Category Archives: Opera in Translation

Episode 262. Sylvia Sass Revisited



Several summers ago I published my first episode celebrating the artistry of Sylvia Sass which primarily featured her 1984 album of pop songs sung in Hungarian. At the time I called it, without any irony, the finest crossover album of the 1980s and one of the best of all time. Sass is an artist who continues to engage discourse. Many of the opinions, theories, and input encountered therein are predicated on dissecting the reasons for her short international career. My objective with today’s episode, however, is simply to celebrate Sass’s singing in all its glory, extending from the standard Italian operatic repertoire with which she is most associated through the thorniest contemporary idioms to the subtlest art song to the most refined Mozart singing, with, once again, a nod to the pop material which initially drew me to her. I always say that I believe in giving flowers to our favorite artists when they are still around to receive them, and today’s bouquet is a stunning display full of color and variety humbly presented to one of my favorite divas.

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.


Episode 251. Jeremy Osborne Introduces Igor Gorin (Listeners’ Favorites)



Today’s segment in the Great Baritones division of my Listeners’ Favorites series is introduced by my friend, baritone Jeremy Osborne, like me an American expat in Berlin. In the nearly ten years that I have known him, Jeremy has developed into a fine singer of both opera and art song. Through talent, determination, and hard work, Jeremy is forging a well-deserved place for himself in the music world. The singer he has chosen to introduce on this episode is the the great Ukranian-American baritone Igor Gorin (1904-1982). Jeremy shares with us the story of how he first became acquainted with Gorin’s exceptional talent. and the context in which he, like me, was bowled over by the sheer beauty of his voice. If one made such ranking lists, in fact, we would probably both place him near the top of a “Most Beautiful Baritone Voices Ever” list. Gorin’s is a fascinating life story, beginning in pre-Soviet Ukraine and moving back and forth from Vienna to the United States until finally, with forged documents, he emigrated to the US and became a naturalized citizen. Through a series of happy circumstances, he became one of the top US radio stars of the 1930s and 1940s and eventually appeared as well on early television broadcasts. A career in regional opera resulted, which reached its apex with starring roles at Lyric Opera of Chicago and a single appearance at the Metropolitan Opera at the age of 59. This episode features live, radio, and studio performances by Gorin in opera, operetta, Broadway, and folk and art songs over a period of nearly 40 years, including a  live late career performance of Ernest Bloch’s Avodath Hakodesh, in which he returned to his cantorial roots. Whether you, like Jeremy, are already a passionate devotee of this artist, or if this is your first encounter with him, you are in for a treat.

A bonus episode on Igor Gorin on my Patreon page, produced at the time this episode was first heard more than three years ago, includes complete performances of two constrasting song cycles by Modest Mussorgsky, The Nursery and the Songs and Dances of Death.

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.


Episode 249. Gavin Carr Introduces Heinrich Rehkemper (Listeners’ Favorites)



This month’s series of Listeners’ Favorites continues with the baritone Heinrich Rehkemper (1894-1949), presented to you today by my dear friend, the esteemed conductor Gavin Carr, who is the very person that first introduced him to me many years ago now. Rehkemper is one of a number of exceptional German baritones of that era who represent a very different kind of singing than we are accustomed to today: full-throated voices with an even scale from top to bottom managed with no technical gimmickry or phoniness. Rehkemper brought these traits to whatever music he was singing, whether opera, oratorio, or Lied. He left a small but important cache of discs, including many Lieder recordings, particularly of Franz Schubert. He also made the first complete recording in 1928 of Gustav Mahler’s Kindertotenlieder under the baton of none other than the great Mahler conductor Jascha Horenstein. I place Rehkemper in the context of the other significant German baritones of his era, Heinrich Schlusnus, Willi Domgraf-Fassbaender, Karl Schmitt-Walter, and Gerhard Hüsch, playing examples of each singing the aria of Di Luna from Verdi’s Der Troubadour, each sung in German translation. But it is first and foremost the unique legacy of Rehkemper’s art song recordings that concerns me here, and I discuss what makes his work so important, and what today’s singers can learn through close study of his recordings. My dear friends, just because the name of today’s baritone might not be familiar to you, Gavin and I both implore you not to hesitate in partaking of the vocal and musical riches to be discovered in this episode!

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.


Episode 245. Tell It to the World – Germany



Here is the second of a two part series in celebration of David Savran’s new book, Tell It to the World: The Broadway Musical Abroad, a monumental study on transnationalism and the Broadway-style musical. In the first part, David and I spoke about (and played examples from) the rich culture surrounding musicals in South Korea. Today’s episode focuses on Germany and the influx of Broadway musicals since World War II. Although the German-speaking world has a long tradition of popular music theatre, most notably operetta, the arrival of American musicals (beginning in 1955 with Kiss Me, Kate) made a very big splash. In 1961, My Fair Lady opened in West Berlin, became a sensational success, and permanently changed the shape of German musical theatre. Both Kiss Me, Kate and My Fair Lady are part of the first wave of Broadway musicals that have become part of the standard repertoire in state-subsidized theatre (the others include Cabaret, Anatevka (Fiddler on the Roof), West Side Story, La Cage aux Folles, and Hair).

We also look at the development of home-grown Broadway-style musicals in both West and East Germany from the 1960s through the 1980s and their subsequent impact on the work of experimental theatre makers. The next to last chapter of the book studies the musical farces directed by the great theatrical innovator, Herbert Fritsch, since 2011. The last focuses on the work of Barrie Kosky at the Komische Oper Berlin and how he turned that house into the foremost theatre in Germany for innovative re-imaginings of Broadway musicals, with emphasis on iconoclastic stagings by Kosky (and other directors) of the work of Kurt Weill. We play examples from many of the thrilling productions about which David writes which deserve to be known by a much wider audience. Along the way we also listen to nearly a century’s worth of performances by some legendary performers of German operetta and musicals, including Fritzi Massary, Olive Moorefield, Gisela May, Max Hansen, Dagmar Manzel, Horst Schulze, Ruth Rosenfeld, Julia Migenes, Julia Koci, and the late Rainer Luhn.

