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Opera Broadcasts Monday

Schedule for Monday, November 12

 

 


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All timings are listed in both Greenwich Mean Time and Eastern Standard Time. North America and Europe are now on Standard Time. For those of you who live in other time zones, you will need to make a calculation to derive the time of an event where you live. In North America subtract five (5) hours (from GMT) for the Eastern Time Zone, six (6) hours for the Central Time Zone, and seven (7) hours for the Mountain Time Zone. Subtract eight (8) hours for the Pacific Time Zone and nine (9) hours for Alaska, and ten (10) hours for Hawaii. UK, Ireland and Portugal are matched to GMT. In most of the rest of Europe add one (1) hour (some Eastern European countries are two (2) hours ahead of GMT). In the Southern Hemisphere, Australia and New Zealand are on Daylight Time (Australia is 11 hours ahead of GMT; New Zealand is 13 hours ahead of GMT).

For those in the United States, it is useful to keep in mind that broadcasts in the evening hours often appear in the NEXT day's listings because they occur in the small hours in GMT time, which is our primary reference in the following listings.For more information on time zone calculations, double click the time display on the lower right of your screen (if you are using a PC) to display the Time Zone tab, then click on the drop-down menu for a full list of time zones and their relationships to Greenwich Mean Time. You may also let the TIME CONVERTER do the calculations for you.

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SATURDAY | SUNDAY | MONDAY | TUESDAY | WEDNESDAY | THURSDAY | FRIDAY

MONDAY, NOVEMBER 12

  
GMT 0000/EST 7:00PM
GMT 0000/EST 7:00PM
 ICI MUSIQUE
Montreal, Quebec, CANADA

192K MP3

  
schedule
 
0000
7:00PM

Place à l'opéra: Ricciardo e Zoraide de Gioacchino Rossini
Sergei Romanovsky, Pretty Yende, Juan Diego Florez, Nicola Ulivieri, Victoria Yarovaya, Xabier Anduaga, Sofia Mchedlishvili, Martiniana Antonie, Ruzil Gatin
Le choeur Ventidio Bass et l’orchestre symphonique de la Radio Nationale Italienne sous la direction de Giacomo Sagripanti

suivi de

la Petite Messe solennelle de Gioacchino Rossini
Carmela Remigio, Daniela Barcellona, Celso Albelo, Nicolas Courjal
Le chœur du Teatro della Fortuna et l’orchestre symphonique de la Radio Nationale Italienne sous la direction de Giacomo Sagripanti
(5 hrs.)

  
GMT 0100/EDT 8:00PM (Sunday)
GMT 0100/EDT 8:00PM (Sunday)
 CKUA
Alberta, CANADA
20K WMP M
schedule
 
0100
8:00PM
Bel Musica [No Details available] (3 hrs.)
 VivaLaVoce
(a service of WETA)
Washington, DC, USA

128K WMP

128K MP3

 

schedule
 
0100
8:00PM
Opera at Eight: Prince Igor
Alexander Borodin
Constantin Chekerliiksi [Igor Svastoslavich] | Boris Christoff [Prince Galitsky | Khan Konchak] | Todor Todorov [Vladimir] | Cyril Dulguerov [Eroshka] | Alexei Milkovsky [Skula] | Luben Mikhailov [Lovlur] | Julia Wiener [Yaroslavna] | Reni Penkova [Konchakovna] | Radka Gaeva [Nurse] | Liliana Bareva [Polovtsian Girl] | Chorus and Orchestra of the National Opera Theatre of Sofia | Jerzy Semkov (conductor) (No duration given)
 WGUC
Cincinnati, Ohio , USA
192K MP3
schedule
 
0100
8:00PM
SPECIAL PROGRAM: Monteverdi's 'L'incoronazione di Poppea' with Shafer, Constanzo, Mesko and Harvey from Cincinnati

Poppea: Sarah Shafer.
Nero: Anthony Roth Costanzo.
Ottavia: Sarah Mesko.
Drusilla: Melissa Harvey.
Ottone: Aryeh Nussbaum Cohen.
Seneca: Alex Rosen.
Arnalta: Rebecca Ringle Kamarei.
Vallet: Daniel Moody.
Lucano: Andrew Owens.
Liberto: Christian Pursell.
Cincinnati Opera Choirs. Cincinnati Symphony Orchestra. Conductor: Gary Thor Wedow.

