzo-soprano who was unparalleled in Wagner, Mahler, and Brahms, but who also sang the great soprano heroines of Richard Strauss; a Lieder singer of great perception and textual acuity whose supple technique nonetheless was centered on legato singing: the greatness of this artist simply cannot be overestimated. I focus on the key composers (Richard Strauss, Gustav Mahler, and Richard Wagner) and conductors (Karl Böhm, Herbert von Karajan, and Leonard Bernstein) with whom she was most closely associated, while also examining some roles that might surprise you: Cenerentola, Amneris and Marie in Wozzeck. Vocal guest stars include Gloria Davy, Victoria de los Ángeles, Reri Grist, Gundula Janowitz, Gwyneth Jones, and Ludwig's one-time husband Walter Berry. Thank you, Howard, for lending your enthusiasm and passion to my podcast in your introduction of one of your (and my) favorite singers. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.
Boult had led the UK premiere of Berg's excoriating setting of Georg Büchner's play about a war-scarred veteran driven to madness and murder in 1934, although only Act II of that performance survives. This complete 1949 recording with the BBC Symphony Orchestra and Heinrich Nillius's Wozzeck and Suzanne Danco's Marie – only the second UK performance – adds to Boult's and the opera's stature on disc. Recorded live in London's Royal Albert Hall, it is a remarkable document of an exhilarating performance.Boult's pioneering championing of ‘new' music is also heard in his recording of Stravinsky's Capriccio, with the BBC SO and the prodigiously gifted Australian Noel Mewton-Wood taking the piano line.TracksCD1Alban Berg (1885-1935)Wozzeck, Op. 7, Act I Scene 1: The Captain's Room (8:25) Scene 2: An Open Field Outside the Town (6:33) Scene 3: Marie's Room (7:54) Scene 4: The Doctor's Study (7:20) Scene 5: Street Before Marie's Door (3:12) Act II Scene 1: Marie's Room (5:05) Scene 2: Street in Town (8:35) Scene 3: Street Before Marie's Door (3:14) Scene 4: Tavern Garden (10:16) Scene 5: Guardroom in the Barracks (4:48) CD2Act III Scene 1: Marie's Room (4:56) Scene 2: Forest Path by the Pool (4:26) Scene 3: A Low Tavern (2:42) Scene 4: Forest Path by a Pool (4:42) Orchestral Interlude – Adagio (3:22) Scene 5: Street Before Marie's Door (1:41) Sir Adrian Boult recalls his years with the BBC Symphony Orchestra, in conversation with Bernard Keeffe (9:17) Igor StravinskyCapriccio (16:54) I. Presto (6:32) II. Andante rapsodico (5:22) III. Allegro capriccioso ma tempo giusto (5:00) Ralph Vaughan WilliamsSymphony No. 4 in F Minor (32:52) I. Allegro (8:11) II. Andante moderato (10:07) III. Scherzo: Allegro molto (5:34) IV. Finale con epilogo fugato: Allegro molto (9:00) Help support our show by purchasing this album at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.
Mit "Wozzeck" landete Alban Berg 1925 einen Opern-Welthit wider Willen und lieferte die Vorlage zur Duschszene in Hitchcocks "Psycho". Berg verarbeitete in dem packenden Außenseiterdrama über einen Soldaten, der zum Mörder seiner Freundin wird, nicht zuletzt eigene Kriegserfahrungen. Von Ben Süverkrüp.
