Rhiannon Giddens

Shows

Episodes

  1. Love Takes Flight: Catán's Florencia en el Amazonas

    11/29/2023

    Love Takes Flight: Catán's Florencia en el Amazonas

    It’s the early 1900s, and the steamship El Dorado makes its way along the Amazon River towards Manaus, a city in the heart of the Brazilian rainforest. Onboard is the world-famous opera singer Florencia Grimaldi. She’s got a gig at the opera house in Manaus, but that’s just a cover. She’s actually hoping for a reunion with her long-lost love, the butterfly catcher Cristóbal. But on the journey, Florencia learns that Cristóbal went missing in the rainforest while in pursuit of a rare butterfly. From the deck of the ship — and now in quarantine due to a cholera outbreak — she delivers her final aria, calling out to him, the river and the rainforest that surround her: “Escúchame.” Hear me, listen to me. “From you my song was born,” she affirms — and in embracing her love for him, she is released and reborn. Daniel Catán’s lush and lyrical score has become a staple of contemporary operas, and its staging marks the Metropolitan Opera’s first Spanish-language production in nearly 100 years. In this episode, host Rhiannon Giddens and her guests take us on a journey through natural wonder, transcendent love, and self-discovery. THE GUESTS  Soprano Ailyn Pérez makes her Metropolitan Opera debut in her native language of Spanish as Florencia Grimaldi. She identifies with Florencia and the sacrifices that are sometimes necessary to pursue an artistic career. Andrea Puente-Catán is a harpist, director of development at Ballet Hispánico, and the widow of “Florencia” composer Daniel Catán. She met Catán when she was 17 years old. Decades later, playing harp in that opera’s production at Palacia de Bellas Artes brought them back together.   Author, filmmaker, and fearless traveler Alycin Hayes knows a thing or two about Amazonian adventures. When she was 21, she hitchhiked from her home in Canada to South America, where she met up with other roving internationals to paddle along the Amazon River in a dugout canoe. She describes her adventures in her recent memoir "Amazon Hitchhiker." Paul Rosolie is conservationist, writer, and wildlife filmmaker whose memoir “Mother of God” details his extensive work in the Amazon. He’s the founder and field director of Junglekeepers, a conservation outfit based in Peru, and he joins the show via a remote interview taped in the jungle. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  2. Stravinsky’s The Rake’s Progress: I Walk the Line

    05/05/2021

    Stravinsky’s The Rake’s Progress: I Walk the Line

    Almost three hundred years ago, the English artist William Hogarth created a series of paintings called A Rake’s Progress, which tell the tragic story of a man whose life spirals out of control after inheriting an unexpected fortune. He leaves behind a fiancée, and it is her story of devotion that reverberates through Igor Stravinsky’s opera The Rake’s Progress and the aria “No Word from Tom.”  In this episode, you’ll visit with Hogarth’s paintings, hear how Stravinsky captured the undying loyalty of the forgotten lover and get an inside look at how unexpected fortune and fame upended the family of Vivian Liberto and Johnny Cash. Yes, that Johnny Cash. And, yes, in this podcast about Igor Stravinsky.  And here’s the best part: the incomparable Dawn Upshaw will sing it for you from the stage of the Metropolitan Opera. The Guests: Soprano Dawn Upshaw has performed The Rake’s Progress many times and says that some of her happiest moments on an opera stage were when she was singing the role of the devoted fiancée, Anne Trulove. Tara Cash is the youngest daughter of Johnny Cash and his first wife, Vivian Liberto. When she was growing up, everyone always wanted to hear about her father’s life. Now, she welcomes the opportunity to share her mother’s side of the story.   Joanna Tinworth is Curator (Collections) at Sir John Soane’s Museum in London, where the original paintings, A Rake’s Progress by William Hogarth, have resided for over 200 years. Hogarth’s paintings are among the museum’s most popular exhibits. Michael Bragg is the Music Planning Associate and Librarian at San Francisco Opera. He gives lectures and talks about opera around the Bay area, and he loves Stravinsky because of the composer’s unique approach to blending old and new styles of music.  Below is the first painting in Hogarth's series A Rake's Progress, entitled "The Heir." You can see the complete set of paintings here, courtesy of Sir John Soane's Museum. William Hogarth, "The Heir," from "A Rake's Progress" series, the inspiration for Stravinsky's opera. (Photo: Sir John Soane's Museum, London)   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  3. Strauss's Der Rosenkavalier featuring Renée Fleming: Here's To You, Mrs. Marschallin