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.

 


Episode 244. Veronica Tyler (BHM 2024)



This Countermelody episode is the last in my miniseries featuring artists from Baltimore. It is also the last in my new episodes for Black History Month 2024 featuring “Forgotten Divas.” Today I offer to you the absolutely divine soprano of Veronica Tyler (1939-2020), who fits all three categories. In the 1960s, Veronica Tyler was a name on everyone’s lips: she appeared on three different episodes of Leonard Bernstein’s Young People’s Concerts, she was the second prize winner of the International Tchaikovsky Competition in Moscow in 1966, the first time this venerable contest had featured singers, she was a featured artist at the New York City Opera, where, in their first season at Lincoln Center, she sang a Pamina in The Magic Flute of such humanity and transcendent vocal beauty that audiences were transported into another world. She sang under conductors Leopold Stokowski, Erich Leinsdorf, Zubin Mehta, Eugene Ormandy, Carlo Maria Giulini, Robert Shaw, and Stanislaw Skrowaczewski. Later on she made a belated Met debut in 1985 as Serena in their premiere production of Porgy and Bess, but gradually her high profile appearances became fewer and fewer and eventually she disappeared from view. Her death on 21 March 2020 was only announced three months later, and with little fanfare. But during her heyday, Veronica Tyler was among the most elegant, compelling, and ingratiating lyric sopranos in the business. I have scoured the archives to bring to light some of the artist’s most beautiful performances, some of them virtually unheard for decades, including a 1980 album of spirituals that ranks among the best of this repertoire ever committed to disc. What inexpressible joy it brings me to present to you the unforgettable Veronica Tyler!

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.


Episode 240. Annabelle Bernard (BHM 2024)



Last week we celebrated the 97th birthday of our Ur-Diva, Leontyne Price. And today, continuing my Black History Month 2024 theme of “Forgotten Divas,” I present to you a Verdi soprano of similar repertoire and voice to Miss Price, Annabelle Bernard (1935-2005), whose career, unlike Price’s, was centered primarily in Europe, specifically at the Deutsche Oper in Berlin, where she was a member of the company for nearly forty years. Born in New Orleans, she received her early musical training from Earl Hogan (uncle of the famous composer and conductor Moses Hogan) and Sister Mary Elise Sisson, whom Bernard herself credited with being her formative and primary musical inspiration. With the patronage of Edith Rosenwald Stern, an heiress to the Sears-Roebuck fortune, Bernard found early success in Europe, winning second prize in the Munich ARD Competition in 1960, settling in Berlin in 1962. Annabelle Bernard was married to the German tenor Karl-Ernst Mercker (1933-2021), who in addition to appearing alongside her in many performances and productions, was also a fierce advocate for his wife during her tenure in Berlin, when she would encounter racism. The two of them retired to New Orleans in 1998, where Bernard became a voice teacher at Xavier University, her alma mater. This episode includes rare live clips of the soprano in works by Verdi, Mercadante, and Dallapiccola, as well as from her sole commercial recording, excerpts from Porgy and Bess in German alongside the iconic African American baritone Lawrence Winters, released in 1964, the year before Winters’s untimely death. Mercker’s strong lyric tenor is also featured in a few brief excerpts, but the main focus is on the radiant voice and artistry of Annabelle Bernard. Believe me when I tell you that I remain on the lookout for further recordings of this magnificent artist!

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.


Episode 239. Gwendolyn Killebrew (BHM 2024)



This week’s “Forgotten Diva” is the mezzo-soprano / contralto Gwendolyn Killebrew (26 August 1941 – 24 December 2021), who made an indelible contribution to opera in particular during the active years of her career (1965 – 2009). Though the majority of her career was centered at the Deutsche Oper am Rhein in Düsseldorf, she sang the world over with some of the most important opera companies (including the Metropolitan Opera, San Francisco Opera, the Salzburg Festival, Bayreuth, Washington Opera, Santa Fe Opera, La Monnaie, and the Bayerische Staatsoper), conductors (Pierre Boulez, Gary Bertini, Michael Gielen, Herbert von Karajan, Zubin Mehta, Georg Solti), and stage directors (Patrice Chéreau, Jean-Pierre Ponnelle, August Everding, Giancarlo del Monaco, Christof Loy, and John Dew). She had an enormous repertoire from Monteverdi and Handel to Henze and Fortner, excelling in particular in various Wagner roles. She was also a superb actor, who, through the use minimal gestures and stage business, made an enormous impact. This episode presents her in a wide range of material, including both live and commercial recordings ranging from Cavalieri to Zimmermann, alongside such fellow singers as Teresa Stratas, Carlo Bergonzi, Hermann Prey, Stuart Burrows, Sherrill Milnes, and Gail Gilmore led by conductors Leonard Bernstein, Gary Bertini, Bohumil Gregor, Berislav Klobučar, James Levine, Heinz Wallberg, and Eve Queler. Of special interest is a rare live recording of her prize-winning performance of “Asie” from Ravel’s Shéhérazade at the 1967 International Voice Competition in Montréal. The episode opens with brief memorial tributes to soprano Wilhelmenia Fernandez and pianist Thomas Muraco.

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.