La Voz Humana en la Música - Wozzeck by Radiotelevisión de Veracruz
®Il suo film più celebre è “L'esorcista”, ma la carriera cinematografica di William Friedkin, classe 1939, vanta una lunga serie di titoli, fra cui “Il braccio violento della legge”, che gli valse nel 1971 il Premio Oscar per la miglior regia; “Vivere e morire a Los Angeles” (1985) e i recenti “Bug” (2006) e “Killer Joe”, presentato all'ultima mostra del cinema di Venezia. Nel 2009 al Festival del Film di Locarno è stato insignito del Pardo d'onore alla carriera. Quello che non tutti sanno è che dal 1998 Friedkin è anche attivo come regista teatrale. Il suo “Wozzeck” al Teatro del Maggio Musicale Fiorentino con Zubin Mehta sul podio riscosse subito un immediato e clamoroso successo. Da allora ha sempre alternato l'attività teatrale a quella cinematografica: una sontuosa “Aida” a Torino, “Tannhäuser” e Puccini a Los Angeles, “Salome” a Monaco di Baviera, recentemente “L'affare Makropoulos” a Firenze. E non è forse un caso che i suoi ultimi film siano tratti da drammi del Premio Pulitzer Tracy Letts. Come nasce l'improvviso amore di Friedkin per il teatro? Che cosa hanno in comune i suoi film, spesso di un crudo realismo e legati all'ambiente della malavita urbana, con i temi, i personaggi, le atmosfere del melodramma? In che rapporti è con il teatro di prosa? Reduce dal soggiorno italiano, rientrato nella "sua" Hollywood, William Friedkin si racconta. Laser ripropone l'intervista al regista americano realizzata da Sabrina Faller nel 2011.Prima emissione: 16 novembre 2011
durée : 00:55:41 - Les Nuits de France Culture - par : Albane Penaranda - Le peintre Bernard Dufour parle de son rapport intime, esthétique et affectif avec deux opéras d'Alban Berg, "Wozzeck" et "Lulu" et explique en quoi les personnages féminins de ces opéras font partie de son univers. En 1998, Sophie Barrouyer invitait dans son émission "Musiques à voir" le peintre Bernard Dufour pour parler de Wozzeck et Lulu, les opéras du compositeur autrichien Alban Berg. Il raconte en quoi il voit une très forte "collusion" entre sa vie et l'ouvre Wozzeck alors que sa première femme s'est suicidée par arme à feu et qu'il a vu son corps ensanglanté. Opéra et peinture, la même quête Peintre des femmes, de l'amour et du désir, Bernard Dufour parle avec passion de la fascination qu'exercent sur lui les personnages de Lulu et celui de Marie dans Wozzeck, en expliquant comment les deux opéras de Berg ont rencontré en lui ce qui est l'objet de sa propre quête à travers la peinture. C'est aussi l'occasion pour Dufour de dire combien il ne croit pas "à ce mythe de la femme", "à cette idéalisation de la femme". Les femmes qu'il a peintes sont les femmes qu'il a aimées mais ne représentent pas l'image iconique de la femme. Et il en profite aussi pour révéler la "place monstrueuse de la jalousie" dans son rapport aux femmes, jalousie qui "permet de théâtraliser la vie" selon lui. Retrouvez l'ensemble du programme d'archives Bernard Dufour, la poursuite du réel, proposé par Albane Penaranda. Par Sophie Barrouyer Musiques à voir - Bernard Dufour, autour de "Wozzeck" et "Lulu" d'Alban Berg (1ère diffusion : 23/04/1998) Avec Bernard Dufour, peintre Avec des extraits de "Wozzeck" et "Lulu" d'Alban Berg Réalisation Jean-Charles Diéval Édition web : Documentation de Radio France
[18+] Today we present a poem by Herr Wozzeck, who is a writer, composer, and musician. He is the Leo Award-winning author of Whip and Boot and Lost Inside the Blue Line. He is also the violist of Trio Menagerie, and is their resident composer and arranger. You can find more of his stories on either FurAffinity or SoFurry. You can also find his stories early, as well as his musical pursuits, on his Patreon.Read by Dralen, the dapper Dragonfox.thevoice.dog | Apple podcasts | Spotify | Google PodcastsIf you have a story you think would be a good fit, you can check out the requirements, fill out the submission template and get in touch with us on Twitter.
durée : 01:28:30 - Simon McBurney, dramaturge et metteur en scène - par : Priscille Lafitte - Homme de théâtre à la tête d'une troupe basée à Londres, Simon McBurney investit le champ de l'opéra, mettant en scène Wozzeck de Berg au festival d'Aix. Aix-en-Provence où « Musique émoi » a posé ses micros pour marquer le 75e anniversaire du festival international d'art lyrique ! - réalisé par : Claire Lagarde
Pietro is now scared out of his mind. What is Lee going to do about it?Today's story is the second and final part of an abridged version of “Le Premiere Jour D'amour” by Herr Wozzeck, who is a writer and musician based in Boston. They are the author of “Whip and Boot” and “Lost Inside the Blue Line”, and the violist of Trio Menagerie. They have decided to raid their old Furry Basketball Association trove for today's Pride month offering. You can find more of their stories on their FurAffinity page, and their SoFurry page.Read for you by Rob MacWolf — werewolf hitchhiker.thevoice.dog | Apple podcasts | Spotify | Google PodcastsIf you have a story you think would be a good fit, you can check out the requirements, fill out the submission template and get in touch with us on Twitter.