    12/18/2019

    Strauss's Der Rosenkavalier featuring Renée Fleming: Here's To You, Mrs. Marschallin

    It’s not easy to accept the changes that come with time and age. For Richard Strauss’s Marschallin, the trick is simply learning to let go. When the curtain comes up on Der Rosenkavalier, she is having an affair with the young Count Octavian, but she quickly comes to realize that she will one day lose him to a woman his own age. Throughout Act I, she reflects on her lost youth, her desire to stop all the clocks, and on the fleeting nature of beauty and love.   In this episode, host Rhiannon Giddens and her guests ruminate on the passage of time as the Marschallin learns to let go of her younger lover, and her younger self. At the end of the show, soprano Renée Fleming sings, “Da geht er hin” from the Metropolitan Opera stage. The Guests Soprano Renée Fleming made the Marschallin one of her signature roles. Over the years, she explored many facets of this complex character, from her youthful impetuousness to her world-weariness. In her final performance of the Marschallin at the Met in 2017, Fleming expected to feel sadness, but instead, she was overcome with joy and gratitude.  Writer Paul Thomason is currently writing a book on the music of Richard Strauss. He is in love with the music in Der Rosenkavalier, calling it “deep soul music.”  Wendy Doniger is a writer and retired professor from the University of Chicago who shared a special love of opera with her mother. In fact, opera was more or less their form of religion, and Der Rosenkavalier was a particular favorite. Dara Poznar is a life coach with her own story to tell about a relationship with a younger man, as well as her process of coming to terms with their age difference. In writing about this experience, she received an outpouring of camaraderie and support from other women who were also asking themselves the same questions about how their age would affect their relationships.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  4. Rossini's Barber of Seville: On a Wig and a Prayer

    04/07/2021

    Rossini's Barber of Seville: On a Wig and a Prayer

    Chances are, you know the overture to The Barber of Seville (maybe from Bugs Bunny?!) but Gioachino Rossini’s most famous opera is more than a comedic romp. Embedded in the topsy-turvy tale of young love and silly disguises, there is a story of forced marriage and a woman’s determination to live a life of her choosing.  We meet the heroine Rosina for the first time in the aria “Una voce poco fa,” in which she declares that while she may seem sweet and innocent, she is really not someone to be messed with. Host Rhiannon Giddens and her guests explore the courage it takes to live life on your own terms and the way this almost absurd story pulled from a centuries-old novel still resonates today. You’ll hear how one guest has her own escape-from-a-forced-marriage story that uncannily matches Rosina’s.The Guests: Soprano Pretty Yende first sang the role of Rosina in Norway in 2014, and it’s since become one of her favorite roles. She loves playing Rosina because the character is fun, witty, and unlike so many operatic heroines, she gets to hit all the high notes and live happily ever after. Conductor James Conlon is Music Director of the Los Angeles Opera. He first heard The Barber of Seville when he was 11 years old and fell in love on the spot. Later that summer, he made his debut as director, producer, and Count Almaviva in his friend’s garage, with a very appreciative audience lined up in the driveway. Activist Jasvinder Sanghera is a survivor of forced marriage. She has spent the last four decades advocating for women, children, and men silenced by domestic abuse and forced marriages, and founded the award-winning charity Karma Nirvana in 1993.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  5. Verdi's Aida: There's No Place Like Home

