Podcasts about yannick n

A single question—“Can I have it?”—nearly sent a child's cello out the door. Instead, that moment lit a fuse that carried Hee-Young Lim from piano lessons and packed Korean school days to principal chair in Rotterdam and a teaching home at Beijing's Central Conservatory of Music.The Cello Sherpa Podcast host, Joel Dallow, interviews Hee-Young, and they take a deep dive into the chain of choices that shaped her artistry: the advantages of piano-first training for cello technique, how small hands and big extensions can coexist, and what it means to study across traditions with mentors from the French, German, Russian, and American schools. Hee-Young takes us inside the orchestra, sharing what she learned from working closely with Yannick Nézet-Séguin, decoding massive symphonic scores, and adapting to different halls on tour. Then she opens up about a turning point at thirty, why prestige wasn't enough, how proximity to home and a lifelong dream to teach redefined success, and what makes Beijing's conservatory culture distinct, from studio sizes to the freedom to teach across ages.We also explore the heart behind her album Encores. Built one piece at a time in a colleague's studio, the project gathers short works she first loved on piano and now sings through the cello. She explains how bow and breath reshape phrasing once sustained by pedal, why encore repertoire can carry the deepest personal stories, and how a DIY recording approach can yield a more intimate, honest sound. Throughout, her advice to young musicians is frank and generous: stay curious, stay open, and build resilience for a field that asks for both excellence and grit.If you enjoy candid artist stories, real talk about career pivots, and behind-the-scenes insight into orchestral life, conservatory teaching, and recording strategy, this one's for you. Listen, share with a friend who needs a nudge of courage, and leave a rating so more musicians and music lovers can find us.For more information on Hee-Young: https://www.crossovermedia.net/artists/hee-young-lim/projects/the-encores-album/bio/You can also find Hee-Young on Instagram and Facebook: @heeyounglim_officialor Youtube: @hee-younglim2202 If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Ce 1ᵉʳ janvier se tient le traditionnel concert du Nouvel An de l'Orchestre philharmonique de Vienne, dirigé cette année par Yannick Nézet-Séguin. Suivi par des millions de téléspectateurs à travers le monde, c'est le plus grand événement de musique classique. Pour la première fois, deux compositrices sont au programme. Réputés conservateurs, l'Orchestre philharmonique de Vienne et le concert du Nouvel An veulent aujourd'hui davantage s'ouvrir aux femmes, compositrices et musiciennes. C'est lors de la dernière édition du concert du Nouvel An que, pour la première fois, une compositrice a été jouée. Cette année, le programme va plus loin en incluant deux œuvres de deux compositrices. La Rainbow Waltz de l'Afro-Américaine Florence Price et le Sirenen Lieder de l'Autrichienne Josephine Weinlich, qu'on entend ici jouée par quatre musiciens de l'Orchestre philharmonique de Vienne : Lara Kusztrich, Raimund Lissy, Robert Bauerstatter et Raphael Flieder. Cela montre une volonté d'ouverture, selon le directeur de l'Orchestre philharmonique de Vienne Daniel Froschauer.  « Nous voulons montrer cette diversité. Il y a beaucoup d'excellentes cheffes d'orchestre et compositrices. Et il n'y a aucune raison de ne pas ajouter au concert du Nouvel An toutes ces couleurs qui sont intéressantes, et qui méritent d'y figurer. Il est réjouissant de pouvoir présenter encore davantage de compositrices. Cela va continuer à se développer », affirme-t-il. Une évolution que salue l'historien Oliver Rathkolb, mais en soulignant qu'elle arrive tard. Selon lui, en Autriche, ce ne sont pas uniquement les orchestres, mais tout un système qui a conduit à l'exclusion des femmes musiciennes et compositrices. « Il a fallu beaucoup de temps avant que la musicologie, y compris dans le milieu universitaire, ne s'intéresse à ce sujet, et on constate que très peu de compositions ont été conservées. Aujourd'hui, on est à la recherche d'archives. On voit qu'il y a donc plusieurs aspects à cette question de l'exclusion des femmes du monde de la musique, qui concerne le domaine de la composition, mais aussi celui de l'appartenance à un orchestre. Mais c'est en train d'évoluer », explique-t-il. À lire aussiEn Autriche, des concerts thérapeutiques pour les personnes atteintes de démence Lara Kusztrich, jeune violoniste de 31 ans, est l'une des 24 femmes des 148 membres de l'Orchestre philharmonique de Vienne et jouera lors du concert du Nouvel An. Si les femmes sont encore peu nombreuses au sein de l'orchestre, cela est en train de changer selon la musicienne. « J'ai des collègues qui ont été les toutes premières femmes à rejoindre l'orchestre. C'est dû au fait que cette ouverture a eu lieu relativement tard. Et aussi au fait qu'un poste se libère uniquement lorsque quelqu'un prend sa retraite ou quitte l'orchestre. Il ne peut donc pas y avoir beaucoup de nouvelles recrues en peu de temps. Mais ma génération a passé des auditions à une époque où cela n'était plus un sujet. On constate lors des auditions qu'il y a aujourd'hui un équilibre entre hommes et femmes. Je dirais que c'est environ 50-50 pour les nouveaux postes à pourvoir », estime-t-elle. Le concert du Nouvel An n'a encore jamais été dirigé par une femme-cheffe.  À lire aussiChristian Merlin et la légende du Philharmonique de Vienne