Pietro heads to Eureka Springs to play cello for the opera. Little does he know, a charming gentleman is about to change his life forever…Today's story is the first of two parts of an abridged version of “Le Premiere Jour D'amour” by Herr Wozzeck, who is a writer and musician based in Boston. They are the author of “Whip and Boot” and “Lost Inside the Blue Line”, and the violist of Trio Menagerie. You can find more of their stories on their FurAffinity page, and their SoFurry page.Read for you by Rob MacWolf — werewolf hitchhiker.thevoice.dog | Apple podcasts | Spotify | Google PodcastsIf you have a story you think would be a good fit, you can check out the requirements, fill out the submission template and get in touch with us on Twitter.
Tom Services talks to German baritone Christian Gerhaher during rehearsals for Alban Berg's Wozzeck at the Royal Opera House. Having recently recorded all the songs of Robert Schumann as well as Mahler, Brahms and Schubert, Christian reveals how he sees the differing role of the singer when performing lieder and opera, and why he believes celebrating the complexity of classical music will secure its future. Tom also meets singer, multi-instrumentalist and composer Rhiannon Giddens whose opera 'Omar' has just been awarded the Pulitzer Prize in Music. The opera tells the story of Omar Ibn Said, a scholar who was one of tens of thousands of enslaved Muslims who were taken to the United States in the 19th century. Rhiannon discusses the power of collaboration, the future of opera and her ongoing mission to reclaim the history of the banjo as an instrument created by black communities. For Mental Health Awareness Week, we explore the world of gong baths to find out how sound therapy can be used to help reduce levels of anxiety and stress. Tom goes for a gong bath with sound therapist and musician Simone Salvatici and talks to British Academy of Sound Therapy Director Lyz Cooper. Plus, Chris West, author of 'Eurovision! A History of Modern Europe Through the World's Greatest Song Contest', explores how the songs of Eurovision have reflected the traditional music and cultural identity of the countries taking part, as well as telling stories of peace, conflict and resolution since it was established in 1956.
The Rogues (Mercer, Wozzeck, and new recruit Michelle Amar / Murmur) steal a temporal scanner from Corbin Taft Industries. Barry realizes that they're trying to build a Cosmic Treadmill, but will need a vibration engine, and assembles Hartley, Mark, Jaco Birch, and Goldface to steal it before the Rogues can. They decide to do the mission without him until Barry agrees to trust and compensate them. He does so, but Mark betrays the group and reveals his allegiance to the Rogues in exchange for Frost's resurrection. The Rogues intercept Barry's group while the speedster temporarily disables his speed and escapes with the engine and the Rogues. Meanwhile, Khione tries to convince Allegra to stop avoiding Chester. Iris worries that the speedster is the new avatar for the Negative Speed Force. Hartley, Jaco, and Goldface agree to continue assisting Team Flash. Chester informs Team Flash that the Rogues' equipment are advanced Wayne Enterprises designs and Luke Fox mentioned that Ryan Wilder / Batwoman has gone missing. The speedster reveals herself to the Rogues as someone that resembles Ryan.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Avery navigates both his group dynamics and his own demons on the set of Scavenger Hunters in this excerpt from Lost Inside the Blue Line.Today's story is an excerpt from “Lost Inside the Blue Line” by Harry A. Wozzeck, otherwise known to the Voice of Dog as Herr Wozzeck. He has self-published today's excerpted novel: you can find it on Amazon, either in paperback or Kindle formats. You can find other works of his either on his Patreon or his FurAffinity pages.Read for you by Rob MacWolf — werewolf hitchhiker.thevoice.dog | Apple podcasts | Spotify | Google PodcastsIf you have a story you think would be a good fit, you can check out the requirements, fill out the submission template and get in touch with us on Twitter.
