Bizet: The Tragic Life Story Of The Opera Composer

Simon Callow visits the Palace of Versailles and explores the lives of Bizet and Saint-Saens in France's capital, before an exquisite performance by the Australian Chamber Orchestra. Subscribe and click the bell icon to get more arts content every week:    / perspectivearts   Perspective is YouTube's home for the arts. Come here to get your fill of great music, theatre, art and much, much more!

Fil-Am Kaylee Shimizu aces ‘The Voice’ Knockouts with Aretha Franklin classic

Fil-Am Kaylee Shimizu makes a stellar performance in ‘The Voice’ Knockouts | Photo from Kaylee Shimizu’s “Ain’t No Way” performance on The Voice/YouTube

The talented teen competed with two fellow hopefuls from Team Legend

By: Jelou Galang - @inquirerdotnetInquirer Manila 

Only the brave souls dare to cover an Aretha Franklin song, especially with public scrutiny involved. Kaylee Shimizu is one of them—and it looks nothing short of a good decision.

After winning the previous Battles stage, the Filipino-American singer from Ewa Beach, Hawaii aced the Knockouts round of “The Voice” on Nov. 6, performing 1968 track “Ain’t No Way” by the “Queen of Soul.”

The 17-year-old offered a stellar performance of the challenging classic, which left Gwen Stefani and Reba McEntire speechless and Niall Horan giggly during her turn on the stage. Meanwhile, her coach John Legend stood still and raised his arms in astonishment as she finished the song. 

Shimizu went against her fellow contestants from Team Legend Caleb Sasser and Mara Justine, who’ve also joined the four-chair turner club like her during the blind audition. In the end, Shimizu reigned the round, letting her take another step in the competition’s 24th season. Meanwhile, Sasser went home and Justine received steals from Stefani and Horan.

On Instagram, Shimizu posted a Knockouts photo dump with a caption bursting with gratitude, from her parents to her glam team. “Thank you to EVERYONE for your kind words and continuous support, I appreciate you all so much. Thank you John for helping me feel more confident in my voice and coaching me through these past performances, you’re amazing,” she said.

In another recent Instagram post, the contestant also posted a sentimental Reel, which takes a quick look at her progress as an artist. “Little me would have neverrr thought,” she wrote.

the most terrorizing piece ever written

29,863 views Nov 2, 2023 #rachmaninoff #piano #classicalmusic

29,863 views • Nov 2, 2023 • #rachmaninoff #piano #classicalmusic

The Ossia Cadenza of Rachmaninoff's 3rd Piano Concerto is one of the most physically and technically demanding part of any piece ever written in addition to it sounding terrifying and terrorizing, yet beautiful. In typical Lang Lang fashion, he plays it perfectly. Piece: Piano Concerto No.3 in D Minor (Ossia Cadenza) Composer: Sergei Rachmaninoff Performer: Lang Lang All video and audio credits to @Cardstacker

Nolwenn Leroy, Moonlight Shadow, France 2 [HD 1080p]

interprété par Nolwenn Leroy lors de l'émission "Les Années Bonheur".

Harry Belafonte & Nana Mouskouri,Try to remember

@rinihariani1043

2

It is SO HARD, NOT TO ADMIRE these two remarkable artists! .... My respect to Mr.Harry Belafonte and Madame Nana Mouskouri!

Charles Gounod : Faust - Ballet Music

Februar 23. 2019. concert live recording in House of Arts Gödöllő. Performed by Gödöllő Symphonic Orchestra Conducted by Gábor Horváth Recorded by StreamArt TV

Rachmaninov: Pianoconcert nr.4 op.40 - Anna Fedorova - Live concert HD

Bebo Best & The Super Lounge Orchestra - Sing Sing Sing (Dance Video) | ...

24,078,245 views Aug 26, 2017

Dance video for Bebo Best & The Super Lounge Orchestra's "Sing Sing Sing" - directed by Mihran Kirakosian and choreography by Stixx. The "Be Discovered" Summer in L.A. Super Star Intensive Video.

Camila Cabello - Havana | Gustavo Vargas Choreography

19,582,716 views Mar 28, 2018

Loved this song from the moment I first heard it! Thank you Camila Cabello for this song!!! Enjoy!!! CHOREOGRAPHY - Gustavo "Suavo" Vargas Instagram - @suavo Twitter - @gusuavo Website - www.gusuavo.com Song - Havana Artist - Camila Cabello

Famous Father, Famous Son! Franz and Richard Strauss

By Georg Predota , Interlude

Famous musical sons frequently have famous musical fathers. And Richard Strauss is no exception. In his day, his father Franz was recognized as an important artistic personality. Foremost, he became a celebrated horn virtuoso, by “breathing soul into the unthankful instrument.” Even Richard Wagner, against whom the musically conservative Strauss took literally every opportunity to make his disapproval clear, recognized his unusual talent. “Old Strauss is an unbearable fellow, but when he plays the horn one can’t really mind him.” Franz Strauss became a member of the Royal Court Orchestra in Munich in 1847, and set new standards on his instruments for more than four decades. However, he also dabbled in composition, predictably centered on his favorite instrument.