    03/24/2021

    Verdi's Aida: There's No Place Like Home

    They say you can’t go home again, and Giuseppe Verdi’s Aida knows it all too well. Captured from her homeland of Ethiopia and enslaved in Egypt, she falls in love with an Egyptian warrior. Aida is torn between her love for this man and her love for her home and, because it’s opera, she ultimately chooses the tenor. In “O Patria Mia,” Aida stands on the banks of the Nile and says goodbye to Ethiopia. In this episode, host Rhiannon Giddens and her guests explore what home means, and what it means to leave it behind. The Guests Soprano Latonia Moore has sung the role of Aida more than a hundred times. She made her Met debut in the role with a day and a half’s notice, and it launched her international career. As a Black soprano, she feels like she has joined the club of great singers who have taken on the role. Naomi André is a professor of Afro-American and African Studies and Women's and Gender Studies at the University of Michigan. She wrote her dissertation on Verdi’s operas and was blown away the first time she saw Aida at the Met. She thinks it’s amazing that a story about ancient Egypt still resonates today, and she still finds something new in the work every time she sees it. Poet and visual artist Mahtem Shiferraw is from Ethiopia and Eritrea, but now lives in Los Angeles. Coming to the U.S. as an adult, she had to completely rebuild her sense of identity and belonging, and her understanding of home. Growing up in Ethiopia, she went to an Italian school and acted in a non-opera production of Aida. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  6. Davis’s X: The Life and Legacy of Malcolm X

    11/15/2023

    Davis’s X: The Life and Legacy of Malcolm X

    Malcolm X led many lives within his 39 years: as a bereaved but precocious child; as an imprisoned convict; as a firebrand spokesperson for the Nation of Islam and Black nationalism; and ultimately as one of the most pivotal figures of the Civil Rights movement. Today, he continues to inspire passion and controversy, his legacy as nuanced as the man himself. Anthony Davis’s opera “X: The Life and Times of Malcolm X” seeks to gather Malcolm X’s many identities and hold them together in the way only an artistic work can. When the piece was premiered by New York City Opera in 1986, it broke ground not just for its unique melding of jazz and blues idioms with contemporary classical traditions, but also for the choice made by Davis and his cousin, the librettist Thulani Davis, to situate recent history on the operatic stage. It turns out that a life as dramatic and urgent as Malcolm X’s is ripe for opera. In the aria “You Want The Story, But You Don’t Want To Know,” Anthony and Thulani Davis take the occasion of a police interrogation to let Malcolm X’s character reflect on the tragedies and injustices that have shaped his life up to that moment — and, in his refusal to deliver “easier” narratives, to presage the often tumultuous search for truth and righteousness that would direct his life in years to come. Host Rhiannon Giddens and her guests explore the drama and the passion of Malcolm X’s life and its inherent musicality upon the Metropolitan Opera’s premiere of this modern classic. THE GUESTS It may have taken nearly forty years for composer Anthony Davis to see the Metropolitan Opera stage “X,” but he’s kept himself busy in the interim. This prolific composer, which The New York Times described as “the dean of African-American opera composers,” is also known for “Amistad,” “Wakonda’s Dream,” and “The Central Park Five,” the latter of which won him a Pulitzer Prize in 2020. If anyone was born to be a musician, it’s Davis: People tell him that the first time he played the piano was as a baby sitting in the lap of jazz pianist Billy Taylor.    Grammy Award-winning baritone Will Liverman was described by The Washington Post as a “voice for this historic moment.” Portraying Malcolm X in the Metropolitan Opera’s production of “X: The Life and Times of Malcolm X” is only his most recent artistic triumph. Others include his breakout performance as Charles in Terence Blanchard’s “Fire Shut Up In My Bones” and the premiere of “The Factotum,” an opera he both starred in and co-created. His hope for “X” is to help “kill some of the preconceived notions about who Malcolm X was and find the humanity in him.” Zaheer Ali is the executive director of the Hutchins Institute for Social Justice at the Lawrenceville School and something of a Malcolm X expert (a Malcolm X-pert?). He served as the project manager of the Malcolm X Project at Columbia University and his work on the Civil Rights icon has been featured in documentaries like Netflix’s “Who Killed Malcolm X?” and CNN’s “Witnessed: The Assassination of Malcolm X.” He traces his fascination with Malcolm X back to an assignment given by his eleventh-grade English teacher. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  7. Puccini's Turandot: Hope Never Sleeps