Aus dem Wiener Sängerknaben Georg Nigl ist ein Bariton geworden, der auf die ganz besonderen Rollen spezialisiert ist: Orfeo, Wozzeck, Jakob Lenz. Im Februar ist Nigl in der Elbphilharmonie als Alberich in Wagners „Siegfried“ zu erleben. Das Gesprächs-Leitmotiv: Freiheit.
durée : 00:55:41 - Les Nuits de France Culture - par : Albane Penaranda - Le peintre Bernard Dufour parle de son rapport intime, esthétique et affectif avec deux opéras d'Alban Berg, "Wozzeck" et "Lulu" et explique en quoi les personnages féminins de ces opéras font partie de son univers. - invités : Bernard Dufour artiste, peintre, photographe, écrivain
Amb "Wozzeck", Alban Berg va posar damunt de l'escenari les contradiccions de l'
La classe magistral del músic i conferenciant Ramon Gener.
La classe magistral del músic i conferenciant Ramon Gener.
El músic i conferenciant Ramon Gener ens parla sobre aquests artistes.
El músic i conferenciant Ramon Gener ens parla sobre aquests artistes.
Amb "Wozzeck", Alban Berg va posar damunt de l'escenari les contradiccions de l'
durée : 01:28:37 - Jean-François Sivadier, comédien, auteur et metteur en scène - par : Priscille Lafitte - Metteur en scène d'opéra, de Don Giovanni à Wozzeck, Jean-François Sivadier s'intéresse aux pianistes dans son spectacle « Sentinelles ». Pour Musique Emoi, il explique son rapport à la voix et au travail théâtral, lui qui aime tant casser le 4ème mur qui sépare le public de la scène. - réalisé par : Marie Grout
Fuchs, Jörn Florianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei
Der neue Intendant der Wiener Staatsoper Bogdan Rošcic hat dem luxuriösen Traditionshaus eine Zeitenwende verordnet: Er will die Wiener Opernfans für modernes Regietheater begeistern. Gestern hatte Alban Bergs "Wozzeck" in Wien Premiere, inszeniert von Simon Stone. In der Hauptrolle: Christian Gerhaher.
Gestern konnte an der Wiener Staatsoper Alban Bergs „Wozzeck“ ohne Probleme über die Bühne gehen. Mit Spannung wurde das Debüt von Christian Gerhaher in der Titelrolle erwartet. Der radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet. Simon Stone erklärt in seinem Interview im Programmheft Wozzeck eindeutig zum Frauenmörder. Da hat er georg Büchner und seine Intention nicht verstanden. Da geht es um die Frage der Verurteilung eines geistesgestörten Täters und um die Frage, ob er zurechnungsfähig gewesen sei. Georg Büchner hat ja eine jahrzehntelange Diskussion ausgelöst, die zu unserem heutigen humanen Strafrecht geführt hat. Für Simon Stone ist er lediglich ein „sonderbarer Mensch“, der uns täglich begegnen kann. Aus diesem Missverständnis muss Christian Gerhaher einen unbeholfenen Loser gestalten. Die Szenen des Wahnsinns werden nicht herausgearbeitet. Die Demütigungen sind bis auf die Doktorstelle kaum wahrnehmbar. Vor allem die verbalen werden von den Sängern kaum pointiert. Da muss man sich aufs Mitlesen konzentrieren. Großartig ist die Drehbühne von Bob Cousins. Da gibt es herrliche Ideen, etwa wenn das Gespräch zwischen Wozzek und Andres beim Anstellen im Arbeitsamt stattfindet. Oder wenn Doktor und Hauptmann Wozzeck in einem Fitnessstudio über den Seitensprung seiner Marie informieren. Stimmiger sind die Obdachlosen in der U-Bahnstation Simmering. Weniger schlüssig scheint, dass Marie und Wozzeck trotz ihrer Armut in einer 4-Zimmer Wohnung mit Bad, Kinderzimmer, Eiskasten und Wäschetrockner hausen. Die Armut besteht offenbar darin, dass sie keinen Fernseher haben. Auch warum Wozzecks Leiche in den Bühnenhimmel emporschwebt, bleibt unbegreiflich. Die Kostüme von Alice Babidge & Fauve Ryckebusch sind unauffällig. Nur in der Kneipenszene tragen alle Tierkostüme. Warum? Christian Gerhaher versucht mit seinen stimmlichen Mitteln und seiner Ausdrucksfähigkeit den Menschen Woyzeck zu gestalten. Das ist imponierend! Auch Anja Kampe singt die Marie mit vollem Einsatz, lässt aber kalt. Am ehesten gelingt noch die liebende Mutter. Jörg Schneider als Hauptmann flieht allzu oft ins Falsett. Dmitry Belosselsky sollte