Franz and Richard Strauss © Wikipedia

Franz Strauss quickly recognized his son’s musical talent and entrusted four and a half-year-old Richard to August Tombo for piano lesson. Before long Richard was able to play the tunes in a book of operatic arrangements, and successfully tackled a Mozart sonata. His older sister remembered, “Richard made swift progress. Sight-reading presented him with no problems. His teacher played with him a great deal, and there was one trick that delighted Richard. His teacher played the bass part with the left hand, the top line with his right hand and the middle part with the tip of his long pointed nose.” Richard first tried his hands at composition at the age of six, when he composed the Schneider-Polka (Tailor Polka) for piano. However, as he was not yet capable of writing music, his father wrote it down for him. 

Young Richard was described by his teacher as “a student with excellent dispositions, good deportment and well behaved; lively, enthusiastic, attentive, sometime over-eager and hasty.” By the time he was 18, Richard had composed roughly 140 compositions, including almost 60 songs and more than 40 piano works. Much of these juvenilia pay homage to the musical creed of his father, who favored the “trinity of Mozart (most of all), Haydn and Beethoven.” The first time Richard heard a Beethoven symphony he did not understand it, he remained unmoved and even said, “he didn’t care of it.” Nor did he understand Beethoven’s sonatas and quartets at that stage. “In his piano lessons he preferred Chopin, Mendelssohn and Bach.” When Richard made his pianistic debut on 20 October 1885, however, he played the Mozart C-minor Concerto with his own cadenzas, which are unfortunately lost. Echoes of Mozart and the Classical style clearly emerge in his Serenade in E-flat for Thirteen Wind Instruments, Opus 7, dedicated to his composition teacher Franz Meyer. 

Franz Strauss ©hornarama.com

At age 21, Richard Strauss took up the post of assistant conductor of the Meiningen Orchestra. Hans von Bülow, a student of Franz Liszt and champion of the music of Richard Wagner and later Johannes Brahms had appointed him. To thank von Bülow, Richard composed a work for piano and orchestra originally titled “Scherzo in D minor.” Bülow considered it a “complicated piece of nonsense and unplayable” and refused to learn it. Strauss made some changes and renamed the work “Burleske” with Eugen d’Albert premiering the work in 1890. Bülow, however, was still not convinced and wrote to Johannes Brahms “Strauss’s Burleske decidedly has some genius in it, but in other respects it is horrifying.” 

Throughout his life, Richard Strauss had the highest admiration for Hans von Bülow. “For anyone who ever heard him play Beethoven or conduct Wagner, who attended one of his piano lessons or observed him in orchestra rehearsal, he inevitably became the model of all the shining virtues of a performing artist, and his touching sympathy for me, his influence on the development of my artistic abilities, were the decisive factors in my career.”

All About That Bass - Postmodern Jukebox European Tour Version

Meghan Trainor's "All About That Bass," in the style of PMJ ft. Kate Davis, of course. Not only does it feature vocalists Haley Reinhart, Morgan James, and Ariana Savalas rocking some Andrews Sisters- style harmonies, but it also features a sweet four hand bass solo by Casey Abrams and Adam Kubota.

Mucho Gusto Guantanamera

Ave Maria, F. Schubert - Anastasiya Petryshak

8,128,226 views Sep 12, 2016

Anastasiya Petryshak, violin ➜YouTube Channel: http://bit.ly/Subscribe-Iscriviti Orchestra Cantelli Franz Schubert Ave Maria Milan, Basilica sant'Ambrogio - 18 December 2015 Follow Anastasiya Petryshak: ➜ Facebook page:   / petryshak.anastasiya  

Busoni, Piano Concerto in C Major Op. 39

Marc-André Hamelin piano. Sibelius Hall, Lahti - 31st March 2001. ENJOY !! I Prologo e Introito 0:52 II Pezzo giocoso 16:18 III Pezzo serioso 25:14 IV All'Italiana 46:08 The Piano Concerto in C major, Op. 39 (BV 247), by Ferruccio Busoni, is one of the largest works ever written in this genre. The concerto lasts around 70 minutes and is in five movements; in the final movement a male chorus sings words from the final scene of the verse drama Aladdin by Adam Oehlenschläger, who also wrote the words of one of the Danish national anthems. The first performance of the concerto took place in the Beethoven-Saal, Berlin, Germany, on November 10, 1904, at one of Busoni's own concerts of modern music. Busoni was the soloist, with Karl Muck conducting the Berlin Philharmonic Orchestra and the Choir of the Kaiser Wilhelm Memorial Church (Kaiser-Wilhelm-Gedächtniskirche). The reviews were decidedly mixed, some being filled with outright hostility or derision. The century following its premiere has seen relatively few performances, owing to the large orchestration, complex musical texture, the use of a male chorus, and the staggering demands put on the soloist. It seems to have been Beethoven who first included a chorus in a concerted work with piano and orchestra, in his Choral Fantasy, Op. 80, of 1808, since then only a handful of works have been scored for similar forces, including Daniel Steibelt's Piano Concerto No. 8 (first performed March 16, 1820, in Saint Petersburg) and the Piano Concerto No. 6, Op. 192 (1858) by Henri Herz which also have a choral finale.

Ruggero Leoncavallo - Intermezzo from "I Pagliacci" | WDR Funkhausorchester

The WDR Funkhausorchester plays the intermezzo from Ruggero Leoncavallo's opera "I Pagliacci". The orchestra was conducted by Enrico Delamboye. A recording of 02.11.2019 from the Kölner Philharmonie. WDR Funkhausorchster Enrico Delamboye, conductor