Ce 1ᵉʳ janvier se tient le traditionnel concert du Nouvel An de l'Orchestre philharmonique de Vienne, dirigé cette année par Yannick Nézet-Séguin. Suivi par des millions de téléspectateurs à travers le monde, c'est le plus grand événement de musique classique. Pour la première fois, deux compositrices sont au programme. Réputés conservateurs, l'Orchestre philharmonique de Vienne et le concert du Nouvel An veulent aujourd'hui davantage s'ouvrir aux femmes, compositrices et musiciennes. C'est lors de la dernière édition du concert du Nouvel An que, pour la première fois, une compositrice a été jouée. Cette année, le programme va plus loin en incluant deux œuvres de deux compositrices. La Rainbow Waltz de l'Afro-Américaine Florence Price et le Sirenen Lieder de l'Autrichienne Josephine Weinlich, qu'on entend ici jouée par quatre musiciens de l'Orchestre philharmonique de Vienne : Lara Kusztrich, Raimund Lissy, Robert Bauerstatter et Raphael Flieder. Cela montre une volonté d'ouverture, selon le directeur de l'Orchestre philharmonique de Vienne Daniel Froschauer.  « Nous voulons montrer cette diversité. Il y a beaucoup d'excellentes cheffes d'orchestre et compositrices. Et il n'y a aucune raison de ne pas ajouter au concert du Nouvel An toutes ces couleurs qui sont intéressantes, et qui méritent d'y figurer. Il est réjouissant de pouvoir présenter encore davantage de compositrices. Cela va continuer à se développer », affirme-t-il. Une évolution que salue l'historien Oliver Rathkolb, mais en soulignant qu'elle arrive tard. Selon lui, en Autriche, ce ne sont pas uniquement les orchestres, mais tout un système qui a conduit à l'exclusion des femmes musiciennes et compositrices. « Il a fallu beaucoup de temps avant que la musicologie, y compris dans le milieu universitaire, ne s'intéresse à ce sujet, et on constate que très peu de compositions ont été conservées. Aujourd'hui, on est à la recherche d'archives. On voit qu'il y a donc plusieurs aspects à cette question de l'exclusion des femmes du monde de la musique, qui concerne le domaine de la composition, mais aussi celui de l'appartenance à un orchestre. Mais c'est en train d'évoluer », explique-t-il. À lire aussiEn Autriche, des concerts thérapeutiques pour les personnes atteintes de démence Lara Kusztrich, jeune violoniste de 31 ans, est l'une des 24 femmes des 148 membres de l'Orchestre philharmonique de Vienne et jouera lors du concert du Nouvel An. Si les femmes sont encore peu nombreuses au sein de l'orchestre, cela est en train de changer selon la musicienne. « J'ai des collègues qui ont été les toutes premières femmes à rejoindre l'orchestre. C'est dû au fait que cette ouverture a eu lieu relativement tard. Et aussi au fait qu'un poste se libère uniquement lorsque quelqu'un prend sa retraite ou quitte l'orchestre. Il ne peut donc pas y avoir beaucoup de nouvelles recrues en peu de temps. Mais ma génération a passé des auditions à une époque où cela n'était plus un sujet. On constate lors des auditions qu'il y a aujourd'hui un équilibre entre hommes et femmes. Je dirais que c'est environ 50-50 pour les nouveaux postes à pourvoir », estime-t-elle. Le concert du Nouvel An n'a encore jamais été dirigé par une femme-cheffe.  À lire aussiChristian Merlin et la légende du Philharmonique de Vienne

The New Yorker magazine called Joyce DiDonato “perhaps the most potent female singer of her generation.”  Joyce has towered at the top of the industry as a performer, a producer, and a fierce advocate for the arts. With a repertoire spanning over four centuries, a varied and highly acclaimed discography, and industry-leading projects, her artistry has defined what it is to be a singer in the 21st century.Joyce enjoys a musical partnership with Yannick Nézet-Séguin and the Philadelphia Orchestra and, of course, the Metropolitan Opera. Joyce's distinctively varied 2025-26 season commenced with season-opening concerts for the Minnesota Orchestra and Montreal's Orchestre Métropolitain, as well as the re-opening Powell Hall with the St. Louis Symphony Orchestra in a Kevin Puts's World Premiere, House of Tomorrow. She only recently made her Lincoln Center Theater stage debut as The Mother in Amahl and the Night Visitors, and is about to star in the Met's production of Innocence by Kaija Saariaho.Concert appearances include Mahler's Symphony No. 2 with Nézet-Séguin and The Philadelphia Orchestra, and Mahler's Symphony No. 3 with Nézet-Séguin and the Berlin Philharmoniker. Joyce also joins the Metropolitan Opera Orchestra for her second European tour with Yannick and this orchestra following a performance of Mahler's Symphony No. 4 at Carnegie Hall.She is also, quite plainly, a genuine delight.  

David Bennett, L.J. Aguinaga, Kelly Alexander, Valérie Tétreault, Dr. Mitch Shulman, Yannick Nézet-Séguin, Dan Riskin

Dr. Janneke Wittekoek is cardiologe, gezondheidswetenschapper, en oprichtster van de HeartLife Klinieken. En ze brengt haar spreekkamer naar het theater met De vrouwenhart show! In dit interactieve theatercollege leert ze ons alles over het vrouwenhart. Wist je dat maar liefst 80% van doodsoorzaak nummer 1 de hart-en vaatziekten, voorkomen kunnen worden met een slimme gezonde leefstijl? Dr. Janneke is dus onze perfecte gast in onze laatste aflevering van dit concertseizoen. Een cardioloog luistert naar het hart en wij spelen met ons hart. De oren blijken dus sowieso de weg naar ons mooie hart.. En we blijken inderdaad een hele logische match! Het lijden van ons musicerende hart op het podium. De druk die komt kijken bij presteren op het hoogste niveau elke dag opnieuw. Tegenover het hart van de luisteraar wat wordt beroert. Het welzijn en reguleren van de emoties en het zenuwgestel van de luisteraar. Een tegenstelling die interessante vragen oproept! Wees gewaarschuwd, na deze aflevering staat ons hart in lichterlaaie..! word ik al dente vanen toen je verliefd was weet je nog?helend effectHier de links naar de interessante video van het hartslag onderzoek met Yuja Wang en 'onze' Yannick Nézét-Séguin. En natuurlijk en verplicht bezoek een van de activiteiten van onze lieve Dr. Janneke Wittekoek!Tracking Yuja Wang's heartbeatHeartlife KliniekenDe vrouwenhart showAbonneer nu snel op onze podcast en volg ons op:FacebookInstagramTikTokYoutubeRotterdams Philharmonisch Orkest Hosted on Acast. See acast.com/privacy for more information.

durée : 01:28:41 - Yannick Nézet-Séguin, un enthousiasme communicatif - par : Aurélie Moreau - Yannick Nézet-Séguin, directeur musical de l'Orchestre de Philadelphie et du Met de New York confie: "Je crois en une conception absolue de la beauté, qui nous permet d'être illuminés par des œuvres a priori très loin de nous". (Diapason, juin 2025) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:36 - Relax ! du mardi 03 juin 2025 - par : Lionel Esparza - Le sommaire du Diapason avec en majesté : Satie, Fischer-Dieskau, le lamento della ninfa de Monteverdi, et Yannick Nézet-Séguin.

durée : 01:28:36 - Relax ! du mardi 03 juin 2025 - par : Lionel Esparza - Le sommaire du Diapason avec en majesté : Satie, Fischer-Dieskau, le lamento della ninfa de Monteverdi, et Yannick Nézet-Séguin.