Recorded June.

 WHRB
Cambridge, Massuachusetts, USA
64K AAC+
96K MP3
schedule
 
0100
8:00PM
Opera: Handel: Orlando;
Harper, Cantelo, Baker, Bowden, Pieczora, Goldsborough, English Chamber Orchestra (Ponto) (4 hrs.)
  
GMT 0200/EDT 9:00PM (Sunday)
GMT 0200/EDT 9:00PM (Sunday)
 WCRB
Boston Massachusetts, USA
192K MP3
  
schedule
 
0200
9:00PM

Voices: Music for the 100th Anniverary of Armistice Day
November 11, 2018 marks 100 years since the end of World War I, and Sunday night at 9 on "Voices" we dedicate the evening to music inspired by and commenting on the Great War.

On the eleventh hour of the eleventh month of the eleventh day, the Great War concluded. The world that had glibly entered that conflict was not the world that exited it, nor were the people. This week on Voices, we enjoy works from the composers who were there, who witnessed and wrote about the First World War, and who had their worlds turned upside-down by the events of 1914-1918.

BUTTERWORTH - Six Songs from "A Shropshire Lad" (Words: A.E. Housman)
Bryn Terfel, baritone; Malcolm Martineau, piano
George Butterworth wrote these six songs in 1911, three years before enlisting in the Army at age 29 to fight in France. The talented young composer rose from private to 2nd Lieutenant in the Durham Light Infantry's 13th Battalion, but was one of the 95,000 English soldiers killed at the Battle of the Somme in 1916.

RAVEL - Trois chansons: "Nicolette" / "Trois beaux oiseaux du Paradis" / "Ronde"
Robert Shaw Festival Singers
Soloists: Mara Bonde, soprano;
Nannette Soles, mezzo-soprano;
Charles Bruffy, tenor;
Bruce Tammen, bass
Robert Shaw, conductor
Maurice Ravel, like many composers featured this week, joined the army despite being in his 40s at the outbreak of World War I. He'd initially hoped to join the French Air Force, but was denied. However, he was eventually allowed to enlist in the French motor corps, where he drove munitions trucks and other support vehicles near the front. Though his Les tombeau de Couperin is his most famed World War I music (each movement is dedicated to a friend killed during the war), these three songs, written in 1915 with words also by the composer, represent the only music he wrote during his service. I

VES - In Flanders Fields (Words: John McCrae; Orch.: David del Tredici)
San Francisco Symphony
Soloist: Thomas Hampson, baritone
Michael Tilson Thomas, conductor
Ives's music frequently sounds like two distinct sound worlds colliding into one composite work. He composed this small song in response to the entry of the United States into World War I in 1917, and though a supporter of the US's involvement in the conflict, the song "depicts the conflicting emotions of patriotism and horror associated with armed struggle." Read more about the song, including John McCrae's powerful poem "In Flanders Fields" at the Song of America website.

WEILL - Dirge for Two Veterans (Words: Walt Whitman)
Thomas Hampson, baritone; Craig Rutenberg, piano
Born in 1900 in Dessau, Germany, Kurt Weill was 18 and headed to music school in Berlin by the time World War I ended. Yet he did not leave the war unscathed: the aftermath of the war in Germany, with the depression in the Weimar Republic hit his family hard and ended his music studies prematurely; and the rise of the Nazi Regime in 1933 forced him to flee to the United States, all of which led Weill to be resolutely anti-war. In 1947, he set four Walt Whitman anti-war poems to music, among them the "Dirge for Two Veterans".

