{"id":860,"date":"2020-11-16T15:13:50","date_gmt":"2020-11-16T20:13:50","guid":{"rendered":"https:\/\/www.dallassymphony.org\/?post_type=dso_news&#038;p=860"},"modified":"2020-12-17T15:22:25","modified_gmt":"2020-12-17T21:22:25","slug":"ontherecordsoluri","status":"publish","type":"dso_news","link":"https:\/\/www.dallassymphony.org\/es\/news\/ontherecordsoluri\/","title":{"rendered":"On The Record - Ted Soluri"},"content":{"rendered":"<div class=\"hero__no-img bg-blue-8\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-md-10\">\n\n\t\t\t\t<ul class=\"breadcrumbs\">\n    \t<li class=\"breadcrumb__link \">\n\t\t<a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/\">Home<\/a>\n\t<\/li>\n    \t<li class=\"breadcrumb__link a-styles\">\n\t\t<a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/?page_id=618\">Discover &#038; connect<\/a>\n\t<\/li>\n    \t<li class=\"breadcrumb__link a-styles\">\n\t\t<a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/?page_id=619\">DSO Media Vault<\/a>\n\t<\/li>\n    <\/ul>\n\n                \t\t\t\t<h1>\n                    <span >On The Record &#8211; Ted Soluri<\/span>\n                <\/h1>\n                \t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<div class=\"richtext m-spacer\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-10\">\n\t\t\t\t\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h3 class=\"wp-block-heading\" id=\"h-with-sarah-kienle\">WITH SARAH KIENLE&nbsp;<\/h3>\n\n\n\n<p>Principal Bassoon&nbsp;Ted Soluri (Irene H. Wadel &amp; Robert I. Atha, Jr.&nbsp;Chair) details how his love of opera came to be and how vocalists have&nbsp;affected his musicianship.&nbsp; We also talk about musicals, Madonna, and how working at Disneyworld was one of the best jobs he ever had.&nbsp;<\/p>\n\n\n\n<p>Listen to the interview and explore the music below<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-medium\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"253\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-300x253.jpg\" alt=\"\" class=\"wp-image-861\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-300x253.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-1024x865.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-768x649.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-1536x1297.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-2048x1729.jpg 2048w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-14x12.jpg 14w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-445x375.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-720x607.jpg 720w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Ted-Soluri-1-350x296.jpg 350w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/837209038&#038;color=%23ff5500&#038;auto_play=false&#038;hide_related=false&#038;show_comments=true&#038;show_user=true&#038;show_reposts=false&#038;show_teaser=true\"><\/iframe><div style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\">\n\n\n\n<div style=\"height:45px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-mozart-le-nozze-di-figaro-k-492\"><br>MOZART:&nbsp;<em>LE NOZZE DI FIGARO<\/em>, K. 492&nbsp;<\/h3>\n\n\n\n<p>ACT 2:&nbsp; &#8220;SIGNORI DI FUORI SON GI\u00c0 I SUONATORI&#8221;<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A2Wcks9YW91Jo9PLBfHl5xA\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>\u201cThis was the first opera I saw live.&nbsp; To me, opera prior to that was listening to opera broadcasts that my grandmother would listen to and to me it just sounded like a lot of screaming.&nbsp; When I first saw&nbsp;<em>Figaro<\/em>, and realized that it was so funny, I couldn\u2019t believe that I was laughing at an opera.&nbsp; It just seemed so incongruous to me at the time.&nbsp; Now with age, it\u2019s funny.&nbsp; But I was completely blown away by the piece and it left a lasting impression.\u201c<\/p>\n\n\n\n<p>Regarding 2:20 into the selected track: \u201cIt\u2019s incredible writing.&nbsp; The counterpoint, the harmonies\u2026 every time I play it I smile, I want to cry a little\u2026 it\u2019s just so amazingly written.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-maria-callas-la-divina\">MARIA CALLAS:&nbsp;<em>LA DIVINA<\/em>&nbsp;<\/h3>\n\n\n\n<p>SAINT-SA\u00cbNS:&nbsp;<em>SAMSON ET DALILA&nbsp;<\/em>&nbsp;&#8220;MON C\u0152UR S&#8217;OUVRE \u00c0 TA VOIX&#8221;&nbsp;<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A3Dhoe8Z4THPj27jiSKEPR2\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>\u201cCallas was a very polarizing figure in the classical music world, especially for sopranos, because she was someone who was much more concerned about the art as a whole, and the role and the acting, and everything that goes into it, whereas there had already been a long history of being more about the voice and the singing. The voice meant everything.