ebenfalls deutlicher akzentuieren. Sean Panikkar ist verlässlich, nicht mehr. An Max Lorenz in dieser Rolle an Karl Dönch oder Peter Klein in den anderen, darf man gar nicht denken. Die haben gewusst, dass sie einen Büchner-Text singen. Auch Philippe Jordan weiß um die Bedeutung dieser exemplarischen Oper und führt das Staatsopernorchester durch Dramatik und Lyrik. Bemerkenswerterweise wurde der durchaus freundliche Schlussapplaus durch Senken des schwarzen Vorhangs künstlich verkürzt. Die Inszenierung hat den Woyzeck von Georg Büchner missverstanden. Hat kaum provoziert und daher nur wenige Pfiffe geerntet. Zum Nachdenken über soziale Demütigung und Femizid hat sie nicht angeregt. Die Überführung in die Gegenwart ist für mich, Richard Schmitz, leider misslungen. Eine vergebene Chance für eine wichtige Wiener Oper. Wertnote: 7,8/10 Punkten
Fuchs, Jörn Florianwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei
Roderick Cranston's sister has come to visit him with an offer that would change his life. Today's story is the second and final part of “https://www.furaffinity.net/view/38652042/ (Precious Cargo)” by https://twitter.com/HerrWozzeck (Herr Wozzeck), who is a writer and musician, author of https://boundtales.storenvy.com/products/30326551-whip-boot (Whip and Boot) and a member of Trio Menagerie. You can find more of his stories on https://www.furaffinity.net/user/herr-wozzeck/ (Furaffinity) and https://herr-wozzeck.sofurry.com/ (SoFurry). You can find even more on his https://www.patreon.com/herrwozzeck (Patreon), where he also produces music. Last time, Roderick went about his normal day at the bakery and at the gym, when he was interrupted by his estranged sister Greta, who came to him desperately hoping to talk to him. Read for you by Rob MacWolf — werewolf hitchhiker. thevoice.dog | https://www.thevoice.dog/apple (Apple podcasts) | https://www.thevoice.dog/spotify (Spotify) | https://www.thevoice.dog/google (Google Podcasts) If you have a story you think would be a good fit, you can https://www.sofurry.com/view/1669084 (check out the requirements), fill out the https://drive.google.com/drive/folders/1z81u5O2i8PWSfEpzaVhHeTjrp1kKP7TX?usp=sharing (submission template) and get in touch with us on https://twitter.com/voiceofdogpod (Twitter).
It's just another day for Roderick Cranston, but little does he know his sister is about to change his life drastically. Today's story is the first of two parts of “https://www.furaffinity.net/view/38652042/ (Precious Cargo)” by https://twitter.com/HerrWozzeck (Herr Wozzeck), who is a writer and musician, author of https://boundtales.storenvy.com/products/30326551-whip-boot (Whip and Boot) and a member of Trio Menagerie. You can find more of his stories on https://www.furaffinity.net/user/herr-wozzeck/ (Furaffinity) and https://herr-wozzeck.sofurry.com/ (SoFurry). You can find even more on his https://www.patreon.com/herrwozzeck (Patreon), where he also produces music. Read for you by Rob MacWolf — werewolf hitchhiker. thevoice.dog | https://www.thevoice.dog/apple (Apple podcasts) | https://www.thevoice.dog/spotify (Spotify) | https://www.thevoice.dog/google (Google Podcasts) If you have a story you think would be a good fit, you can https://www.sofurry.com/view/1669084 (check out the requirements), fill out the https://drive.google.com/drive/folders/1z81u5O2i8PWSfEpzaVhHeTjrp1kKP7TX?usp=sharing (submission template) and get in touch with us on https://twitter.com/voiceofdogpod (Twitter).
An ordinary soldier is driven to madness and murder by an intolerable cocktail of humiliation, jealousy, and the indignities of daily life—his suffering made visceral by one of opera's most powerful scores. Learn more about Berg's Wozzeck with our In Focus podcast, hosted by author, Met radio commentator, and staff writer William Berger.
Featuring the incongruously glamorous Karita Mattila and Sir Simon Keenlyside as the doomed couple conducted by Sir Mark Elder.
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