President Trump's tariff rollout sent shockwaves through the global economy, with the automobile industry emerging as one of the faces of the upheaval. How are local dealerships and prospective buyers bracing for the ripple effects? And over at the Philadelphia Zoo, more history was made. You've got to hear the story of the remarkable hatching of four critically endangered Western Galapagos tortoises to their century-old parents. Also, find out how the Free Library of Philadelphia is stepping up to help recently laid-off federal workers. Matt Leon and KYW Newsradio's reporters recap that and more of the biggest news in the Philadelphia region this week. 00:00 Intro 02:08 A local look at how auto tariffs could impact customers, dealers 06:46 Library offers help for laid-off federal workers 11:56 Investigation into Chester charter school yields staggering arrests 18:13 Aramark, union finally agree to new deal 23:40 Philadelphia Zoo welcomes critically endangered tortoise hatchlings 29:18 Philadelphia Orchestra conductor Yannick Nézet-Séguin makes special visit Listen to The Week in Philly on KYW Newsradio every Saturday at 5am and 3pm, and Sunday at 3pm. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

durée : 00:06:31 - Le Bach du matin du vendredi 17 janvier 2025 - Notre Bach du matin est un Bach qui divise, la toccata et fugue en ré mineur pour orgue orchestré par Leopold Stokowski. Il y a ceux qui adorent ce nouvel équilibre créé entre les voix et d'autres qui en reprochent la grandiloquence ici interprété par Yannick Nézet-Séguin.

À demain avec Yannick !

In this episode of One Symphony, host Devin Patrick Hughes interviews Dr. Samantha Ege, pianist and musicologist, about the life and works of Florence Price. Dr. Ege discusses Price's musical style, her significance in American classical music, and the recent rediscovery of her compositions. The conversation covers Price's role in the Chicago music scene, her blending of classical and African American musical traditions, and the challenges she faced as a Black female composer in the early 20th century. Dr. Ege also shares insights from her own recordings of Price's piano works and her upcoming scholarly publications on the composer.   Dr. Samantha Ege is a leading scholar and interpreter of the African American composer Florence Price.  Her work illuminates Price in the context of the Black Chicago Renaissance and Black women's dynamic networks of advocacy, empowerment, and uplift. Her first book, South Side Impresarios: How Race Women Transformed Chicago's Classical Music Scene, and first edited collection, The Cambridge Companion to Florence B. Price, are important culminations of the research she has shared around the world.   Dr Ege is a also concert pianist who specializes in the music of 20th and 21st century composers. Her performances bring her research to life, sounding new narratives that are so often unheard in the modern-day concert hall. Dr Ege seeks to communicate the diversity of classical music's past, present, and future through her performances, and foster a sense of belonging for everyone.   In her London debut at the 2021 London Festival of American Music she gave the world premiere of Florence Price's complete Fantasie Nègre set. In 2018, she made her international lecture-recitalist debut at the Chicago Symphony Center with her event A Celebration of Women in Music: Composing the Black Chicago Renaissance. She has performed across the UK, Europe, North America, and Southeast Asia. She has also played with the Oxford Philharmonic Orchestra, Oakland Symphony Orchestra, Arkansas Symphony Orchestra, and Yale Philharmonia.   Thank you for joining us on One Symphony. Thanks to Dr. Samantha Ege for sharing her incredible research, insights, and music-making. You can find her book, South Side Impresarios and more at https://www.samanthaege.com.   Music Selections “Weeping Willow, A Rag Time Two Step.” Composed by Scott Joplin. Performed by Benjamin Loeb on the album Scott Jopin: Piano Rags 2 from Naxos. Violin Concerto No. 2. Composed by Florence Price. Featuring Kelly Hall-Tompkins on violin with the Urban Playground Chamber Orchestra. Conducted by Thomas Cunningham. Sonata in E minor “Andante.” Composed by Florence Price. Performed by Samantha Ege. “Sketches in Sepia.” Composed by Florence Price. Performed by Samantha Ege. Symphony No. 1 in E minor: I. Allegro ma non troppo. Composed by Florence Price. Performed by The Philadelphia Orchestra. Yannick Nézet-Séguin, conductor. Available from Deutsche Grammophon. Symphony No. 3 in C minor: I. Andante – Allegro. Composed by Florence Price. Performed by The Philadelphia Orchestra. Yannick Nézet-Séguin, conductor. Available from Deutsche Grammophon. Sonata in E minor “Scherzo.” Composed by Florence Price. Performed by Samantha Ege. Fantasie Nègre No.4 in B minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. “Snapshots Moon Behind a Cloud.” Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. Fantasie Nègre No.1 in E minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. Juba Dance from Symphony No. 3. Composed by Florence Price. Performed by the Chicago Symphony Orchestra. Ricardo Muti, conductor. Fantasie Nègre No.2 in G minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records.   You can always find more info at OneSymphony.org or DevinPatrickHughes.com including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music. 

durée : 00:12:35 - Le Disque classique du jour du mardi 27 août 2024 - Nouveau disque du chef d'orchestre canadien Yannick Nézet-Séguin à la direction de l'Orchestre de Chambre d'Europe, dans une version étincelante des quatre symphonies de Johannes Brahms

durée : 01:27:57 - En pistes ! du mardi 27 août 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ils sont au programme du jour ! Yannick Nézet-Séguin à la direction de l'Orchestre de Chambre d'Europe, la pianiste Catherine Collard, les musiciens Germano-Israélien de l'Else Ensemble, l'Orchestre Philharmonique de l'Oural dirigé par Dmitri Liss et le claveciniste Michel Kiener. En pistes !