Episode 236. Howard Hart Introduces Christa Ludwig (Listeners’ Favorites VII)



My friend and fellow opera podcaster Howard Hart introduces the first of this week’s Listeners’ Favorites episodes, my 2021 tribute to the superb zwischenfach singer Christa Ludwig, who died nearly three years ago. Ludwig was a singer whose repertoire centered around the great German composers but who also sang Verdi and French repertoire with stunning results; a mezzo-soprano who was unparalleled in Wagner, Mahler, and Brahms, but who also sang the great soprano heroines of Richard Strauss; a Lieder singer of great perception and textual acuity whose supple technique nonetheless was centered on legato singing: the greatness of this artist simply cannot be overestimated. I focus on the key composers (Richard Strauss, Gustav Mahler, and Richard Wagner) and conductors (Karl Böhm, Herbert von Karajan, and Leonard Bernstein) with whom she was most closely associated, while also examining some roles that might surprise you: Cenerentola, Amneris and Marie in Wozzeck. Vocal guest stars include Gloria Davy, Victoria de los Ángeles, Reri Grist, Gundula Janowitz, Gwyneth Jones, and Ludwig’s one-time husband Walter Berry. Thank you, Howard, for lending your enthusiasm and passion to my podcast in your introduction of one of your (and my) favorite singers.

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.


Episode 235. Anna Tonna Introduces Teresa Berganza (Listeners’ Favorites VI)



Today’s Listeners’ Favorites episode of Countermelody is introduced by my good friend (and Countermelody fan) the marvelous mezzo-soprano Anna Tonna. In her introduction Anna tells about her first exposure to the podcast and introduces us to one of her favorite episodes: the one I published in May 2022 a week after the beloved singer died at the age of 89. The episode pays tribute to her artistry through the exploration of her operatic roles, from Neris in Medea opposite Maria Callas, through her matchless Mozart and Rossini portrayals, through her fascinating and highly individualized portrait of the title heroine of Bizet’s Carmen. Special emphasis is given to her performance of Spanish music, from the zarzuelas of Ruperto Chapí and Federico Moreno Torroba, to art songs of Manuel de Falla and Fredric Mompou. Vocal guest stars include Mirella Freni, Pilar Lorengar, Lola Rodríguez Aragón, Franco Bonisolli, and the incendiary Callas herself, an early mentor and supporter of Berganza. I began the preparation for this episode with an incomplete appreciation of Berganza’s voice and artistry, but, knowing that she was one of Anna’s most treasured singers and role models, my goal was to see her through Anna’s eyes, and in the end, I was completely won over. This episode perfectly illustrates the podcast as a journey of mutual discovery for both me and my listeners.

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.


Episode 233 – Dusty Pörn Introduces Eleanor Steber (Listeners’ Favorites IV)



Today’s subject is Eleanor Steber, certainly one of the greatest and most versatile of American sopranos. She is introduced by one of the most recent (and most colorful) of all of my listeners, the San Francisco-based drag artiste (and vocalist extraordinaire) Dusty Pörn. In this very special episode, which I first posted in the summer of 2022 in honor of Steber’s 108th birthday, musical selections from across the duration of Steber’s long career, are supplemented by the generous and loving commentary of my friend, singer and conductor Michelle Oesterle, who was Eleanor’s stepdaughter. As such Michelle spent time (especially in the summer months) with her father and Eleanor at Melodie Hill, Eleanor’s estate on Long Island. She provides us with an unparalleled intimate portrait of Eleanor as woman and as singer and describes the profound influence that Eleanor had in her life, as well as the characteristics that combined to make her the profoundly appealing and moving interpreter that she was. She also addresses the white elephant in the room, that is, Eleanor’s alcoholism, and makes a plea for tolerance and understanding vis-à-vis this serious disease. Many thanks to both Dusty and Michelle for their loving and perceptive tributes to this greatest of singers and artists.

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.

 


Episode 226. Maria Callas: Singer of the Century



What is there to say about today’s featured artist, Maria Callas, who was born 100 years ago today? So many of my esteemed colleagues are weighing in with their Callas tributes today (both encyclopedic and deeply perceptive and knowledgeable) and there are all varieties of reconstituted Callas material also suddenly appearing, from newly-colorized films of Callas in action to virtual concerts with Maria as hologram, to some new biopic (goddess forbid!), to audio remasterings both laudable and ridiculous. I have nothing comparably “new” or erudite to add to the mix, so can only offer an episode predicated on my encounters with the voice and artistry of Maria Callas. There is no singer in the history of opera more important to me (and, I daresay, to opera in general) than Callas, who revolutionized bel canto and set completely new standards for every type of role she sang. I have chosen from among my favorite (live) Callas material to supplement my musings, going as far back as her Norma and Macbeth in 1952 and as late as her 1974 comeback and her last recording, made the year before her untimely death. In these musical excerpts, La Divina is joined by tenor colleagues (and Countermelody favorites) Cesare Valletti, Jon Vickers, and Franco Corelli. As I listened to Callas this week, I remarked anew at her creative genius, which sprang primarily from faithfulness to the written score, and a burning need to make every phrase she intoned “say something.” May this episode be as cathartic a listening experience for you as it was for me in preparing it. Maria per sempre!

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.