VAUGHAN WILLIAMS - Dona Nobis Pacem
The London Philharmonic Orchestra & Choir
Soloists: Edith Wiens, soprano;
Brian Rayner Cook, baritone
Bryden Thomson, conductor
Vaughan Williams volunteered for service at the outbreak of World War I, despite being 41. During his service he must have been witness to terrible scenes, both as an ambulance driver from 1914 to 1917, and as a lieutenant commissioned to the Royal Artillery from 1917 to the end of the war (a posting which cost him his hearing in later years). As such, when war with Germany loomed again in 1936, Vaughan Williams pleaded passionately for peace, through his Dona nobis pacem. The text to this cantata is largely non-religious, and actually features most heavily the poetry by Walt Whitman, including the powerful "Dirge for Two Veterans".

POULENC - Le bestiare
Pierre Bernac, baritone; Francis Poulenc, piano
Nevermind grainy black-and-white photos, this recording of Poulenc's Le Bestiare shows just how close we still are to the events of World War I. Poulenc wrote Le bestiare in 1918, while stationed at the front. He recorded it in 1946 with French baritone Pierre Bernac. A few years later, Bernac would take on American tenor Robert Gartside as his student, who many years later would go on to be my first voice teacher in 2005. In other words, this millenial radio host is only two degrees of separation from Francis Poulenc and music he wrote while witnessing the horrors of the First World War. There's something astonishing and humbling about that to me.

A. MAHLER - Three Lieder, from 1915 (orch. Colin & David Matthews)
Royal Concertgebouw Orchestra
Soloist: Iris Vermillion, mezzo-soprano
Riccardo Chailly, conductor
I wanted to include Alma Mahler's music not only because of who she represents, but what. Yes, she was a brilliant composer, and yes she was discouraged from her passion by Gustav Mahler until shortly before his death in 1911. But more than that, her music and life represent the change that World War I wrought on the world. The juxtaposition between the decadent and gilt, almost fairytale-like Vienna into which she was born in 1879, and the post-JFK assassination United States in which she died in 1964 couldn't be greater. And to hear the music from the eve of that change to me is endless fascinating.

SCHOENBERG - Friede auf Erden (Peace on Earth), Op. 13
Robert Shaw Festival Singers
Robert Shaw, conductor
Schoenberg was in his 40s when he entered World War I. Initially he saw Germany's attack on France as analogous to his own musical siege on what he saw as "decadence" and "mediocre kittschness" in French music. But he soon came to resent the war, as I imagine did everyone who was involved. Indeed, after the war, he apparently went so far as to write that he no longer thought that peace on earth was possible. This work from 1907 shows he didn't always feel that way.

HAHN - Cinq petites chansons (Five Little Songs) (Words: Robert Louis Stevenson)
Marie-Nicole Lemieux, contralto;
Daniel Blumenthal, piano
Reynaldo Hahn was born in Venezuela, but became a naturalized French citizen in 1909. As such, when war with Germany broke out in 1914, he volunteer for the French Army, despite being 40. These five songs were written while serving on the French-German front in 1915, and are remarkable for their sweetness.

BRITTEN - War Requiem, Op. 66: IV. Sanctus & V. Agnus Dei (Words: Wilfred Owen)
Atlanta Symphony Orchestra & Chorus
Soloists: Lorna Haywood, soprano;
Anthony Rolfe Johnson, tenor;
Benjamin Luxon, baritone
Robert Shaw, conductor
Benjamin Britten's War Requiem was written well after the guns of World War I had been quieted on November 11, 1918. In fact, it was written well after the Second World War as well, in 1962. Nonetheless, the work has strong ties to the first World War: Britten chose to intersperse the liturgical text of his requiem with anti-war poems by Wilfred Owens, an English soldier killed at the front, five days shy of the Armistice.