    03/10/2021

    Puccini's Turandot: Hope Never Sleeps

    Sometimes, the only thing that gets us through the darkest moments is knowing that the sun will rise again on a new day. Puccini's final opera, Turandot, is about courage in the face of adversity, and love triumphing over fear. In other words, it is exactly what the world needs right now.  The aria “Nessun dorma” is Prince Calaf’s declaration of love and resounding victory cry. In this episode, host Rhiannon Giddens and three guests explore what makes this aria so popular even beyond the opera house, and how it became an anthem of resilience and hope during the COVID-19 pandemic. This episode features Italian tenor Franco Corelli in a Metropolitan Opera performance from the Before Times (a.k.a. 1966). The Guests: Conductor Yannick Nézet-Séguin is the Music Director of the Metropolitan Opera, Philadelphia Orchestra, and the Orchestre Métropolitain in Montreal.  He loves conducting Puccini’s biggest, most majestic opera, but his favorite moments are the intimate arias like “Nessun dorma.” Writer Anne Midgette is the former classical music critic for The Washington Post. She first heard the aria on a Book of the Month Club cassette tape in college, and thinks the secret sauce for “Nessun Dorma” is in its climactic underdog declaration of “Vincerò” -- “I will win.” Dr. Michael Cho is a pulmonary and critical care physician at Brigham and Women’s Hospital in Boston, and has been on the frontlines of the COVID-19 pandemic. He’s also a violist, and has been playing with the Longwood Symphony Orchestra for more than 15 years. Recently, he joined the National Virtual Medical Orchestra, a group that formed during COVID to give people in the medical field a chance to play together. Watch their performance of "Nessun Dorma" below.   In April of 2020, 700 children across Europe sang a virtual performance of "Nessun dorma" as a message of hope and solidarity, from Europa InCanto. You can meet two of the stars in this episode, and watch their performance below. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  8. Crisis in the Kremlin: Mussorgsky's Boris Godunov

    08/11/2021

    Crisis in the Kremlin: Mussorgsky's Boris Godunov

    Perhaps no opera better reflects the questions and contradictions at the heart of Russian history than Modest Mussorgsky’s historical epic Boris Godunov. Based on the play by Alexander Pushkin (considered by many to be one of Russia’s greatest writers), it’s a meditation on power and legitimacy, and a portrayal of a pivotal period in Russian history -- The Time of Troubles.  When Tsar Ivan the Terrible dies without an heir, Boris Godunov is elected tsar, casting doubt on his legitimacy. He rules well for a few years, but then all hell breaks loose, with a famine, a revolt, and a pretender claiming to be the real tsar. As his country’s problems compound, Boris confronts his feelings of powerlessness in the monologue, “Dostig ja vïsshei vlasti.” Host Rhiannon Giddens and her guests explore the nature of power, the question of legitimacy, and how an opera can shine a light on a nation’s past as well as its present. The Guests Bass René Pape (A.K.A. “The Black Diamond Bass”) has been singing the role of Boris Godunov for 15 years. Like many of the kings and rulers he’s played on stage, he sees Boris as someone who has all of the power but none of the joy. In addition to his velvety voice, Pape is also known for his collection of rubber ducks, and even has one in his own image, the PapeDuck. Dr. Simon Morrison is a professor of music history at Princeton, specializing in Russian and Soviet music. He fell in love with Russian music when he was an undergraduate and wrote his dissertation on the life and work of Sergei Prokofiev. His most recent book is Bolshoi Confidential, a history of the Bolshoi Ballet, and he is currently writing a book on the history of the city of Moscow, which finds him studying 11th century documents written on birchbark. Dr. Shoshana Keller is a professor of Russian, Soviet, Eurasian, and modern Middle Eastern history at Hamilton College. She first became interested in Russia after getting to know the music of Shostakovich and Stravinsky while playing French horn as a kid, and she was fascinated by pictures of Russian onion domes in a social studies class. She loved the Russian language too, but found the grammar devilishly difficult and immersed herself in its history. She has written multiple books, and is working on an experimental mapping project of the nations in Kazakhstan Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  9. Handel's Agrippina: Nice Romans Finish Last

