Arthur Newman Podcasts
American operatic baritone and actor (1908-2000)
- baritone
- United States of America
- opera singer, actor, stage actor
Last update
2024-05-13
Refresh
Tractus emphasizes Arvo Pärt's compositions that blend the timbres of string orchestra and choir. New versions predominate, with focused performances from the Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir under Tõnu Kaljuste’s direction that invite alert and concentrated listening. From the opening composition Littlemore Tractus, which takes as its starting point consoling reflections from a sermon by John Henry Newman, the idea of change, transfiguration, and renewal resonates, setting a tone for a recording whose character is one of summing up, looking inward, and reconciling with the past.Tracks1 Littlemore Tractus 2 Greater Antiphons - O Wisdom 3 Greater Antiphons - O Adonai 4 Greater Antiphons - O Root of Jesse 5 Greater Antiphons - O Key of David 6 Greater Antiphons - O Morning Star 7 Greater Antiphons - O King of all People 8 Greater Antiphons - O Emmanuel 9 Cantique des degres 10 Sequentia 11 L'abbe Agathon 12 These Words 13 Veni creator 14 Vater unser 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) [email protected] album is broadcast with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).
New Classical Tracks with Julie Amacher
2023-09-13 07:00:00
Duration (h:m:s): 39:47
Clancy Newman and Natalie Zhu – From Method to Madness: The American Sound (Albany) controls src="https://play.publicradio.org/unreplaced_ua/o/minnesota/classical/programs/new_classical_tracks/2023/09/13/new_classical_tracks_2023_09_13_new-classical-tracks-Clancy_Newman_and_Natalie_Zhu_20230913_128.mp3"> New Classical Tracks - Clancy Newman and Natalie Zhu by “I just love to play with Clancy because he challenges my mind,” pianist Natalie Zhu says. “This program was Clancy's idea. When I tried to plan for my festival, I asked Clancy if we should play a cello recital together. I asked him, ‘What do you want to play?’ And he came up with this program. I said, ‘Oh, my goodness, I don't know any of the pieces on the program.’ I had to learn every piece.” Zhu and cellist Clancy Newman have been performing together for over 20 years. During the pandemic lockdown, they created a virtual recital that evolved into their debut recording, From Method to Madness: The American Sound.Newman: “Natalie has always been very kind to go along with whatever I'm doing. She's so open-minded and willing to try whatever I might suggest. Playing with Natalie, I feel like I can do anything, and I have the freedom to be myself."This recording relates and showcases the element of friendship and/or collaboration between composers, performers and friends. And this was a time when you had to really be creative about how you were having those collaborations. How did this come together during the global pandemic?Newman: “The From Method to Madness part is the title of my composition that's on the album. And I thought, there's something about the idea of From Method to Madness that encapsulates both art in general and music. I think it reflects the idea that you need to have both the passion, which you could say is the madness, the irrational element and the emotion, but also the discipline, using some sort of method and structure.“You can see the madness in America certainly now. There's also these sweeping melodies that I think of as part of what America has — not to be cliché, but with the mountains and the valleys and just the beauty of America.”You wrote the title track in 2008, yet this is the first time you've recorded it. Why was it the last piece on the recording rather than maybe the opening piece?Newman: “The piece is 5 minutes long, and it's basically just one huge crescendo all the way to the end. It's a little bit like a cup of water boiling. And then gradually it starts to bubble until finally it's just boiling and boiling over onto the stove. And I think that this piece has that excitement to it. And I guess I thought it would be a good way to end the album after beginning it with the Barber sonata that starts in a more conventional and romantic manner.”Clancy, you gave the premiere performance of composer Kenji Bunch’s Broken Music in 2003 at Lincoln Center. It is a piece that was written for you, and again, this is the first time you've recorded it.Newman: “In 2001, I won the Naumberg Competition. Part of winning that was that I would get to premiere a piece that Naumberg would commission. By sheer luck, Naumberg chose Kenji to write the piece, and I knew Kenji because we were at Juilliard together. Every time I've ever performed it, it's always the audience’s favorite thing on the program.” Natalie, what strikes you about