Episode 223. Chouxbert vs. Shubertsky (Schubert in French and Russian)



A few weeks ago I finally found a copy of a rare recording by one of my favorite singers, the baryton martin Camille Maurane (1911 – 2010) in which he sings Schubert songs in French. Inspired and fascinated by this record, I began exploring recordings of other native French-language singers (including Ninon Vallin, Charles Panzéra, Georges Thill, Vanni-Marcoux, and Germaine Martinelli) singing the melodies of my favorite composers. Further on, I stumbled across a similarly wide variety of Russian-speaking singers (including Ivan Kozlovsky, Mark Reizen, Pavel Lisitsian, Sergei Lemeshev, Nina Dorliak, and Feodor Chaliapin) also putting their individual stamp on the songs of Schubert in their native tongue. Along the way, we also discuss certain quintessential vocal types in both the French (the baryton martin, the falcon) and Russian (the lyric tenor, the “slavic” soprano and bass) national styles. This episode, far from being a mere “gimmick” allows us also to examine the joys of old-fashioned art song performance, and how all these characteristics combine to provide a new perspective on the music of one of the greatest German-language composers.

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.


Episode 221. Robert Massard



This is an episode I have been planning for years now! This past August 15, the great French baritone Robert Massard turned 98 years old. As many of my listeners know, I have a thing for baritones in general, and I have devoted episodes to artists of the baritone persuasion from world-renowned to virtually unknown to somewhere in-between. Just think of it: Gérard Souzay, Jorma Hynninen, Eugene Holmes, Andrzej Hiolski, Gabriel Bacquier, Will Parker, Gilbert Price: these and many more have already been featured with more (Hugo Hasslo, Eric Sædén) on the horizon for next season. But I would be hard-pressed to think of a baritone who possessed a more beautiful natural voice, a more refined technique, or a more elegant artistry than did Robert Massard, who in his thirty-odd years of career chalked up approximately 2,500 performances, including 1,003 at the Paris Opéra alone (the same number, he himself points out, as Don Giovanni’s conquests)! Massard also sang an incredibly varied (though primarily operatic) repertoire, and this episode presents highlights from both the standard to the more obscure repertoire, from Gluck, Gounod, Verdi, and Massenet; to Reyer, Milhaud, Lalo, and Diaz (who?). These recordings are supplemented by a number of excerpts from French operetta (Planquette, Varney, Messager, and Beydts) which provide unalloyed melodic delight, the Massard voice heard at its absolute peak. And the colleagues who appear opposite Massard are like a Who’s Who of great opera singers (French and otherwise) of the era: Régine Crespin, Mady Mesplé, Denise Duval, Shirley Verrett (subject of next week’s episode!), Andréa Guiot, Jean Giraudeau, André Turp, Marilyn Horne, Renée Doria, Jane Rhodes, Andrée Esposito, Rita Gorr, and the falcon Suzanne Sarroca, who died last month at the age of 96. And if you listen very closely, you will also catch fleeting glimpses of favorites Patricia Neway and George Shirley. I know I say this too often, but if you only listen to one episode of Countermelody, make it this one!

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.


Episode 215. Trauer und Trost



This week’s episode offers music of both mourning and consolation performed by treasured artists, many of whom celebrate significant anniversaries this fall, and all of whom died before their time. Thus we hear singers Maria Callas, Jessye Norman, Fritz Wunderlich, Kathleen Ferrier, Judith Raskin, Arleen Augér, and Lucia Popp, and pianist Dinu Lipatti performing music of Bach, Schubert, Fauré, Bellini, and others. This episode may conform to my new streamlined format, but it packs an emotional wallop nonetheless. A bonus episode to be published later in the week will feature Tatiana Troyanos, Judy Garland, Lorraine Hunt Lieberson, Dusty Springfield, Renata Scotto and others in music designed, as in this episode, to console and comfort.

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.


Episode 213. Julia Varady



A week ago the extraordinary Hungarian-German soprano Julia Varady turned 82. As she is one of my favorite sopranos, I have presented her a few times on the podcast, but never on an episode devoted exclusively to her. There is no time like the present to rectify that situation. Varady had an exceptional and unusual career, centered mostly in Europe, where she was celebrated first as a Mozart soprano, later for her fearless portrayals of the full range of Verdi heroines. Elsewhere in the world, primarily because of her recordings, she was considered mostly a Strauss singer, who also dipped her toe into some of the Wagner jugendlich dramatisch heroines. As today’s traversal proves, she was all that, but also much more: a singer with a gutsy dramatic instinct and a technique that allowed her to take on roles that might have been a few sizes too large for her vocally, but which she portrayed with vigor and fearlessness such as have been matched by only a few of the very greatest sopranos. It is also my objective in this episode to consider her accomplishment independently from that of Dietrich Fischer-Dieskau, her husband from 1977 until his death in 2012, regarded by many as one of the most significant baritones of the last century. But my (perhaps idiosyncratic) view is that, particularly because of their very different artistic personalities, her achievements, especially on the operatic stage, outrank his. See if you agree with me. We also hear contributions from tenors Siegfried Jerusalem and Franco Tagliavini, soprano Arta Florescu (Varady’s teacher), and baritone Raimund Grumbach, along with pianists Elena Bashkirova and Aribert Reimann (whose compositional masterpiece Lear is also sampled), and conductors Wolfgang Sawallisch, Giuseppe Sinopoli, Algis Zhuraitis, Jesús López-Cobos, Neville Marriner, Herbert von Karajan, Francesco Molinari-Pradelli, and István Kertész.

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.