durée : 00:12:35 - Le Disque classique du jour du mardi 27 août 2024 - Nouveau disque du chef d'orchestre canadien Yannick Nézet-Séguin à la direction de l'Orchestre de Chambre d'Europe, dans une version étincelante des quatre symphonies de Johannes Brahms

durée : 01:27:57 - En pistes ! du mardi 27 août 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ils sont au programme du jour ! Yannick Nézet-Séguin à la direction de l'Orchestre de Chambre d'Europe, la pianiste Catherine Collard, les musiciens Germano-Israélien de l'Else Ensemble, l'Orchestre Philharmonique de l'Oural dirigé par Dmitri Liss et le claveciniste Michel Kiener. En pistes !

Eine CD von Yannick Nézet-Séguin - vorgestellt auf NDR Kultur.

durée : 00:25:15 - Yannick Nézet-Séguin, chef d'orchestre (5/5) - par : Judith Chaine - Depuis son enfance heureuse à Montréal jusqu'à sa position actuelle de directeur musical de l'Orchestre métropolitain de Montréal, du Metropolitan Opera de New York et de l'Orchestre de Philadelphie, le pianiste et chef Yannick Nézet-Seguin raconte chaque étape de son éblouissant parcours. - réalisé par : Arnaud Chappatte

durée : 00:25:15 - Yannick Nézet-Séguin, chef d'orchestre (1/5) - par : Judith Chaine - Depuis son enfance heureuse à Montréal jusqu'à sa position actuelle de directeur musical de l'Orchestre métropolitain de Montréal, du Metropolitan Opera de New York et de l'Orchestre de Philadelphie, le pianiste et chef Yannick Nézet-Seguin raconte chaque étape de son éblouissant parcours. - réalisé par : Arnaud Chappatte

durée : 00:25:14 - Yannick Nézet-Séguin, chef d'orchestre (2/5) - par : Judith Chaine - Depuis son enfance heureuse à Montréal jusqu'à sa position actuelle de directeur musical de l'Orchestre métropolitain de Montréal, du Metropolitan Opera de New York et de l'Orchestre de Philadelphie, le pianiste et chef Yannick Nézet-Seguin raconte chaque étape de son éblouissant parcours. - réalisé par : Arnaud Chappatte

durée : 00:25:18 - Yannick Nézet-Séguin, chef d'orchestre (3/5) - par : Judith Chaine - Depuis son enfance heureuse à Montréal jusqu'à sa position actuelle de directeur musical de l'Orchestre métropolitain de Montréal, du Metropolitan Opera de New York et de l'Orchestre de Philadelphie, le pianiste et chef Yannick Nézet-Seguin raconte chaque étape de son éblouissant parcours. - réalisé par : Arnaud Chappatte

durée : 00:25:18 - Yannick Nézet-Séguin, chef d'orchestre (4/5) - par : Judith Chaine - Depuis son enfance heureuse à Montréal jusqu'à sa position actuelle de directeur musical de l'Orchestre métropolitain de Montréal, du Metropolitan Opera de New York et de l'Orchestre de Philadelphie, le pianiste et chef Yannick Nézet-Seguin raconte chaque étape de son éblouissant parcours. - réalisé par : Arnaud Chappatte

[@ 2 min] FOS Francesca Zambello and composer Christopher Tin recently changed the ending of "Turandot" at the Kennedy Center. We're taking a page from their book to see what problematic productions might also be in need of a refreshed finale... [@ 20 min] And then... PJ files two ecstatic field reports from the Met: one is a rock concert and the other is all about the Boy... [@ 24 min] Plus, in the ‘Two Minute Drill'… stories about Beethoven's hair and Yannick Nézet-Séguin's heart... GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Diese Aufnahme der Sinfonien Nr. 2 und 5 zeigt, dass nicht immer alles glänzen muss, um am Ende ehrlich zu klingen.

When Chloé Robichaud decided to depict the world of conducting for her new film, “Days of Happiness,” she asked the acclaimed Canadian conductor Yannick Nézet-Séguin to help her get it right. The film follows a female conductor looking to break through the glass ceiling of classical music while also breaking away from the control of her abusive father, who's also her agent. Both Chloé and Yannick sit down with Tom to talk about “Days of Happiness,” the cycle of abuse that can haunt families for decades, and how you can tell when an actor playing a conductor is faking it.

Welcome to Season 03 Episode 12 - the "Spring Ahead" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Dr. Robert Strauss, voice faculty member at the SUNY Fredonia School of Music; Ms. Diane Andrasik, City Historian for the city of Dunkirk; and comedian Tammy Pescatelli. Notes from the Aisle Seat is available from most of your favorite podcast sites, including Apple Podcast, Google Podcast, Stitcher, Spotify, and Amazon Prime Music, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps Dr. Robert Strauss/Live at the Met  01:38 Ms. DIane Andrasik/Chautauqua County Lecture Series  21:19 Arts Calendar 40:36 Tammy Pescatelli  43:20 Media Songs without Words, Book 5, No. 6 "Spring Song" MWV U 161, Felix Mendelssohn, composer, 1841 La Forza del Destino: “Son giunta! Grazie, o Dio! … Madre, madre pietosa Vergine”, Giuseppe Verdi, composer; performed at the Metropolitan Opera House March 2024 by Lise Davidsen, soprano; Yannick Nézet-Séguin, conductor Hej, sokoly; Polish folk song attributed to composer Maciej Kamieński (1734-1825) Tarantella Napoletana; traditional Italian tarantella, author unknown Ran Kan Kan; Tito Puente, composer, performed by Tito Puente and his orchestra, 1948 Spring Charm, composed and performed by Adrian von Ziegler, 2012 excerpt from "More Funny Women of a Certain Age", Showtime Special, May 19, 2020 "Traditional Medley", performed by Natalie McMaster, fiddle; Bela Fleck, banjo; from the album Yours Truly, October 10, 2006. Artist Links Dr. Robert Strauss Ms. Diane Andrasik Tammy Pescatelli BECOME AN OPERA HOUSE MEMBER!      

