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laboheme
Explore "laboheme" with insightful episodes like "EP14|《聖誕》系列・二|波希米亞人—聖誕會剩單嗎?", "The Embrace", "BACKSTAGE at LA BOHÈME", "LA BOHÈME 101" and "54."Oblomov" de Ivan Gontcharov avec Didier Debroux" from podcasts like ""世新廣播電臺/A Piece of Classic:古典小蛋糕", "LadyKflo", "Seattle Opera Podcast", "Seattle Opera Podcast" and "4ème de couverture"" and more!
Episodes (7)
The Embrace
Egon Schiele paintings, like The Embrace, grip us in raw emotions. That’s thanks to the jutting bones and Expressionist renderings of nude figures. We can feel the raw pangs of their hunger for love. Egon Schiele paintings, like The Embrace, grip us in raw emotions. That’s thanks to the jutting bones and Expressionist renderings of nude figures. We can feel the raw pangs of their hunger for love.
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BACKSTAGE at LA BOHÈME
Opera is a big team effort. Every opera production puts hundreds of creative people to work, singing, playing instruments, acting, dancing, crafting and maneuvering sets, costumes, props, and lights and everything else. Backstage at Seattle Opera’s recent LA BOHÈME, Dramaturg Jonathan Dean spoke with several veteran Seattle Opera artisans about their contributions to the show: Mary Seasly (costumes & wardrobe), Brayden Daher (supernumerary), Barry Johnson (comprimario soloist), and Valerie Muzzolini (harp).
LA BOHÈME 101
“Men die and governments change, but the songs of La bohème will live forever,” wrote Thomas Alva Edison to Giacomo Puccini. Seattle Opera Dramaturg Jonathan Dean introduces La bohème, with musical examples from Seattle Opera’s archival recordings of La bohème: from 2007, with Rosario La Spina (Rodolfo) and Nuccia Focile (Mimì), conducted by Vjekoslav Sutej; and from 2013, with Andrew Garland (Schaunard), Arthur Woodley (Colline), Michael Fabiano (Rodolfo), Keith Phares (Marcello), and Jennifer Black (Mimì), conducted by Carlo Montanaro.
54."Oblomov" de Ivan Gontcharov avec Didier Debroux
Oblomov publié en 1858 devient un mythe littéraire aussi vivant et emblématique en Russie que Don Juan, Don Quichotte ou Faust . Et ce mythe a inspiré un néologisme : l’oblomovisme. Une manière d’être, de penser et surtout de patienter, une manière slave de vivre.
Oblomov, dans le moelleux de sa vieille robe de chambre orientale, est un propriétaire terrien. Un personnage qui laisse passer le temps. Parler de paresse serait trop simple. Oblomov se livre plutôt à une sorte de rêverie utopique et engourdissante. Alors il peut renouer avec les dorlotements de son enfance. Proie facile, il est exploité, grugé, dépouillé par son entourage. Et sa fiancée Olga a bien du mérite à vouloir le sauver. En fait, Oblomov va tout perdre, jusqu’à sa santé. Mais dans une sorte de bonheur léthargique, d’humilité et d’accomplissement accepté du destin. "Platon en robe de chambre" dit Gontcharov.
« Une œuvre capitale », disait Tolstoï. « Servie par un talent éblouissant », ajoutait Dostoïevski.
Choix musical: Puccini « O soave fanciulla », La Bohème (version Placido Domingo, Montserrat Caballé – direction Sir Georg Solti) et Miles Davis : "Blue in Green" (album Kind of Blue)
LA BOHÈME 101
“Men die and governments change, but the songs of La bohème will live forever,” wrote Thomas Alva Edison to Giacomo Puccini. Seattle Opera Dramaturg Jonathan Dean introduces La bohème, with musical examples from Seattle Opera’s archival recordings of La bohème: from 2007, with Rosario La Spina (Rodolfo) and Nuccia Focile (Mimì), conducted by Vjekoslav Sutej; and from 2013, with Andrew Garland (Schaunard), Arthur Woodley (Colline), Michael Fabiano (Rodolfo), Keith Phares (Marcello), and Jennifer Black (Mimì), conducted by Carlo Montanaro.