GRIFFES - An Old Song Resung (Words: John Mansfield)
KORNGOLD - Tomorrow, or When You Are Gone (Words: Margaret Kennedy)
Thomas Hampson, baritone;
Armen Guzelimian, piano
Charles T. Griffes was an American composer who was one of the many casualties not of the war, but of the Flu epidemic that followed and claimed more than 50 million lives. I include Erich Korngold as another Austrian-American Jewish composer whose life, like Alma Mahler and Arnold Schoenberg, would have been very different were it not for the First World War, and what followed.

KASTALSKY: Memory Eternal to the Fallen Heroes
Clarion Choir
Soloists: Protodeacon Leonid Roschko, Deacon;
Marc Andrew Day, tenor;
Scott Dispensa, baritone
Steven Fox, conductor
With more than 1.8 million combat deaths, no Allied Power during the First World War lost more soldiers than the Russian Empire. In response to the devastation that the war brought on the Russian population, in 1916 Alexandre Kastalsky composed a requiem that combined Catholic, Anglican, and Orthodox elements. However, worried that an interdenominational mass would be poorly received, he reworked his requiem into one that could be performed as part of a Russian-Orthodox service, titling it 'Memory Eternal to the Fallen Heroes.' (3 hrs.)

  
GMT 0500/EDT 12:00MIDNIGHT
GMT 0500/EDT 12:00MIDNIGHT
 IPR Classical
Iowa City, Iowa, USA

128K MP3

  
schedule
 
0500
12:00
MIDNIGHT
Opera: No opera today
  
GMT 0800/EDT 3:00AM
GMT 0800/EDT 3:00AM
 VivaLaVoce
(a service of WETA)
Washington, DC, USA

128K WMP

128K MP3

 

schedule
 
0800
3:00AM
Opera Encore: Tiefland
Eugene d'Albert
Paul Schöffler [Sebastino] | Oskar Czerwenka [Tommaso] | Gré Brouwenstijn [Marta] | Judith Hellwig [Pepa] | Ruth Nixa [Antonia] | Kerttu Metsälä [Rosalia] | Dodi Protero [Nuri] | Eberhard Wächter [Moruccio] | Hans Hopf [Pedro] | Waldemar Kmentt [Nando] | Vienna State Opera Chorus | Vienna Symphony Orchestra | Rudolf Moralt (conductor) (No duration given)
  
GMT 1200/EDT 7:00AM
GMT 1200/EDT 7:00AM
 BBC RADIO 3
UNITED KINGDOM
96K aac
128K MP3

48K aacPlus
[This links to a 320K stream in the U.K. only]
schedule
 
1200
7:00AM

SPECIAL PROGRAM: Composer of the Week
The Rossini Code (1 of 5)
Gioachino Rossini (1792-1868)

This week, Donald Macleod presents five takes on the life and music of Gioachino Rossini. Today, the winning formula Rossini hit on right at the start of his operatic career.

Rossini had the good fortune to learn his craft not from a course of dry academic study but by toiling in the operatic trenches of Venice’s Teatro San Moisè, for which he produced a youthful string of one-act farces – four of which are sampled in today’s programme. Thrown in at the deep end at the tender age of 18, Rossini almost immediately – and apparently instinctively – caught on to the essentials of writing music for the stage. More than that, he seems to have codified his instincts into a structural groundplan that not only underpins his early farces, but continued to serve him when he graduated to writing comic operas on a larger scale – a case in point being the deftly-paced 1st-act finale of Cinderella, which concludes today’s programme.