In his Oscar-nominated biopic Maestro, Bradley Cooper was determined not to imitate the legendary Leonard Bernstein. Instead, the actor worked with conductor Yannick Nézet-Séguin to find his own rhythm. They spoke with Terry Gross about conducting, Bernstein's legacy, and playing with batons when they were kids. Also, Justin Chang reviews Italy's submission for best foreign film, Io Capitano.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Jess Gillam meets violist Jordan Bak to share some of their favourite music.Jamaican-American violist Jordan Bak is a proud new music advocate – he's performed world premieres of works by composers including Kaija Saariaho and Augusta Read Thomas. His debut album IMPULSE was released in 2022 and he's performed with orchestras including London Mozart Players. His musical picks include works by Florence Price, reggae singer Koffee, and Benjamin Britten, whilst Jess has chosen a classic Radiohead track and Stokowski's take on Bach.PLAYLIST:FLORENCE PRICE – String Quartet No 2 in A minor (3rd mvt, Juba) [Catalyst Quartet] FANNY MENDELSSOHN - Schluss [Heather Schmidt (piano)] PALACE – Live Well JOHANN SEBASTIAN BACH, ARR LEOPOLD STOKOWSKI – Passacaglia And Fugue in C minor, BWV 582 [Philadelphia Orchestra, Yannick Nézet-Séguin (conductor)] KOFFEE – Toast RADIOHEAD – House of Cards BENJAMIN BRITTEN – Night Piece “Notturno” [Stephen Hough (piano)]

Tom Service speaks to the conductor Yannick Nézet-Séguin, Music Director of the Montreal Philharmonic, the Philadelphia Orchestra, and the Metropolitan Opera in New York. He is one of the starriest and most sought-after conductors in the world. also one of the most loved by the musicians who work with him. Nézet-Séguin is guest conductor to some of the world's top orchestras, like the Vienna Philharmonic, the Chamber Orchestra of Europe and the Berlin Philharmonic, and he has recorded cycles of symphonies by Brahms, Beethoven and Bruckner, plus operas by Mozart, Gounod and Wagner. Alongside the core repertoire, he's on a mission to perform new works that represent all of society and thereby draw new audiences to the orchestras that he leads and the Metropolitan Opera in New York. He tells Tom about the richly fulfilling experiences of putting on Terence Blanchard's Fire Shut up in My bones and Kevin Puts' The Hours, and how these two new operas are both bringing in audiences who have never been to the MET before, whilst also refreshing the cherished classics traditionally staged there. 2024: what does the new year hold for the musical scene? What's the impact of cuts across classical music, from education in schools to opera companies, and what are the opportunities of the moment for those who run our orchestras and lead music education? Tom Service convenes a Music Matters counsel of musical sages to discuss their thoughts of the state of music as we step into 2024: Sophie Lewis, Chief Executive of the National Children's Orchestras and Chair of the Association of British Orchestras; Gillian Moore, Artistic Associate of the South Bank Centre in London, writer and consultant; and Phil Castang, Chief Executive of Music for Youth.

Bradley Cooper talks about writing, directing, and starring in the new film Maestro, in which he portrays conductor and composer Leonard Bernstein. Also with us is conducting consultant Yannick Nézet-Séguin, who conducts the Philadelphia Orchestra and the Metropolitan Opera Orchestra. The film focuses on Bernstein's music and his relationship with his wife, including the friction caused by his affairs with men. Also, we hear from restaurateur Rose Previte, author of the new cookbook Maydān: Recipes from Lebanon and Beyond. And Justin Chang reviews Memory, starring Peter Sarsgaard and Jessica Chastain.

In his new biopic Maestro, Bradley Cooper was determined not to imitate the legendary Leonard Bernstein. Instead, the actor worked with conductor Yannick Nézet-Séguin to find his own rhythm. They spoke with Terry Gross about conducting, Bernstein's legacy, and playing with batons when they were kids.

Directed, written, produced by, and starring Bradley Cooper in the title role, opposite Carey Mulligan, Maestro is a towering and fearless love story chronicling the lifelong relationship between Leonard Bernstein and Felicia Montealegre Cohn Bernstein. A love letter to life and art, Maestro at its core is an emotionally epic portrayal of family and love. Deutsche Grammophon is delighted to be releasing the original soundtrack album for the movie, which has already garnered widespread critical acclaim. All the music in the film was chosen by Cooper, and the new recordings on the soundtrack were made by the London Symphony Orchestra and Yannick Nézet-Séguin, who also worked closely with the actor-director as conducting consultant before and throughout the film-making process.The tracklist was not included in this submission to us.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 Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

The architecture world lost a giant when the distinguished Uruguayan architect Rafael Viñoly died earlier this year at the age of 78. For four decades, Viñoly led his global architecture firm to international renown, bringing to life everything from airports to hospitals, sports stadiums, and performing arts centers — including one very close to my heart, Philadelphia's Kimmel Center. Having lived in the Philly area for many years prior to moving to New York, I've attended countless performances at the Kimmel Center. I've always been inspired by how the sprawling public space invites people to come together for drinks, conversation, and community even if you're not there for a concert. According to Viñoly's son Román, director of Rafael Viñoly Architects, creating vibrant social spaces was always part of his father's mission. "He looked at his work as something that invariably had a profoundly civic dimension," Román says on the latest episode of the Classical Post podcast. "He recognized that buildings are very capital intensive, so he always found ways to leverage those enormous investments into developing public amenities — grand, inspiring spaces that people want to spend time in. That ethical approach permeates his work throughout the world." Outside of architecture, Rafael Viñoly had another passion: classical music. So it's fitting that a concert paying tribute to the architect's life and legacy is taking place next week at Carnegie Hall — where for decades Viñoly attended several concerts every week.  On November 28, two ensembles that perform in Viñoly-designed spaces — the Philadelphia Orchestra, under the direction of Yannick Nézet-Séguin, and Jazz at Lincoln Center's Isaiah J. Thompson Trio — will share the stage at Stern Auditorium with violinist Itzhak Perlman and pianist Jonathan Biss for an evening of music honoring Viñoly.In this episode, Román and I talk more about his father's life, the work the Viñoly Foundation is doing to extend Rafael's legacy in architecture and the arts, and how the Carnegie concert also marks the first U.S. appearance of the Maene-Viñoly Concert Grand Piano — an innovative, ergonomically designed piano Rafael helped create. — ⁠⁠⁠⁠Classical Post⁠⁠⁠⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠⁠⁠⁠Gold Sound Media⁠⁠⁠⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