Episode 210. The Mystery of Anita Cerquetti



Anita Cerquetti (13 April 1931 – 11 October 2014), the subject of today’s episode, possessed a one in a million voice, enormous, but with prodigious flexibility, and of an immediately recognizable timbre and style of text projection. She skyrocketed to world fame when she replaced Maria Callas in the title role of Bellini’s Norma in Rome in January 1958. Before that, the young soprano, still in her twenties, had been steadily building a career, primarily in Italy but also internationally, working in Italy’s biggest houses and music festivals with the greatest maestri and fellow singers of the period (including Ettore Bastianini and Franco Corelli, both of whom are heard on the episode). Immediately after those Rome performances, however, Cerquetti canceled a series of subsequent performances of Bellini’s Il Pirata, and her live performances dwindled thereafter to a mere trickle. In the fall of 1960, not yet thirty years of age, she gave what proved to be the final performance of her career, a recording for Dutch radio of Abigaille in Verdi’s Nabucco. Cerquetti is considered to be one of the great operatic mysteries of the second half of the twentieth century. She made only two commercial recordings, so the majority of her recorded legacy stems from live and radio performances. In this episode, I share some of my favorites among those recordings, and discuss the personal issues that surrounded Cerquetti’s premature disappearance from the world’s opera stages as well as why her still unmatched accomplishments still captivate listeners to this day.

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.


Episode 207. Henry Wright and Pals



Today’s episode is first and foremost a tribute to a forgotten African American trailblazer, the pop singer Henry Wright, born in 1933, who, in the late fifties, claimed Italy as his adoptive country after touring there as a vocal soloist with Lionel Hampton. With a voice as suave and seductive as any of the great crooners of the 1950s and 1960s, Henry Wright first came to international prominence as the voice on the record to which Sophia Loren performed her legendary striptease in the 1962 film Ieri, oggi, domani [Yesterday, Today and Tomorrow]. He went on to make a great impact on Italian pop music throughout the 1960s. Your fearless podcaster discovered this fascinating singer almost by accident sometime in the past year and he (that is, I) have been collecting his rare and valuable recordings which I am thrilled to share with my listening public. Many of these songs exist in earlier versions, either from the Great American Songbook, from Italian films, from early American singers of R&B, from Italian pop stars of the 1950s, even from Viennese operetta! So I had the idea of playing those original versions alongside Henry Wright’s recordings. Thus you will encounter singers like Ricky Nelson, Peggy Lee, Tony Dallara, Peter Alexander, Mina, Petula Clark, Vittorio de Sica (who in his acting days was an Italian matinee idol!) and even opera legends Miguel Fleta and Richard Tauber. It’s a fascinating episode (if I do say so myself!) and I am thrilled beyond words to introduce the seductive, charming, compelling Henry Wright to my listeners. The episode begins with memorial tributes to recently departed pop music greats Tony Bennett and Sinéad O’Connor.

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.


Episode 197. Theatre Dreams



I’ve been plotting an episode on the subject of Dreams for a while. Given the profusion of music that references that altered state of consciousness, my challenge was narrowing down the topic. I chose to focus today on theater music (opera, operetta, and musicals) that references actual rather than figurative dreams. Even within these parameters, there was a plethora of material and as usual my repertoire choices are strangely and uniquely my own. So on this episode you’ll hear everything from a 1965 recording of Tevye’s Dream from Fiddler on the Roof in Yiddish, from the first Israeli production of the musical; Renata Scotto in late career essaying the haunted dreamscapes of Arnold Schoenberg’s monodrama Erwartung; Mattiwilda Dobbs in a rare 1952 recording of “Ruhe sanft, mein holdes Leben” from Mozart’s Zaide; excerpts from unusual French and German operettas featuring Robert Massard and Charles Kullman, respectively; birthday tributes to Birgit Nilsson and Richard Tauber; and the great Welsh bass Geraint Evans in a live performance of Bottom’s Dream from Britten’s A Midsummer Night’s Dream. And much, much more, including a teaser of next week’s subject the Italian lyric tenor Cesare Valletti; and Janet Baker live in recital in 1966, a preview of the first in a series of bonus episodes that will feature rare LPs from my personal collection. As always, thanks for your support; enjoy!

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.


Episode 194. Great Mozart Tenors



Today’s is a mammoth episode, one of my longest ever, so I suggest you listen to it in easily digestible segments. It’s mammoth because it’s a gigantic subject: great Mozart tenors of the 20th century, covering more than 100 years of recorded documents of the finest examples of tenorial interpretations of the big Mozart operas as well as some of his lesser-known works, including his concert arias. You will be dazzled (and that is a promise and a guarantee) by performances by Fritz Wunderlich (for many of us, the ne plus ultra of lyric tenors), George Shirley, Richard Tauber, Anton Dermota, Léopold Simoneau, Nicolai Gedda, Gösta Winbergh, John McCormack, David Rendall, Peter Schreier, and countless others, including lesser-known figures such as John van Kesteren, Kálmán Pataky, and Wiesław Ochman, and duets featuring Pilar Lorengar, Leontyne Price, Roberta Alexander, and Margaret Price. I also feature a peek into the future with a special salute to the young tenor Alex Banfield, whose work has impressed me enormously. The entire episode is dedicated to the memory of my friend Jerry Hadley, one of the supreme Mozart tenors of all time.

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.


Episode 184. Eugene Holmes (Black History Month 2023)



Eugene Holmes (1932 – 2007), baritone supreme, should be remembered as one of the most significant voices of the Twentieth Century and a Black singer on a par with the most revered and celebrated. Though he participated in the creation of some important work (including by Gian Carlo Menotti, Gunther Schuller, and Frederick Delius), and performed with San Francisco Opera, the Wiener Staatsoper, New York City Opera, and the Metropolitan Opera Regional Company, his career remained centered for more than thirty years at his home company, the Deutsche Oper am Rhein. The rare recorded documents that we have of Eugene Holmes, including two self-produced LPs of spirituals and three different recordings of Delius’s rare opera Koanga (two of them live), reveal a voice of rare magnitude, range, power, and sensitivity, qualities which made him one of the premier Verdi baritones of his day. But due to a number of factors, including his modesty and his unwillingness to travel far from home, he did not achieve the international recognition that he deserved. I have pulled together all of the recorded material of Eugene Holmes that I could find, and present excerpts from these varied sources. Guest vocalists appearing opposite Holmes include sopranos Claudia Lindsey, Gwyneth Jones, and Barbara Carter, and tenors János B. Nagy and Giorgio Aristo. In the production of this podcast, I was greatly aided by reminiscences provided by his colleagues Bonita Hyman, the German-based African American mezzo-soprano; Stephen Harrison, the retired musical director of the Deutsche Oper am Rhein; and Heribert Klein, member of the committee of UNICEF Deutschland, an organization to which Eugene Holmes was deeply committed.