La cambiale di matrimonio; overture
Orpheus Chamber Orchestra

La scala di seta; scene 1, Introduzione
Teresa Ringholz, soprano (Giulia)
Alessandro Corbelli, baritone (Germano)
Francesca Provvisionato, mezzo soprano (Lucilla)
English Chamber Orchestra
Marcello Viotti, conductor

L’inganno felice; scene 8 (extract): Terzetto: ‘Quel sembiante’
Raúl Giménez, tenor (Bertrando)
Pietro Spagnoli, bass (Tarabotto)
Annick Massis, soprano (Isabella)
Le Concert des Tuileries
Marc Minkowski, conductor

L’occasione fa il ladro (or Il cambio della valigia);
scenes 12 (extract)
–13:
– Duet: ‘Voi la sposa!’
– Recit: ‘Qui non c’è scampo’
– Aria: ‘Il mio padrone’
Enrico Fissore, bass (Don Parmenione)
Margherita Rinaldi, soprano (Berenice)
Antonio Pirino, tenor (Don Eusebio)
Gianni Socci, baritone (Martino)
Italian Radio Symphony Orchestra Turin
Vittorio Gui, conductor

La Cenerentola; Act 1, finale
Luigi Alva, tenor (Ramiro)
Renato Capecchi, baritone (Dandini)
Margherita Guglielmi, soprano (Clorinda)
Laura Zannini, soprano (Tisbe)
Ugo Trama, bass (Alidoro)
Teresa Berganza, mezzo soprano (Cenerentola)
Paolo Montarsolo, bass (Don Magnifico)
Scottish Opera Chorus
London Symphony Orchestra
Claudio Abbado, conductor

Produced by Chris Barstow for BBC Wales (1 hr.)

  
GMT 1300/EDT 8:00AM
GMT 1300/EDT 9:00AM
 FRANCE MUSIQUE
Paris, FRANCE

128K MP3 [WINAMP]

 

schedule
 
1300
9:00AM

SPECIAL PROGRAM: Arabesque
Rossini et la France (1/5)

PROGRAMME MUSICAL

Gioacchino Rossini
Guillaume Tell : Ouverture (instrumental)
Michel Tournus : Violoncelle
Orchestre du Théâtre National de L'Opéra de Paris
Alain Lombard
PATHE MARCONI 2C 061 10 899

Gioacchino Rossini
Le voyage à Reims :
- Introduction / Presto presto su coraggio (scène 1 - Maddalena et le chœur)
- Le voyage à Reims : Benché grazie al mio talento (scène 2 - Air de Don Prudenzio et chœur)
- Di vaghi raggi adorno (scène 3 - Air de Madame Cortese et ensemble)
Raquel Pierotti : Contralto (Maddalena)
Giorgio Surjan : Basse (Don Prudenzio)
Chœur Philharmonique de Prague
Orchestre de Chambre D'Europe
Claudio Abbado
DGG 415498-2

Gioacchino Rossini
Le voyage à Reims : Ouverture
Academy Of Saint-Martin-In-The-Fields
Neville Marriner
PHILIPS 473967-2

Gioacchino Rossini
Le voyage à Reims : Io Don Profondo (scène 16 - Air de Don Profondo)
Ruggero Raimondi : Baryton (Don Profondo)
Orchestre de Chambre D'Europe
Claudio Abbado
DGG 415498-2

Gioacchino Rossini
De l'Italie et de la France - Hymne pour soprano basse choeur et orchestre
Laura Giordano : Soprano
Michele Pertusi : Basse
Chœur et orchestre Symphonique Giuseppe Verdi de Milan
Riccardo Chailly
DECCA 470298-2

Gioacchino Rossini
Le voyage à Reims :
- Ah A tal colpo inaspetta (scène 19 - Ensemble à 14 voix)
- Signor ecco una lettra (scène 20 – Ensemble)
Cecilia Gasdi : Soprano (Corinne)
Lucia Valentini Terrani : Mezzo-soprano (La marquise Melibea)
Edoardo Gimenez : Ténor (Cavalier Belfiore)
Francisco Araiza : Ténor (Comte Libenskof)
Samuel Ramey : Basse (Lord Sidney)
Orchestre de Chambre D'Europe
Claudio Abbado
DGG 415498-2

Luigi Cherubini
Marche religieuse pour la messe du couronnement de Charles X - pour orchestre
Philharmonia Chorus
Riccardo Muti
EMI 7493022

