Over the course of history, for Persons of Color who also happen to be queer, the interface between these two populations is sometimes an enormously challenging one, but one which also frequently produces path-breaking musical artists of enormous courage and originality. In celebration of Juneteenth this coming weekend, and as a follow-up to my Queer Blues episode published last year, I once again pay tribute to an extraordinary array of Black and Queer musical artists across a wide spectrum of popular musical styles, be it Blues, jazz. middle-of-the-road pop, musicals, rock ‘n’ roll, disco, and folk. Artists represented include Billy Strayhorn, Billie Holiday, Johnny Mathis, Tracy Chapman, Mabel Mercer, Joan Armatrading, Nona Hendryx, Sylvester, Joséphine Baker, Jackie Shane, Carmen McRae, Billy Preston, Esquerita, and Carolyn Franklin, Michael R. Jackson, the 2022 Tony Award winner for A Strange Loop, is introduced by my dear friend the theater scholar David Savran, who describes what makes this piece and its creator so daring and original.
Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody’s Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.
Some of the greatest singers in history are not necessarily the most vocally-gifted. This is the first of what I hope will be a series of episodes devoted to such artists. I consider singers across many genres: recitalists (Pierre Bernac, Madeleine Grey, Povla Frijsh, Jane Bathori), cabaret (Mabel Mercer, Noël Coward, Julie Wilson, Barbara, Lotte Lenya), musicals (Fred and Adele Astaire, Chita Rivera), pop music (Bob Dylan, Lou Reed), jazz (Billie Holiday, Alberta Hunter), actors (Audrey Hepburn, Melina Mercouri, Judi Dench, Hildegard Knef, Divine), and even comedians (Dody Goodman, Bourvil), with special focus on a few of the voiceless tenors who hold a special place in my heart (Hugues Cuenod, Karl Erb, Helmut Krebs, Julius Patzak). At the end, I feature two aging icons (Marlene Dietrich and Joséphine Baker) in unforgettable live performances of two protest songs that are painfully relevant at this moment in time. Composers include Alec Wilder, George Gershwin, Kurt Weill, Franz Schubert, Stephen Sondheim, Francis Poulenc, Abel Meeropol, Claude Debussy, Kander and Ebb, Pete Seeger, Carl Orff, Manos Hadzidakis, Fats Waller, Maurice Ravel, and Rudolf Sieczyński. Please join me for this very special episode. But prepare yourselves for an emotional wallop.
Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.
Today’s episode is an interview I did with Ira Siff, artistic director of La Gran Scena Opera Company di New York, alter ego of the beloved “traumatic soprano” Vera Galupe-Borszkh, lecturer for the Metropolitan Opera Guild and Weekly Commentator on the Metropolitan Opera broadcasts. My association with Ira and Gran Scena goes back more than thirty years, when he provided me with my first employment as a singer when my alter ego Daniela della Scarpone sang for two years with the renowned travesty opera company. I sat down with Ira in his East Village apartment last this past January for a wide-ranging interview in which we discuss his early days as a standee at the old Met (where some of his opera-going experiences included Maria Callas’s final Tosca performances, Renata Scotto’s 1965 debut as Madama Butterfly, and Leonie Rysanek’s wild traversals of Verdi and Wagner). He discusses his first performing experiences in the early 1970s in association with Al Carmines and others, the genesis of La Gran Scena and their development into a worldwide phenomenon, and his subsequent “legitimate” career as lecturer, stage director, vocal coach and voice teacher and commentator all stemmed from in his words, “getting in a dress and singing soprano,” which he dubs “the strangest part.” This is a free-wheeling and extremely Opera Queeny interview, peppered with Ira’s unique anecdotes and snippets from Gran Scena (and other!) performances. There is no better way to celebrate Gay Pride in isolation than to listen to this episode!
Ira Siff is a native New Yorker, who grew up on the standing room line of the old Metropolitan Opera, worshiping the famous singers of the 60’s.