Three-time Grammy Award-winning pianist and conductor Yannick Nézet-Séguin is the Music and Artistic Director of the Philadelphia Orchestra, Artistic Director and Principal Conductor of the Orchestre Métropolitain, and Music Director (aka David's boss) at The Metropolitan Opera where he's just the third person to hold this position in the company's long 140-year history. In the episode—recorded backstage at Carnegie Hall—Yannick discusses the primary role of a conductor, his calm and friendly demeanor while on the podium (spoiler: he doesn't know how to be mean!), how he became inspired to conduct at age 10, and why he reclaimed his love for the piano during the pandemic. Yannick shares the importance of taking every opportunity to perform seriously and his deep belief that music can connect and transform anyone who listens.Check out Yannick Nézet-Séguin on Instagram, Facebook, Twitter, Spotify, Apple Music, or the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Yannick by George Etheredge.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

We were thrilled to have screenwriter Josh Singer, producer Kristie Macosko Krieger, Leonard Bernstein's daughter Jamie Bernstein, makeup designer Kazu Hiro, costume designer Mark Bridges, production designer Kevin Thompson, production sound mixer Steve Morrow, and Yannick Nézet-Séguin, the conducting consultant and conductor for new recordings and Music Director of The Metropolitan Opera, discuss their work on Bradley Cooper's Maestro, the Spotlight Gala selection of NYFF61, with NYFF Main Slate committee member Justin Chang. In his directorial follow-up to A Star Is Born, Bradley Cooper dramatizes the public and private lives of legendary musician Leonard Bernstein with sensitivity, visual ingenuity, and symphonic splendor. Coasting on the boundless energy of its subject's runaway genius, Maestro transports the viewer back to a vividly re-created postwar New York, when Bernstein (Cooper) began his stratospheric rise to international fame as both a conductor and composer, and also when he first met Felicia (Carey Mulligan), the actress whom he would marry and spend his life with. Maestro is a tender, often intensely emotional film about the different faces one wears when living in the public eye, depicting the complicated yet devoted decades-spanning relationship between Leonard and Felicia. Fueled by Cooper and Mulligan's perfectly matched duet of towering performances, Matthew Libatique's balletic cinematography, and, of course, Bernstein's thrilling music, Maestro is a tour de force for its director. A Netflix release. Don't forget to mark your calendars: Maestro opens in theaters on November 22 and on Netflix December 20. Tickets to the New York Film Festival are moving fast! Get up-to-date information on all available tickets on a daily basis by visiting filmlinc.org/tix.

We're back with a full season of inspiring conversations featuring Grammy nominated singer-songwriter and pianist Regina Spektor, Grammy nominated violinist Midori, the three-time Grammy Award-winning conductor and pianist Yannick Nézet-Séguin, and many more! Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This trailer has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Ray Epps is notorious among consumers of right-wing media as the man who initiated the Jan. 6 attack to undermine President Trump. The United States is in the middle of a maternal health crisis – a woman in the U.S. is twice as likely to die from pregnancy today than her mother was a generation ago. Correspondent Jon Wertheim interviews conductor Yannick Nézet-Séguin, music director of three major orchestras: in Philadelphia, in his hometown of Montreal and at the Metropolitan Opera in New York, which has tasked him with the bold revamping of its artistic mission. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Philharmonic, conducted by Yannick Nézet-Séguin with Mezzo-soprano Elina Garanca as soloist. The Summer Night Concert was performed this year on June 8th, 2023. It is an annual open-air event, which has been held since 2008. The park of Schönbrunn Palace in Vienna/Austria is the magical setting for the concert. The illustrious conductors who have previously led the orchestra at this event are Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Lorin Maazel, Christoph Eschenbach, Zubin Mehta, Semyon Bychkov, Gustavo Dudamel, Daniel Harding, and Andris Nelsons.1. Georges Bizet, Suite Nr. 1 aus der Oper Carmen (Arrangement Ernest Guiraud 1885)             Nr. 5. Les Toréadors (Vorspiel zum 1. Akt)             Nr. 2. Intermezzo (Vorspiel zum 3. Akt)             Nr. 1a. Aragonaise (Vorspiel zum 4. Akt) 2. Georges Bizet, Habanera aus der Oper Carmen3. Lili Boulanger, D‘un matin de printemps. Fassung für Orchester 19184. Hector Berlioz, Ouvertüre zur Oper Le Corsaire op. 215. Charles Gounod, „O ma lyre immortelle“ Arie aus der Oper Sapho6. Maurice Ravel, Daphnis et Cloé. Suite Nr. 27. Camille Saint-Saëns, „Mon cœur s'ouvre à ta voix” Arie aus der Oper Samson et Dalila8. Maurice Ravel, BoleroHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @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 broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