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.


Episode 178. Andrzej Hiolski



This week I have been tantalizing my followers with the promise of a tall, dark, handsome singer who was born on January 1. I shall keep you in suspense no longer: he is the great Polish baritone Andrzej Hiolski, born in Lvov in New Year’s Day 1922 and died in Krakow on 26 February 2000. I have known of Hiolski for years because of his association with the works of the late Krzysztof Penderecki, but I began digging deeper into his legacy a few years ago and was absolutely stunned at what I found: a singer with a near-perfect technique with a powerful voice with a slightly burred timbre characterized by both beauty, range, and subtlety of expression. I have been collecting his recordings for a few years now and have featured him at every possible opportunity on the podcast, including twice already in the current season. But this episode is devoted entirely to him and it may well serve, strange as it may seem for an artist who is so revered and treasured in his native country, as an introduction for many of my listeners to one of the great baritone voices of the twentieth century. The episode features recordings and performances, many of them exceedingly rare, ranging over more than 50 years, and includes music by Verdi, Wagner, Schubert, Mahler, Bach, Leoncavallo, Mozart, Tosti, Rossini, Tchaikovsky, and Giordano, but also a generous helping of music by Hiolski’s compatriots, including Karol Szymanowski, Frédéric Chopin, Augustyn Bloch, Mieczysław Karłowicz, Stanisław Moniuszko, Tadeusz Baird, Tadeusz Szeligowski, as well as, of course, Penderecki. Guest vocalists include the supercharged Greek-American mezzo Tatiana Troyanos and the delectable Polish soprano Alina Bolechowska, as well as the venerable Polish bass Adamo Didur, an early mentor of Hiolski’s. who now joins company with Jorma Hynninen and Gérard Souzay in the triumvirate of my favorite baritones of all time!

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.

 


Episode 176. Helen Donath



Today’s episode is a celebration of the Texas-born, German-assimilated soprano Helen Donath. Very few singers can boast of a career lasting more than 50 years which yielded such consistently superb vocalism and artistry. Donath began as a soubrette with lyric-coloratura capabilities which blossomed into a jugendlich dramatisch voice capable of successfully assuming roles in Wagner, Strauss, and Weber. Today’s episode has two “gimmicks,” the first of which is that all of the selections are sung in German, even if they were originally set in French or Italian. The second gimmick is that strewn in amongst the other selections, there is a smattering of holiday-related material including works by Bach, Handel, Mozart, Humperdinck, and Pfitzner. Other composers heard include Otto Nicolai, Friedrich von Flotow, Paul Hindemith, as well as numerous examples of Donath’s peerless Mozart singing and a generous helping of operettas by Lehár, Millöcker, and Johann Strauss II. Vocal guest stars are legion, and include Julia Varady, Siegfried Jerusalem, Anna Moffo, Peter Schreier, Edda Moser, Theo Adam, Werner Hollweg, and Günther Leib in performances conducted by Leonard Bernstein, Herbert von Karajan, Kurt Eichhorn, Rafael Kubelik, Herbert Blomstedt, Wolfgang Sawallisch, Bernhard Klee, Otmar Suitner, Hans Schmidt-Isserstedt, Gerd Albrecht, and Willi Boskovsky, as well as Klaus Donath, Helen’s husband since 1965.

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.


Episode 175. The Young Fritz Wunderlich



I’ve heard and enjoyed many a German lyric tenor, but if there was ever a greater one than Fritz Wunderlich (26 September 1930 – 17 September 1966), I’ve never heard him! What is it about this singer, who first of all, possessed a voice of such matchless visceral beauty, and who conveyed such joy and enthusiasm in the sheer act of singing, that cannot fail to engage us. My beloved “not-boyfriend” refers to Wunderlich’s voice and artistry as possessing more “face” than nearly any other singer in history, and I do think he’s on to something. The very simplicity of his utterance conveys a sort of “Everyman” quality to everything he sang. This, alongside the precision of his delivery of text pulls the listener in and almost compels them to listen. In today’s episode, I offer recordings from the 1950s, when Wunderlich was just beginning his career. His early musical experience centered around popular music of the time, and we hear him in this repertoire, as well as operetta, Lieder, so-called “early music,” as well as the more standard operatic repertoire (Mozart, Puccini, Strauss), the majority of which were recorded before 1960. His partners in song in this episode include names both familiar (Anneliese Rothenberger, Pilar Lorengar, Hilde Güden) as well as those who are less well-remembered (Trude Eipperle, Helmut Krebs, Herbert Brauer, Friederike Sailer) who nevertheless are equally memorable. As a tribute to the season, there are a number of excerpts from Puccini’s La Bohème, the first act of which which is set, of course, on Christmas Eve. If these selections alone do not bring a smile to your face and a tear to your eye, you’d do well to check your pulse! The episode begins with a tribute to the late tenor John Aler (04 October 1949 – 10 December 2022).

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.