    05/19/2021

    Handel's Agrippina: Nice Romans Finish Last

    In order to be a Roman Emperor, you had to be entirely cold-blooded. It was a violent world of infighting, ruthless slander, and take-no-prisoners politics -- a world where rulers would kill a million people and enslave a million more just to flex their power. This was the Game of Thrones setting that George Frideric Handel chose for Agrippina. The opera's name comes from Empress Agrippina the Younger, a woman of ambition and influence, and this episode focuses on someone who inadvertently stands in her way: the hapless Ottone. He doesn’t realize that becoming the heir to the throne has put a target on his back, and that Agrippina is aiming to take him down. Eventually she turns everyone against Ottone, leaving him in total despair.  Having lost his friends, his future, and the love of his life, Ottone asks “Why me?” in the aria “Voi che udite il mio lamento.” Host Rhiannon Giddens and three guests take you on a tour of the cutthroat politics of ancient Rome, a world of murder and mayhem that still has something to teach us today.  Countertenor Iestyn Davies likes singing the role of Ottone because as the only honest character in the opera, he’s an audience favorite. This was the last role he sang at the Met right before the lockdown, and he knows that his future performances will be deepened by his experience of the pandemic.  Handel expert Dr. Alison DeSimone is an assistant professor of musicology at the University of Missouri, Kansas City, where she teaches courses in music of the Renaissance and Baroque periods. She loves how Handel gets to the emotional depths of all of his characters, making them feel like real people. She recently published a book called The Power of Pastiche about music and culture in 18th-century England. Historian Dr. Emma Southon is a recovering academic, writer, podcast host, and scholar of the ancient world. She's amused that ancient Romans are presented as paragons of civilization and culture even though their murder and mudslinging is anything but civilized. She wrote her first book, a biography of Agrippina, because she felt the Empress deserved her own book and no one else was stepping up to write it. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  10. Mozart's The Marriage of Figaro: Sleepless in Sevilla

    12/04/2019

    Mozart's The Marriage of Figaro: Sleepless in Sevilla

    When your spouse cheats, your mind starts racing with a million questions. For the Countess Almaviva, one of them is: What happened to the spark we had and how can we get it back? The Countess lives inside Mozart’s The Marriage of Figaro (Le Nozze di Figaro in Italian) and her philandering husband, the Count Almaviva, is due for a major comeuppance from his wife and her servant. But the Countess isn’t fixed on vengeance; she’s wondering how she can recapture the romance in her marriage. In this episode, host Rhiannon Giddens and her guests offer relationship advice to the heartsick Countess Almaviva. They focus on her aria “Dove sono,” a quiet moment of reflection when the Countess asks, “Where are the lovely moments?” You’ll hear how Mozart musically brings you inside the Countess’s thoughts, how hard it is to sing that music and why rekindling a romance is something many of us will face. Plus, you’ll hear Susanna Phillips sing the aria onstage at the Metropolitan Opera. The Guests Susanna Phillips has sung the role of the Countess more than any other in her career. She isn’t sure whether the Countess will ever be able to forgive her husband’s dalliances, but she may find out this season when she reprises the role at the Met. Cori Ellison is a dramaturg and a repeat guest on Aria Code. She believes that Mozart had a special gift both for understanding the human condition and sharing those insights through opera. Dan Savage is a sex and relationship advice columnist and podcaster. Like Mozart, he believes that infidelity is a real part of the human condition. He’s less optimistic about the Count’s ability to be faithful when the curtain closes. If you’re interested in going a little deeper on cheating and infidelity, our friends at the podcast Death, Sex, and Money have a whole episode about it! You’ll hear from men and women who’ve cheated and been cheated on, and how it made some of them more honest in their relationships. Subscribe to Death, Sex, and Money wherever you get your podcasts.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  11. Strauss's Elektra: Waltzing With a Vengeance