Gioacchino Rossini
Le voyage à Reims (Scène 25) :
- Ritornello
- Ora secondo gli usi / Or che regna fra le genti (Récitatif et air du Baron et ensemble)
- Ai prodi guerrieri (Air de Melibea et ensemble)
- Onore gloria ed alto omaggio (Air de Libenskof et ensemble)
- Omaggio all'Augusto Duce (scène 25) Ai de Don Alvaro et ensemble
- Dell'aurea pianta (Air de Lord Sidney et ensemble)
- Madre del nuovo Enrico (Duo Belfiore / la Comtesse et ensemble)
- Più vivace e più fecondo (Duo Madame Cortese, Don Profondo et ensemble)
- Corinna or tocca a voi (Ensemble)
- All'ombra amena (Air de Corinne)
- Viva il diletto (Ensemble et chœur)
Enzo Dara : Basse (Baron Trombonok)
Francisco Araiza : Ténor (Comte Libenskof)
Leo Nucci : Baryton (Don Alvar)
Samuel Ramey : Basse (voix), Lord Sidney
Lella Cuberli : Soprano (La comtesse de Folleville)
Cecilia Gasdi : Soprano (Corinne)
Lucia Valentini Terrani : Mezzo-soprano, La marquise Melibea,
Edoardo Gimenez : Ténor (Cavalier Belfiore)
Orchestre de Chambre D'Europe
Claudio Abbado
DGG 415498-2

Gioacchino Rossini
Ivanhoé : Ouverture
Filarmonica
Gioacchino Rossini
Donato Renzetti
DECCA 4817046

Gioacchino Rossini
La Cenerentola : Sia qualunque delle figlie (Acte II, scène 1 - Air de Magnifico)
Neville Marriner
Ruggero Raimondi : Baryton (Don Magnifico)
Academy of Saint-Martin-In-The-Fields
PHILIPS 420 468-2

Gioacchino Rossini
Ivanhoé : Boisguilbert dont la vengeance (Acte I - Ismaël et le chœur)
Paolo Arrivabeni
Filippo Morace : Baryton (Ismaël)
Orchestre International d'Italie
Chœur de Chambre de Bratislava
DYNAMIC CDS 397/1-2 (2 hrs.)

  
GMT 1705/EDT 12:05PM
GMT 1705/EDT 12:05PM
 KLASSIKARAADIO
Talinn, ESTONIA

128K aacPlus [WINAMP]
If you hear a white noise while playing this stream we suggest you change (at your own risk) the output driver in WINAMP to the directSound Driver. See instructions for this on our Internet Radio for Techies page

 
schedule
 
1705
12:05PM

Ooperiõhtu: Läti 100. Artūrs Maskatsi dokumentaalooper "Valentina"
Meeldib Legendaarse Läti teatriteadlase Valentina Freimane traagiline elulugu sai ooperiks neli aastat tagasi. Freimane suri tänavu veebruaris Berliinis vaid kaks päeva enne oma 96. sünnipäeva. Siiski jõudis ta näha ooperi Berliini ettekannet 19. mail 2015.

Artūrs Maskatsi esimene ooper jutustab tõestisündinud loo Holokausti õudusi kogenud juudi verd lätlannast, kelle eest abikaasa Dimitrijs ohverdas oma elu. Kuigi ooper jutustab tõestisündinud loo, on kõik tegelaste nimed peale nimiosalise ja tema abikaasa muudetud Valentina Freimane enda soovil.

Helilooja Arturs Maskats on kogunud rahvusvahelist tuntust oma bandoneonikontserdiga "Tango". Kuna ta on muusikat kirjutanud üle sajale draamaetendusele ja olnud Läti Rahvusooperi kunstiliseks juhiks 15 aastat. On lausa üllatav, et tema esimene ooper valmis alles nüüd.