I'm really spoiling you lot this week, with reviews of no fewer than five delicious versions of the famous flute solo from Ravel's Daphnis et Chloé! Following on from last week's episode, we go straight into the deep end and talk about my personal top 5 recordings. We'll analyse them on 3 criteria (The Scale, The MoneyMaker Moment and Unique Points) before you get to hear a wee clip from each to make your own minds up.I also briefly talk about the assault scandals in classical music, and give you a handy way to listen, guilt-free (or at least with less guilt), to recordings by problematic musicians.The full titles of the recordings are below, as well as the chapters so you can skip to your favourite one.And as always, if you enjoyed the episode, hit met up on my socials, I'd love to hear from you;Instagram: @garethhouston_fluteFacebook: @GarethHoustonFluteTikTok: @GarethHoustonFluteSlainte,Gareth xChapters0:00 - What's coming up this week2:20 - Jimmy Galway and Pahud, MIA4:06 - A note on problematic musicians7:54 - 5th place, Paul Edmund-Davies13:58 - Edmund-Davies clip14:33 - 4th place, Stefanie Faust19:38 - Faust clip20:16 - 3rd place, Ulla Miilmann26:13 - Miilmann clip26:47 - 2nd place, Juliette Hurel31:12 - Hurel clip31:46 - 1st place, Magali Mosnier39:33 - Mosnier clip40:08 - Merci's and smoochesRecording Number 5:Flute: Paul Edmund-DaviesLondon Symphony Orchestra conducted by Claudio AbaddoAlbum: Ravel: Daphnis et ChloeYear: 1986Recording Number 4:Flute: Stefanie FaustSinfonieorchester Aachen conducted by Kazem AbdullahAlbum: Ravel; Daphis et ChloéYear: 2017Recording Number 3:Flute: Ulla MiilmanThe Danish National Symphony Orchestra conducted by Matthias PintscherVideo on YouTube on Ulla Miilmans account, titled "Flute solo from Daphis et Chloé"Recording Number 2:Flute: Juliette HurelThe Rotterdam Philharmonic Orchestra conducted by Yannick Nézet-SéguinAlbum: Ravel: Daphis et Chloé et pavane pour une enfante défunteYear: 2015Recording Number 1:Flute: Magali MosnierOrchestre philharmonique de Radio France conducted by Myung-whun ChungAlbum: Ravel: Daphis et ChloéYear: 2005 Hosted on Acast. See acast.com/privacy for more information.

"Every time on stage when we connect with the choral music and I see the students moved or touched by choral music, that's the moment I fall in love with choral music. The love of choral music is affirmed again and again by the connection you make with these humans and the music."Xiaosha Lin is currently assistant professor and director of choral activities at Whitworth University in Spokane, Washington. Prior to her appointment at Whitworth, she served as Director of Choral Activities at the University of Toledo and Assistant Conductor at Hong Kong Baptist University.Known as a dynamic conductor with her engaging rehearsal approach and expressive conducting, Lin was selected as a conducting fellow in several prestigious programs where she worked with Simon Carrington, Edith Copley, David Hayes, and Lucinda Carver. She was one of the semi-finalists in the national ACDA Graduate Student Conducting Competition in Kansas City, MO. As a chorister, she has performed regularly at the Kimmel Center, Carnegie Hall, and Lincoln Center under the batons of Yannick Nézet Séguin, Alan Gilbert, Simon Rattle, and Jane Glover. Lin is a sought-after conductor, adjudicator, and choral clinician in both the U.S. and China, where she was invited to workshops and clinics for all levels of choirs. She has frequently adjudicated in middle and high school choral festivals in Pacific Northwest and Midwest regions. Lin's international background makes her an open-minded, sensitive, and well-rounded musician and educator. She is committed to creating a diverse and inclusive community through choral music. She recently received the Inclusive Excellence Faculty Award for the 2022-2023 academic year at Whitworth University and currently serves as a member of the Diversity Initiative Committee at WA-ACDA.Lin received her Doctor of Musical Arts in Choral Conducting at Michigan State University, Master of Music in Choral Conducting at Westminster Choir College, Master of Arts in Music at Hong Kong Baptist University (Hong Kong), and Bachelor of Music Education at Xinghai Conservatory of Music (China).   To get in touch with Xiaosha, you can find her on Instagram (@xiaosha_lin) or email her at xlin@whitworth.edu. Choir Fam wants to hear from you! Check out the Minisode Intro Part 2 episode from May 22, 2023, to hear how to share your story with us. Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace HudsonPracticing Connection: Working together to help families and communities thrive.Jessica Beckendorf and Bob Bertsch host this exploration of personal and collective...Listen on: Apple Podcasts Spotify Teaching While Queer PodcastTeaching While Queer Podcast is a space for LGBTQIA+ educators, administrators, and...Listen on: Apple Podcasts Spotify

The recording is an impressive collaboration with the Grammy Award-winning partnership of Yannick Nézet-Séguin and the Philadelphia Orchestra cementing Goosby's ever-growing stature as a multifaceted talent. Building on his debut album Roots (2021), which celebrated Black classical composers, this album showcases the trailblazing composer Florence Price and German romantic composer and conductor Max Bruch.Track Listing:1 Max Bruch: Violin Concerto No.1 in G minor Op.26 / I. Vorspiel: Allegro moderato2 II. Adagio3 III. Finale: Allegro energico4 Florence B. Price: Adoration arr. Jim Gray5 Florence B. Price: Violin Concerto No.1 in D / I. Tempo moderato6 II. Andante7 III. Allegro8 Florence B. Price: Violin Concerto No.2 15.52Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Randall Goosby with the Philadelphia Orchestra, conducted by Yannick Nézet-Séguin — Max Bruch & Florence Price Violin Concertos (Decca) Jump to giveaway form New Classical Tracks - Randall Goosby by “This whole season, since January, I've been performing the Tchaikovsky Violin Concerto,” violinist Randall Goosby says. “I actually hadn't performed it with an orchestra prior to that. It's been a fun exploration of the piece from the stage.” He recently had a week off from touring and was out running errands in New York City. That's what he was up to when he pulled over to the side of the road to talk about his new recording with Yannick Nezet-Seguin and the Philadelphia Orchestra, featuring violin concertos by Florence Price and Max Bruch. More From Randall Goosby 2021 PT Young Artist in Residence: Randall Goosby 2021 Violinist Randall Goosby finds inspiration in his heritage 2022 Listen to 2021 PT Young Artist Randall Goosby's Tiny Desk Concert How did this collaboration with Nézet-Séguin and the Philadelphia Orchestra evolve? “It was one of those things where I just couldn't say no to it. I had been wanting to continue my exploration of Price's music after my first album, Roots, came out, so I was thrilled at the invitation. I then spent all of last summer really diving into both the Price concerti. “To make this recording with a conductor and an orchestra that have been dedicated and passionate champions of Price's story, not just her music, was really special. It was a privilege that I'll always look back upon with great gratitude.” What about Price's Violin Concerto No. 1 resonates with you?  “One of the things that I think is very special about the Violin Concerto No. 1 is that it's modeled after the warhorse that is Tchaikovsky's Violin Concerto. It quickly becomes an example of what makes American music what it is, and that is the combining of influences from all over the place. “The piece presented her with an opportunity to shed a new light on some of the themes that Tchaikovsky laid out. I mean, Tchaikovsky had to go through some great challenges of his own at the time. But there were challenges that he had to go through that Price probably couldn't relate to. And there were certainly challenges that Price experienced and had to overcome that Tchaikovsky could never have conveyed in his music. And so I think it presents a unique opportunity to look at these two very different artists under the same spotlight.” Price's Violin Concerto No. 2 is made up of a single movement. What are we learning about her in this piece? “There's a lot of athletics; there's a lot of very quick moving notes and very fleeting harmonies that keep you on the edge of your seat — until suddenly it gives way to the richest, chocolatiest and soulful singing quality found in some of those andante sections that are laced in between the athleticism. In terms of the structure of the piece, she just changed things up and went against the grain.” Why did you decide to pair these two works with Bruch's Violin Concerto No. 1? “I fell in love with the violin because of music like the violin concerti by Bruch, Mendelssohn and Brahms, not because of the Price concerti. But the Price concerti have injected new life to me in terms of having some sort of a guiding purpose behind a lot of my programing.” Price: Violin Concerto No. 1 in D Major - I. Tempo moderato To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Time For Three New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Randall Goosby — Max Bruch & Florence Price Violin Concertos (Amazon) Randall Goosby — Max Bruch & Florence Price Violin Concertos (Decca) Randall Goosby (official site)