the piece Broken Music? Is there a section that is especially powerful to you?Zhu: “My favorite movement would be the “Broken Verse,” which is the slow third movement of the piece. It just touches your heart. It’s sad and it's lonely, but at the same time, at the very end I am still hopeful. The first moment I heard the piece, it took me somewhere else. Even though it is sad, it comforts me in some way. “Actually, it made me think about my childhood. I immigrated to America from China. I came to America when I was, I think, 10. America is a completely different place, and I feel like this piece really brings back those great memories in my life.” Listen on YouTubeTo 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.ResourcesClancy Newman and Natalie Zhu – From Method to Madness: The American Sound (Amazon)Clancy Newman and Natalie Zhu – From Method to Madness: The American Sound (Albany)Clancy Newman (official site)
Today’s guest deejay is Tim Dwyer. I met Tim through Sanderson Dear, who get deejayed on Soundwave a few months ago (listen to Sanderson’s mix here). As is my want, I asked Sanderon who he thought would share a mix on Soundwave and he highly recommended Tim. As it happens, both Tim and I are fellow devotees of the Excursions in Ambience compilation album series (listen to my Excursions in Ambience compilation retrospective here). That may explain why Tim’s mix, which features songs completely new to me, feels so familiar. It’s a delight to share Tim’s mix with you. Tim has words about his mix below. Join us next week when our guest deejay will be Raziel Panic. See you then. My 2021 album Excursion was a release born through influence. It was inspired by improvised live electronics, a deep love of electronic music from the 1990’s, and even the compilation series Excursions in Ambience, of which the album was named after. I wanted to revisit those influences for this mix, crafting a similar sonic tapestry, through a different lens. I’ve included the inspiring music that influenced me to start making music, as well as some new works that elicit that same emotional frequency. Enjoy the journey. Aural Imbalance “Sixth Sense” Ishq Music “Bhakti” Inhmost “Beautiful Eyes” Belief “Art of Love” Obliquity “Meloside” Off Land “Granular Shore” The Future Sound of London “Sophies Path” Inhmost “Suspension” Jacob Newman “Two Phases” Amorphous Androgynous “In Mind” woob mono “Planet (Remastered Edit)” woob mono “Latneiro (Sunrise Dub) [Remastered]” Off Land “Fraction Of Shade” --- Send in a voice message: https://podcasters.spotify.com/pod/show/soundwavemix/message
2022-07-26 09:00:05
Duration (h:m:s): 45:29
On this episode, we hear from sopranos Rebecca Caine and Diana Newman, principals in THE LIGHT IN THE PIAZZA. Rebecca plays the role of Margaret Johnson, and Diana plays the role of Margaret’s daughter Clara. This is the first time they’ve worked together, and watching them onstage, you’d think they were old friends. Rebecca shares how much she loves playing a woman of a “certain age,” and Diana talks about how she approaches Clara’s neurodivergence. You’ll hear more about how the perfect costume helps get an actor into character, how much Rebecca and Diana love being onstage with each other and their castmates, and how the Supreme Court decision that overturned Roe versus Wade influenced how they thought about this story. This interview was recorded on July 7, 2022. Canadian soprano Rebecca Caine has had a career divided between Opera and Musical Theatre, making her West End debut at age 19 as Laurey in OKLAHOMA! She then sang the role of Eliza in MY FAIR LADY on the National Tour. While at Glyndebourne Opera Festival, she was asked to join the Royal Shakespeare Company where she created the role of Cosette in LES MISERABLES. She was also part of the original cast of PHANTOM OF THE OPERA as Christine. Her long career continues to span the realms opera, musical theatre, straight theatre, and cabaret in the UK, United States, and around the world. American soprano DIANA Newman brings “fresh and intense” performances to opera houses and concert stages across the United States and Europe. She has recently appeared with the Dallas Opera and the Metropolitan Opera. A recent graduate of the Lyric Opera of Chicago’s Ryan Opera Center, she returned this season for the company’s Ring Cycle. Diana was also recently a soloist with the Los Angeles Philharmonic at the Hollywood Bowl for AMERICA IN SPACE in celebration of the 50th anniversary of the Apollo 11 moon landing. Have questions or want to provide feedback? Email us at [email protected]. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.
or
- timeline: Lyrical singers (North America).
- Indexes (by alphabetical order): N...