 


Episode 167. Denise Duval



Denise Duval, whose 101st birthday we posthumously commemorate on October 23, will forever be associated with the music of Francis Poulenc, and specifically his operas, in which the lead soprano roles were either created by her, or were written with her in mind. This episode not only presents Duval in excerpts, in live concert and stage performances, of all three roles: Thérèse in Les Mamelles de Tirésias, Blanche de la Force in Les Dialogues des Carmélites, and the unnamed heroine in his searing 1959 monodrama La voix humaine, alongside her performance in the world premiere of her final creation for Poulenc: the brief 1961 monologue La Dame de Monte-Carlo. But Duval was a versatile singer whose many and varied roles may surprise you. I present her also in both French and Viennese operettas by Lehár, Kálmán, Planquette, Messager, and Hervé, as well as operatic roles by Ravel, Debussy, and Saint-Saëns, concert works by Florent Schmitt and Louis Durey, and, from a joint recital with Poulenc, a breathtaking excerpt from Debussy’s Proses lyriques. Duval’s unusual voice and artistic profile defy classification, but this episode seeks to present as full a portrait as possible of this great singer and actor. Heard alongside Duval are tenors Jean Giraudeau, Alain Vanzo, Michel Hamel, and Jean Pomarez; baritones Jacques Jansen, Robert Massard, and Hans Wilbrink; and in an amusing turn, Francis Poulenc himself.


Episode 163. Season Four Preview



Today Countermelody is in limbo: balanced between Seasons Three and Four. Over the past few months I’ve been planning the course of the upcoming season and this episode consists of musical tidbits (bocconcini, if you will) of some of the singers and themed series that I am planning for Season Four. Included are retrospectives of singers Judith Raskin, Roberta Alexander, Sammy Davis, Jr., Helen Donath, Hugues Cuénod, Anna Moffo, Denise Duval, and Nicolai Gedda, all of whom are “sampled” today. I’m also planning programs on; “Great Singers We’ve Never Heard Of;” the music of Alec Wilder; the Black male singer as European émigré; “Behind the Iron Curtain;” explorations of both Orchestral Songs and Rare Twentieth-Century Operas; and “Great Singers in Old Age;” as well as, naturally, a closer examination of many of those New York City Opera divas to whom I provided an introduction last week. The new season will also be more interactive, with livestream interviews planned with various fascinating (and legendary!) figures in the world of opera and classical music. Thanks to all for your continued support, friendship, and listenership; see you next week for the debut of Season Four of Countermelody!

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.

 


Episode 162. NYCO Divas: An Introduction



Today is the final regular episode of Season Three of Countermelody, as well as the last of my summer series documenting musical life in New York City during the years 1950 through 1975. I am thrilled to start what I hope will be an occasional series of episodes that will drop throughout Season Four, which begins in two weeks. I present to you a small sampling of the extraordinary singing actors that peopled the stage of New York City Opera during the years in question. The most famous of these, of course, is Beverly Sills, and she is aptly represented in her most radiant early prime. But there are many other singers as well, including African American divas Carol Brice and Veronica Tyler, preceded by Camilla Williams (the first Black singer to be awarded a standing contract with a major US opera company… in 1946!). City Opera was celebrated for presenting an absolute slew of new American work in its heyday, and we hear works by Carlilse Floyd, Robert Ward, Douglas Moore, Marc Blitzstein, and Jack Beeson in performances by Phyllis Curtin, Frances Bible, Brenda Lewis, and Ellen Faull. Other divas strutting their stuff include Olivia Stapp, Johanna Meier, and the three mesdames Patricia: Brooks, Wells, and Wise. The episode is capped by some of the rarest live recordings from the stage of City Opera by three singers who made their mark during their heyday, and would be the biggest stars in the world were they singing today: Gilda Cruz-Romo, Maralin Niska, and Carol Neblett, all of whom will be featured in her own episode during Countermelody’s upcoming season. A fitting way to end Season Three, as well as a harbinger of vocal delights to come! (Next week will be a preview of the upcoming season!)

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.


Episode 161. Janet Baker: Subject of the Queen



The world changed yesterday with the death of Queen Elizabeth II, whose subjects in the United Kingdom just this summer celebrated the 70th year of her reign. How do I, as a progressive (and non-British) person, neither a royalist nor an imperialist, commemorate her passing with the respect that she deserves? I found my answer, as I so often do in other of life’s conundrums, in the artistry of Janet Baker, who celebrated her 89th birthday on 17 August, and who, in her day was often known as “the English Rose.” There is something about Baker’s artistic personality: her nobility of utterance, her gravitas, her humanity, that made her a particularly striking interpreter of various queens in the operatic literature, from Alceste and Dido to Mary Stuart. And because, from the time of her Carnegie Hall debut in 1966 until her final appearance there in 1989, seven years after her official retirement from the operatic scene, she was a fixture of the New York concert scene, she also fits quite comfortably into the framework of this summer’s celebration of musical life in New York between the years 1950 and 1975. Her towering operatic performances of roles by Gluck, Donizetti, Berlioz, and Purcell, are balanced with her profoundly moving performances of music by Bach, Gurney, and Schubert. Queen Elizabeth II is further memorialized by an excerpt from the world premiere performance of Benjamin Britten’s Gloriana, composed for, and premiered six days after, her coronation in 1953.

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.