A graduate of the Cooper Union, with a degree in Fine Arts, Mr. Siff began to study voice, and made his debut as a tenor in 1970. For the next decade, he performed roles in opera, operetta and musicals in the New York, at The New York Shakespeare Festival, Circle in the Square, Playwrights Horizons, and many other venues. Turning to cabaret, Ira created an act using vocal parody of opera, jazz, and other styles of music, gaining critical acclaim, and a loyal following.
In 1981, he founded La Gran Scena Opera Co. di New York, the internationally acclaimed travesty troupe, whose gifted falsetto “divas” have spoofed opera with great affection for over two decades, in New York annually, and on tours to some of the great festivals, theatres and opera houses of the world.
For the past thirty years, Mr. Siff has been a voice teacher and interpretive coach, teaching in New York, Italy, Israel, Holland and China, giving Master Classes for the Metropolitan Opera Guild, and was on the faculty of the Renata Scotto Vocal Academy. Ira was a guest teacher of bel canto technique at The Royal Conservatory in Den Haag in 2008, and then at the Dutch National Opera Academy for five seasons, and at the Amsterdam Conservatory in The Netherlands where he returned annually, and was appointed Permanent Guest Teacher.
In 2000, he turned to stage directing, gaining critical acclaim for his productions of operas ranging from Tosca, Turandot, and La Fanciulla del West to Lakmé, Werther, and La Grande Duchesse de Gérolstein at venues such as Carnegie Hall, Sarasota Opera, The Caramoor Festival, and the Tanglewood Music Festival, where he directed productions of Così fan tutte, Don Giovanni, and Ariadne auf Naxos. All in all, he has directed operas for companies in New Jersey to New Zealand, with stops along the way in Puerto Rico, Lima, Peru and Utah. Singers whom he has directed include Sumi Jo, Dolora Zajick, Aprile Millo, Eglise Gutierrez, Krassimira Stoyanova, and the late Marcello Giordani. Conductors with whom he has collaborated as a stage director have included Richard Bonynge, Christoph von Dohnányi, and James Levine.
He has also given master classes in bel canto and verismo for the Metropolitan Opera Guild every season since 2008 and has presented sold-out lectures for the Met Guild as well on a variety of operatic topics. These lectures can be heard on the podcast of the Metropolitan Opera Guild. Ira also lectures on opera twenty times a season for two private classes, has been a contributor of reviews and features to Opera News since 1997 and has been Weekly Commentator on the Met Broadcasts since 2007.
La Gran Scena Opera Company was conceived and launched in 1981 by its Artistic Director Ira Siff and performed extensively in New York and around the world for the next twenty years, including seasons and tours in Berlin, London, Amsterdam, Frankfurt, and The Kennedy Center and at some of the world’s most prestigious opera houses and festivals. In New York, the company’s performances at Town Hall, Symphony Space, and (finally in 1998 at Lincoln Center’s Alice Tully Hall) were enormously popular and earned them a legion of fans, including Renata Scotto, Joan Sutherland, Leontyne Price, Beverly Sills, Sherrill Milnes, James Levine, and Anna Moffo, among many others, whose appearances at live performances of the company were a thrill and delight for all who were in attendance.
The company wound down its activities with a New York Farewell in October 2001 and a week of performances at the Teatro del Liceu in Barcelona in November 2002, but the company’s prima donna, “traumatic soprano” Vera Galupe-Borzkh, (as embodied by Ira Siff), continued to alternately present comeback performances and annual farewell recitals until 2009, when Ira and Madame Vera finally bid farewell to the stage for real. Fortunately, for the joy and amusement of opera lovers everywhere, many of the performances of Vera and other favorite company members, including Philene Wannelle, Sylvia Bills, Fodor Szedan, Alfredo Sorta-Pudgi, and the legendary 105-year-old diva Gabriella Tonnoziti-Casseruola, under the various batons of the company’s various music directors, including Francesco Folinari-Soave-Coglioni, Sergio Zawa, Helmut Maria Dorf, and Lorenzo Costellata-Denaro are available for viewing on Madame Vera’s YouTube channel as well as on DVD’s published by VAI, including the delicious biographical show, Vera: Life of a Diva and The Annual Farewell Recital.
Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.