Two hundred years ago this week, Giuseppe Verdi was born in an Italian town midway between Bologna and Milan. On the occasion of his bicentennial, All Things Considered wanted to know what makes the great opera composer so enduring â€” why his work is still so frequently discussed and performed these two centuries later. The answer, says conductor and arranger John Mauceri, is that Verdi had a knack for making thorny topics accessible.
Musician Emily Bear has composed more than 350 pieces for the piano. She's recorded six albums, performed at the White House and Carnegie Hall, and worked closely with her mentor, music legend Quincy Jones. And get this: She's 12.
Since playing on John Coltrane's first release in 1957, drummer Albert "Tootie" Heath has participated in a number of landmark jazz records. Now 78, the musician is featured in a new trio session with players nearly half his age â€” pianist Ethan Iverson of The Bad Plus and bassist Ben Street.
Jazz musician Vijay Iyer started playing the violin when he was 3, but when he was 4 or 5, he wanted to play another instrument: the piano.
"The piano was around because my sister was taking lessons, and so I just started messing on it and figuring things out little by little," Iyer tells Terry Gross. "I can't really pinpoint the beginning of it."
Originally published on Fri September 20, 2013 11:06 am
Jessye Norman's commanding soprano voice makes her the quintessential operatic diva for many listeners. But she frequently draws inspirations from jazz: She ranks singers like Billie Holiday, Mabel Mercer and Sarah Vaughan high on her list of influences.
There are a lot of operas that end with heroines on their deathbeds, singing one glorious aria before they die. That's what happens at the end of Anna Nicole, the controversial new work that New York City Opera is presenting at the Brooklyn Academy of Music in September. But the company's artistic director and general manager, George Steel, says it could also be City Opera's last gasp.