    06/23/2021

    Strauss's Elektra: Waltzing With a Vengeance

    Note: This episode includes descriptions of childhood sexual assault. The drive for revenge can be all-consuming, especially when you or someone you love has been wronged. Outcast and distraught, the title character in Richard Strauss’s Elektra is obsessed with avenging the murder of her father. And because the story is based on a Greek myth, and Greek myths are full of dysfunctional families, this means that Elektra is hellbent on killing her own mother. We get our first taste of the darkness inside Elektra’s mind, and the trauma at the heart of her rage, in the monologue, “Allein! Weh, ganz allein.” It's a sort of primal scream accompanied by a huge orchestra, and Elektra plans her revenge in all its gory, graphic glory. Host Rhiannon Giddens and her guests explore the depths of trauma and the heights of vengeance, both for Elektra and for a man whose own drive for revenge brought him to those very same extremes of elation and despair. The Guests: Soprano Nina Stemme thinks there’s some truth to the story that Strauss once told an orchestra to play so loudly that they would drown out the soprano singing Elektra, and she should know -- she’s one of today’s leading interpreters of the role! She invested a lot of herself in shaping this character, and it's one that takes all of her physical and emotional energy to perform. William Berger is an author and radio commentator. Equal parts opera buff and metalhead, he brings his love of intense storytelling to his work at The Metropolitan Opera, and to his exploration of Elektra. While it's a story of violence and revenge, Berger thinks the real journey is the one of psychological discovery and deep Freudian conflicts bubbling to the surface.  David Holthouse is a writer and documentary filmmaker who spent three years of his life consumed by the desire for revenge. He meticulously plotted to murder the man who raped him when he was seven years old. He tells his story of childhood sexual assault in his first-person essay “Stalking the Bogeyman,” and follows up on his story in “Outing the Bogeyman.” Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

  12. The Gershwins' Porgy and Bess: Rise Up Singing

    01/15/2020

    The Gershwins' Porgy and Bess: Rise Up Singing

    The most famous American opera opens with one of the most famous American songs: “Summertime.” The Gershwins’ haunting lullaby from Porgy and Bess is a simple tune with a complex story. In this episode, host Rhiannon Giddens and her guests explore not just the lyrics and music, but how Porgy and Bess came into being and the way it draws on the culture of the Gullah Geechee, descendants of formerly enslaved people living in and around South Carolina. Decoding two arias – "Summertime" and "I Got Plenty O' Nuttin'" – the show finds uncomfortable contradictions as well as uncanny parallels between the real lives of the Gullah people and the characters onstage.  The Guests Soprano Golda Schultz debuted as Clara at the Met earlier this year, her first time singing in the U.S. with a cast full of people of color. She believes that when telling stories from underrepresented groups, they must be told from places of joy and not only areas of pain.  Naomi André knows better than most about the complicated racial history of Porgy and Bess. Still, the University of Michigan professor and author of Black Opera: History, Power, Engagement believes the show can be timely, relevant and moving. Victoria Smalls is a Gullah woman who grew up on St. Helena Island off Charleston, South Carolina. She works as the Director of Art, History, and Culture at the Penn Center in South Carolina, an institution dedicated to promoting and preserving African American history and culture. She's also a federal commissioner for the Gullah Geechee Cultural Heritage Corridor. Bass-baritone Eric Owens was initially reluctant to start singing Porgy, since so many African American singers have a hard time breaking out of that role. But even while reckoning with some of the controversial aspects of the Gershwins' opera, he has now sung the role for a decade and believes it is some of the most beautiful music written in the 20th century.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.