Osades:
Inga Kalna - Valentina
Mihails Culpajevs - Aleksei
Rihards Millers - Valdis
Ieva Parsa - Alma
Lubova Sokolova -Valentina ema
Armands Silins - Valentina isa
Nauris Puntulis - Valentina ema austaja
Janis Apeinis - Dima
Kristine Zadovska - Elsa

Läri Rahvusooperi koor ja orkester, Riia Toomkooli Poistekoor.
Dirigent Modests Pitrens. (3 hrs.)

  
GMT 1900/EST 2:00PM
GMT 1900/EST 2:00PM
 KLARA
Brussels, BELGIUM
128K AAC
Use Media Player Classic (on Windows 7, will not work in Chrome Browser)
128K MP3
64K AAC
Use Media Player Classic (on Windows 7, will not work in Chrome Browser)
schedule
 
1900
2:00PM
SPECIAL PROGRAM: Klara Live
De Russische sopraan Julia Lezhneva is een stemacrobate pur sang. Haar vocaal vuurwerk zet het publiek in vuur en vlam, zeker als ze samenwerkt met barokviolist Dmitry Sinkovsky en zijn ensemble La Voce Strumentale. Op het Duitse Rheingau Musik Festival brachten ze een programma met aria's en concerto's vol coloraturen en barokke fiorituren van componisten als Telemann, Handel, Graun en Vivaldi. Als kers op de taart na het - letterlijk - adembenemende concert ontpopte Sinkovsky zich bovendien als een uitstekend contratenor tijdens de bisnummers, waar zowel de musici als het publiek niet genoeg van konden krijgen. Een EBU-opname van 20 juli 2018, gemaakt in de prachtige Cisterciënzerabdij Eberbach aan de Rijn.

Nicola Porpora
Come nave in mezzo all'onde, aria uit Siface0:04:10
Julia Lezhneva (sopraan) La Voce Strumentale, Dmitry Sinkovsky (viool en leiding)
EBU-concert

Georg Philipp Telemann
Concerto grosso in Bes, TWV 51- per il Signor Pisendel0:13:11
La Voce Strumentale Dmitry Sinkovsky (viool en leiding)
EBU-concert

Carl Heinrich Graun
Senza di te, mio bene, aria uit Coriolano0:08:31
Julia Lezhneva (sopraan) La Voce Strumentale Dmitry Sinkovsky (viool en leiding)
EBU-concert

Arcangelo Corelli
Concerto grosso in Bes op. 6/110:08:57
La Voce Strumentale Dmitry Sinkovsky (viool en leiding)
EBU-concert

George Frideric Handel
Twee aria's uit Alessandro, HWV 21: Alla sua gabbia d'oro en Brilla nell'alma0:13:27
Julia Lezhneva (sopraan) La Voce Strumentale, Dmitry Sinkovsky (viool en leiding)
EBU-concert

Antonio Vivaldi
Zeffiretti, che sussurrate, aria uit Ercole, sul Termodonte0:08:35
Julia Lezhneva (sopraan) La Voce Strumentale Dmitry Sinkovsky (viool en leiding)
EBU-concert

Carl Heinrich Graun
No, no, di Libia fra l'arene, aria uit Silla0:04:18
Julia Lezhneva (sopraan) La Voce Strumentale Dmitry Sinkovsky (viool en leiding)
EBU-concert

Antonio Vivaldi
Vioolconcerto in d op. 8/7, RV 242, uit Il cimento dell'armonia e dell'inventione0:10:08
La Voce Strumentale Dmitry Sinkovsky (viool en leiding)
EBU-concert

George Frideric Handel
Twee aria's uit Il Trofino del Tempo e del Disignanno, HWV 46a: Pure del cielo intelligenze eterne en Tu del ciel ministro eletto0:07:03
Julia Lezhneva (sopraan) La Voce Strumentale, Dmitry Sinkovsky (viool en leiding)
EBU-concert

