Self
Self
Self
1986-01-01
0
After marrying her long lost love, a pianist finds the relationship threatened by a wealthy composer who is besotted with her.
Zahia Ziouani, 17, dreams of becoming a conductor, while her twin sister Fettouma hopes to be a professional cellist. They want to make classical music accessible to everyone and create their own orchestra.
Giuseppe Verdi based his famous opera on the novel “The Lady of the Camellias” by Alexandre Dumas. Robert Wilson’s production of Violetta Valéry’s tragic fate is his first work at the State Theater of Linz, Austria, one of the most modern operatic stages in Europe by architect Terry Pawson. After the run in Linz, the production was transferred to the Opera House in Perm, Russia, where the production was conducted by Teodor Currentzis. In 2017, the work received a “Golden Mask”, the most prestigious Russian theater award, in three categories (Teodor Currentzis, Best Conductor; Nadezhda Pavlova, Best Female Singer; Robert Wilson, Best Lighting Design).
J Fever, China’s greatest “rap poet”, reinvents the origin myth of fire, in an exquisite performance with Shanghai Philharmonic in Shanghai Concert Hall, featuring composer Soulspeak and Yehaiyahan.
The film is a parody of Disney's Fantasia, though possibly more of a challenge to Fantasia than parody status would imply. In the context of this film, "Allegro non Troppo" means Not So Fast!, an interjection meaning "slow down" or "think before you act" and refers to the film's pessimistic view of Western progress (as opposed to the optimism of Disney's original).
01. The Godfather Waltz (N. Rota) 02. Romance Anonyme (Anonyme) 03. Lagune Waltz (J. Strauss) 04. O Mio Babbino Caro (G. Puccini) 05. The Rose (A. McBroom) 06. Italiana (O. Respighi) 07. You Are The Emperor Of My Heart (R. Stolz) 08. Sous Le Ciel De Paris (H. Giraud) 09. Roses From The South (J. Strauss) 10. My Heart Will Go On (J. Horner) 11. Intermezzo Sinfonico (M. Mascagni) 12. Moonlight (Kojo No Tsuki) (R. Taki) 13. The Last Rose (F. von Flotow) 14. Limburg Anthem (H. Thijssen / G. Krekelberg) 15. Concierto De Aranjuez (J. Rodrigo) 16. Swinging Bells Of Limburg (J. Hoes) 17. Nightingale Serenade (E. Toselli) 18. Auld Lang Syne (Traditional) 19. Ode To Maastricht (Y. Duteil) 20. Lullaby (J. Brahms)
This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Lecture 5 picks up at the early twentieth century with an oncoming crisis in Western Music. As these lectures have traced the gradual increase and oversaturation of ambiguity, Bernstein now designates a point in history that took ambiguity too far.
This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: This lecture takes its name from a line in John Keats' poem, "On the Grasshopper and Cricket". Bernstein does not discuss Keats' poem directly in this chapter, but he provides his own definition of the poetry of earth, which is tonality. Tonality is the poetry of earth because of the phonological universals discussed in lecture 1. This lecture discusses predominantly Stravinsky, whom Bernstein considers the poet of earth.
This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Phonology is the linguistic study of sounds, or phonemes. Bernstein's application of this term to music results in what he calls "musical phonology".
Beethoven spent three years composing the Eroica, an intimate journal of his emotional crises and his dramatic emergence as an original master. Michael Tilson Thomas and the musicians of the San Francisco Symphony help you make sense of this voyage into life as it really is.
The grand scale and magnificent acoustics of the Roman arena in Verona are ideally suited to the pageantry of Verdi's Egyptian opera, presented here in a staging that is true to the original 1913 production, framed by obelisks and sphinxes and filled with chorus and dancers. Chinese soprano Hui He has won international acclaim for her portrayal of the eponymous slave girl whose forbidden love for the war hero Radamés (Marco Berti, the experienced Verdi tenor) brings death to them both.
This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Bernstein provides two distinct meanings of the term ambiguity. The first is "doubtful or uncertain" and the second, "capable of being understood in two or more possible senses"
30 years after his last visit to Japan, John Williams has returned for a special concert – making his debut with the world-famous Saito Kinen Orchestra in renditions of his beloved film scores and reuniting with his longtime friend, world-renowned conductor Seiji Ozawa (1935-2024). Captured live on record at Suntory Hall last year, John Williams In Tokyo is now being be released by Deutsche Grammophon and follows his acclaimed concert albums, The Berlin Concert and John Williams in Vienna, which topped charts around the globe.
The Piano Guys, the unstoppable classical/pop crossover music stylists. Their albums have been #1 on multiple Billboard Charts for over 273 weeks. They have become YouTube superstars from their self-made innovative videos in stunning locations that have amassed over four million subscribers and more than 700 million views, and are a touring phenomenon selling out shows around the world. The Piano Guys LIVE! at Red Rocks (2015) captures their sold out concert at Red Rocks Amphitheater, performing all of their hits including "What Makes You Beautiful," "A Thousand Years" and "Let It Go" along with some special guest appearances. Experience all the excitement of TPG live in concert at the world's most stunning outdoor amphitheater!
Although he is unanimously credited with having democratised opera, making it accessible to the greatest number, focus is rarely put on the strategy he devised and implemented in order to carry out his actions, nor what his actions reveal of the man and artist, and of the resulting metamorphosis from opera singer to pop artist. Through this angle, this film sets out to pay tribute to the man who summed up his credo, obsession and life’s work, in the following way: “They led the public to believe that classical music belonged to a restricted elite. I was the way to prove to the world that was wrong.
A ruthless real estate agent discovers a passion for piano and auditions with help from a young virtuoso, but the pressures of his corrupt career threaten to derail his musical aspirations.
Jenny is young. Her life is over. She killed someone. And she would do it again. When an 80-year-old piano teacher discovers the girl’s secret, her brutality and her dreams, she decides to transform her pupil into the musical wunderkind she once was.