A whistleblower says the Church of Jesus Christ of Latter-day Saints' investment firm has over $100 billion – more than any religious fund in America. Instead of doing good, the church is bending the law, said a whistleblower. Sharyn Alfonsi reports. With brains six times larger than humans and most of their lives spent in the darkest depths of the ocean, sperm whales are largely misunderstood. Cecilia Vega searches the Caribbean Sea to find these massive mammals. Grammy Award-winning conductor Yannick Nézet-Séguin, is obliterating the stereotype of the strict, unapproachable maestro and reimagining the role of a modern orchestra. He sits down with Jon Wertheim. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

What do great conductors listen to when they're not on the podium? Philadelphia Orchestra/Met Opera conductor Yannick Nézet-Séguin made a playlist, specifically for Fresh Air, of music that inspires him. It includes a surprising mix of pop, hip-hop and classical music — and includes a song that his cats love.In the last 30 years, Ruth E. Carter has produced some of the most iconic looks in the Black film canon and beyond. She won an Academy Award for Black Panther and is now nominated for Wakanda Forever. She spoke with Tonya Mosley about these projects as well as her decades-long collaboration with Spike Lee.

What do great conductors listen to when they're not on the podium? Philadelphia Orchestra/Met Opera conductor Yannick Nézet-Séguin made a playlist, specifically for Fresh Air, of music that inspires him. It includes a surprising mix of pop, hip-hop and classical music — and includes a song that his cats love. Find the playlist on our website or on Spotify.

Figurative painter Peter Doig — one of the world's top-selling living artists — talks about his work, his upbringing in Canada and the dark underbelly of the art market. Superstar Canadian conductor Yannick Nézet-Séguin reflects on his phenomenal rise to the peak of his profession. Author Mark Sakamoto and playwright Hiro Kanagawa talk about adapting Mark's memoir Forgiveness, about his grandparents' experiences of the Second World War, for the stage.

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Naima Burrs , M.M., is a violinist and conductor from Richmond, VA. Burrs studied at the University of Northern Iowa where she received a Master of Music degree in violin performance while serving as a Graduate Assistant during her studies. She also holds a Bachelor of Arts degree in Music from Virginia Commonwealth University.Naima was featured as a guest on NPR's show "With Good Reason", where she discussed her upbringing and career, and performed works celebrating the contributions of African American composers and musicians.  Burrs has performed as a section violinist with many ensembles including the Richmond Symphony Orchestra,  the Roanoke Symphony Orchestra, the Williamsburg Symphony Orchestra, and the Waterloo Cedar Falls Symphony Orchestra as well as serving as principal second violin with Opera on the James and as concertmaster of Summer Garden Opera.Naima was one of twelve violinists chosen internationally to participate in the 2014 Scotia Festival of Music, a chamber and orchestral music festival held in Halifax, Nova Scotia where she performed with the legendary cellist Lynn Harrell. Also in 2014, Burrs served as concertmaster for Steven M. Allen's new opera The Poet, starring mezzo-soprano Denyce Graves, in Washington, DC. In addition, Burrs served as concertmaster of a chamber orchestra for a PBS documentary about the life and work of Paul Lawrence Dunbar, also featuring the compositions of Steven M. Allen. In 2019, Naima participated in the Colour of Music Festival (COMF) in Columbia, South Carolina as part of the festival orchestra and as a member of the festival's all-female virtuosi ensemble.She was one of four conductors chosen to participate in the 2021 Wintergreen Music Festival, as a Summit Conductor, where she worked with master teachers James Ross and Erin Freeman. This July, she will travel to Quebec, Canada to study with Yannick Nézet- Séguin and Thomas Rösner through the conducting academy of Domaine Forget at Charlevoix.Naima was recently appointed Music Director of the Petersburg Symphony Orchestra in Petersburg, Virginia. During the 2021-22 season, she served as conductor of the Hopkins Concert Orchestra and the assistant conductor of the Hopkins Symphony Orchestra at Johns Hopkins University in Baltimore, Maryland.  Beginning in the Fall of 2022, Burrs will also serve as the orchestra director at the University of Richmond.Burrs is a full time instructor at Virginia State University (Petersburg,VA). She has also served on the faculty at Longwood University (Farmville, VA) and Hampden-Sydney College (Hampden-Sydney, VA). Naima is currently pursuing a Doctor of Musical Arts Degree (D.M.A.) in instrumental conducting at The Catholic University of America in Washington, D.C. The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. Mentioned in this episode:Naima Burrs  To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★