Carl Heinrich Graun
Mi pa venti il figlio indegno uit Britannico0:03:00
Julia Lezhneva (sopraan) La Voce Strumentale, Dmitry Sinkovsky (viool en leiding)
EBU-concert

Nicola Porpora
Alleluia uit In caelo stelle clare0:00:56
Julia Lezhneva (sopraan) La Voce Strumentale, Dmitry Sinkovsky (viool en leiding)
EBU-concert

George Frideric Handel
Vivo in te uit Tamerlano, HWV 180:07:06
Julia Lezhneva (sopraan) La Voce Strumentale Dmitry Sinkovsky (contratenor en leiding)
EBU-concert

George Frideric Handel
Caro! Bella! uit Giulio Cesare, HWV 170:05:32
Julia Lezhneva (sopraan) La Voce Strumentale, Dmitry Sinkovsky (contratenor en leiding)
EBU-concert

Johann Sebastian Bach
Suite nr.2 in d voor cello solo BWV10080:15:00
Roel Dieltiens (cello)
Etcetera 1403

Nieuws0:00:20 (2 hrs.)
  
GMT 1925/EST 2:25PM
GMT 1925/EST 2:25PM
 BARTOK RADIO
Budapest, HUNGARY

96K aacPlus [WINAMP]
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schedule
 
1925
2:25PM

SPECIAL PROGRAM: A Francia Nemzeti Zenekar hangversenye
Vez.: François-Xavier Roth
Km.: Francia Rádió Gyermekkara és Énekkara, Aida Garifullina, Patricia Petibon (szoprán), Joyce DiDonato (mezzoszoprán), Philippe Jaroussky (kontratenor), Jean-François Borras (tenor), Matthias Goerne (bariton), Renaud Capuçon, Deborah Nemtanu, Sarah Nemtanu, Fiona Monbet (hegedű), Dimitri Naiditch, Khatia Buniatishvili (zongora)

1. Hector Berlioz: Faust elkárhozása - Rákóczi induló,
2. Giuseppe Verdi: Traviata – Bordal (Garifullina, Borras, kórus),
3. Wolfgang Amadeus Mozart: Don Giovanni - Zerlina és Don Giovanni kettőse I. felv. (DiDonato, Goerne),
4. Alekszander Borogyin: Igor herceg – Polovec táncok II. felv. (kórus),
5. Nicola Porpora: Alto Giove (Jaroussky),
6. Claude Debussy: Üdvözlünk, tavasz (gyermekkar),
7. Charles Gounod: Faust - Katonakórus IV. felv. (kórus),
8. Giacomo Puccini: Turandot – Kalaf áriája III. felv. (Borras, kórus),
9. Szergej Rahmanyinov: II. zongoraverseny – III. tétel (Buniatishvili),
10. Camille Saint-Saëns: Sámson és Delila – Bacchanália,
11. Richard Wagner: Tannhäuser - Dal az Esthajnalcsillaghoz III. felv. (Goerne),
12. Camille Saint-Saëns- Didier Lockwood: Sámson és Delila - Csókária II. felv. (Petibon, Naiditch, Monbet),
13. Dmitrij Sosztakovics- Lucas Henri: Keringő és polka (Deborah és Sarah Nemtanu, Capuçon),
14. George Friedrich Händel: Rinaldo - Almirena áriája II. felv. (DiDonato),
15. Jules Massenet: Le Cid – VII. Navarraise (kórus),
16. Vincenzo Bellini: Norma - Norma kavatinája I. felv. (Garifullina, kórus),
17. John Williams: Schindler listája – részlet (Capuçon),
18. Leonard Bernstein: West Side Story – Mambo,
19. Jacques Offenbach: Hoffmann meséi – Barcarola (Garifullina, DiDonato, kórus),
20. Claude-Joseph Rouget de Lisle- Hector Berlioz: La Marseillaise
(Párizs, Mars-mező, július 14.) (Ism. november 24., 13.25) (1 hr., 35 min.)

  
   
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