&nbsp; When you listen to [Callas], sometimes the voice isn\u2019t amazing, but the artistry is impeccable in every note, every phrase, with everything she does\u2026&nbsp;<\/p>\n\n\n\n<p>It took me a while, because being from a place where you\u2019re used to all of the beautiful voices and then going to her, I thought \u2018I don\u2019t know if I can do this\u2019.&nbsp; But the more I listened, the more it affected me, and the more it affected my playing.&nbsp; My ability to sustain the ends of phrases and control the bassoon more than it controlled me.&nbsp; I learned all that from listening to her.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p>\u201cIN MY LIFE\u201d AND \u201cA HEART FULL OF LOVE\u201d FROM&nbsp;<em>LES MIS\u00c9RABLES<\/em>&nbsp; (ORIGINAL BROADWAY CAST RECORDING)<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A14SBWK1wvWIvh82Fzv1LQG\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A1audfn0M2y51sgmKFHCxoC\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>\u201cThis is an interworking of these three characters that all know each other but are experiencing things very differently.&nbsp; How they wrote those interwoven lines is really beautiful.&nbsp; The singer, Frances Ruffelle, who sings \u00c9ponine, that\u2019s who I really want people to listen to in the track. Listen to how she uses her voice and how she expresses her anguish.&nbsp; It\u2019s so powerful in her presentation of it. I think a lot of it has to do with the quality of her voice.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p>MADONNA:&nbsp;<em>I\u2019M BREATHLESS<\/em><br>&#8220;VOGUE&#8221;<\/p>\n\n\n\n<iframe loading=\"lazy\" title=\"Madonna - Vogue (Official Video)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/GuJQSAiODqI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n\n\n<p>\u201cThere\u2019s something really provocative about [Madonna] in general, I mean, it\u2019s what she made her career on\u2026<\/p>\n\n\n\n<p>[Vogue] is very freeing.&nbsp; When you actually watch dancers Vogueing, it\u2019s amazing.&nbsp; It\u2019s amazing they can do that with their bodies, but you can also see the empowerment in their faces about how amazing they feel doing it, and I think that\u2019s the whole point of the song.&nbsp; The whole point is be yourself, strike a pose, show off, be you.&nbsp; So much of her music is like that.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-listen-to-other-episodes-of-on-the-record-with-sarah-kienle\">Listen to other episodes of On The Record with Sarah Kienle:<\/h3>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-medium\"><a href=\"https:\/\/www.dallassymphony.org\/on-the-record\/\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-300x202.jpg\" alt=\"Logo for On the Record hosted by Sarah Kienle\" class=\"wp-image-2981\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-300x202.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-1024x689.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-768x516.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-1536x1033.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-16x12.jpg 16w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076.jpg 1600w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><figcaption><a href=\"https:\/\/www.dallassymphony.org\/on-the-record\/\">more episodes<\/a><\/figcaption><\/figure><\/div>\n\n\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>El fagot principal Ted Soluri (C\u00e1tedra Irene H. Wadel y Robert I. Atha, Jr.) detalla c\u00f3mo surgi\u00f3 su amor por la \u00f3pera y c\u00f3mo los vocalistas han afectado a su forma de tocar.  Tambi\u00e9n hablamos de los musicales, de Madonna y de c\u00f3mo trabajar en Disneyworld fue uno de los mejores trabajos que tuvo. <\/p>","protected":false},"featured_media":2981,"template":"","class_list":["post-860","dso_news","type-dso_news","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_news\/860","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_news"}],"about":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/types\/dso_news"}],"version-history":[{"count":0,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_news\/860\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media\/2981"}],"wp:attachment":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media?parent=860"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}