 


Episode 160. Donald Gramm



Dear ones, I present to you today the extraordinarily versatile bass-baritone and my fellow native Milwaukeean Donald Gramm (1927-1983), one of the central house singers at both the Metropolitan Opera and New York City Opera from the 1960s through his premature death at the age of 56. Gifted with an intrinsically beautiful voice, an impeccable technique and an expansive range, he also was a crackerjack musician whose repertoire easily encompassed musical styles from florid Baroque music through the thorniest contemporary idioms. He is probably best celebrated these days for his commitment to American art, and this episode features him singing songs by Ned Rorem, John Duke, Richard Cummings, Douglas Moore, and Paul Bowles, with a particular emphasis on texts by Walt Whitman. What is perhaps less well-remembered today is how versatile an opera singer he was, singing roles from Osmin to Scarpia, with a strong emphasis on both bel canto and buffo roles by Rossini and Donizetti. The episode also explores his collaborations with Igor Stravinsky, Glenn Gould, and, perhaps most significantly, Sarah Caldwell, another important musical figure from that era who is strongly deserving of reappraisal.

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.


Episode 156. Barely Sang at the Met II



This week is the conclusion of my presentation on world-class singers who made a minimal number of appearances at the Metropolitan Opera. My arbitrary parameters for this episode were singers who appeared (approximately) between the years 1950 and 1975 and sang fewer than ten performances in total at that venerable institution. Among the artists featured are the British singers Josephine Veasey and Anne Howells (both of whom we lost earlier this year), as well as Stafford Dean and Alberto Remedios; the French-Canadian tenors Léopold Simoneau and Richard Verreau; the Romanians Ludovic Spiess and Marina Krilovici; the US-American dramatic coloratura Margherita Roberti; the Australian super-soprano Joan Carden; the Italian sopranos Maria Chiara and Luisa Malagrida; the French falcon Jane Rhodes; the Austrians Eberhard Wächter and Otto Wiener; the Finnish heldentenor Pekka Nuotio; and the Germans Josef Greindl, Walburga Wegner, Erna Schlüter and Christel Goltz. Met stalwarts Monserrat Caballé, Shirley Verrett, Ramón Vinay, and Jorma Hynninen are featured as vocal guest stars; conductors include such greats as Dimitri Mitroupoulos, Gianandrea Gavazzeni, Thomas Beecham, Carlo Felice Cillario, and Arthur Rodziński..

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.


Episode 153. Eleanor Steber I



July 17 is the 108th birthday of Eleanor Steber, surely one of the all-time greatest singers that the United States has ever produced (as well as one of the most versatile and technically-accomplished!) In long overdue Countermelody tribute to this exceptional artist, I present the first of two very special episodes honoring Eleanor. After the “usual” career overview featuring mostly live highlights from her operatic appearances all over the world, I turn the stage (or in this case the mic), over to my dear friend Michelle Oesterle, founder and conductor of the Manhattan Girls Chorus, who was also Eleanor Steber’s stepdaughter. As such she spent time (especially in the summer months) with her father and Eleanor at Melody Hill, Eleanor’s estate on Long Island. She provides us with an unparalleled intimate portrait of Eleanor as woman and as singer and describes the profound influence that Eleanor had in her life, as well as the characteristics that combined to make her the profoundly appealing and moving interpreter that she was. She also addresses the white elephant in the room, that is, Eleanor’s alcoholism, and makes a plea for tolerance and understanding vis-à-vis this serious disease. The Steber tribute will continue with a further episode sometime in the next month. For now, let us raise our glasses (of sparkling mineral water), in tribute to this phenomenal artist, the like of which we will never see again. Musical selections range from Victor Herbert to Alban Berg and everything in between. Thank you, Michelle, and evviva Eleanor!

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.


Episode 147. The Young Gabriel Bacquier



Two years ago last month, the great French (bass-)baritone Gabriel Bacquier died just four days short of his 96th birthday. At that time I offered a brief memorial tribute which opened my eyes to aspects of his artistry and voice with which I had been previously unfamiliar. Like his near-contemporary, the Italian baritone Tito Gobbi, Bacquier was one of the supreme actors of the operatic stage, whose voice coarsened somewhat over the course of his long career, even as his mastery as an actor and interpreter increased. By the time he retired, his repertoire consisted almost entirely of buffo parts. But in the earliest years of his career (and also like Gobbi), he possessed a baritone of velvety beauty that might surprise those who know only his later comic roles. This episode, which commemorates the second anniversary of Bacquier’s death as well as his (posthumous) 98th birthday, focuses on the three different musical genres in which, in those early years, from 1953 through 1968, he excelled in equal measure: opera, of course, but also mélodie and operetta. The operatic portrayals represented include the title roles in Don Giovanni and Orphée et Eurydice; Zurga in Les Pêcheurs de perles; the Count in Le nozze di Figaro; Iago in Otello; Golaud; and his incomparable Scarpia, which he sang opposite every great Tosca of the 1960s with the exception of Callas. Complementing these live and studio recordings are recordings of melodies by Duparc, Fauré, Debussy, Ravel, and Poulenc; and operetta arias by Sigmund Romberg, Franz Lehár, Johann Strauss II, and Reynaldo Hahn, all deliciously sung in French. Vocal guest stars include Mirella Freni; Alain Vanzo; Bernard Demigny; Janine Ervil; Yvonne Gall, with whom Bacquier studied at the Conservatoire de Paris; and the late Renate Holm, the renowned German soubrette who died in April at the age of 90. In all this repertoire, Bacquier, who insisted on the appellation “acting singer” rather than “singing actor,” displays his commitment to clear yet full projection of text, which serves as a mirror into the music and not the other way around.

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.


Episode 144. Mad about Mesplé



Two years ago this month, the world lost the great French soprano Mady Mesplé at the age of 89. Celebrated as the finest French coloratura of her era (and one of the best examples ever of that dying breed), Mesplé was officially diagnosed in 1996 with Parkinson’s, which had already gravely affected her health for years. For me there is a personal connection here, as next week it is eleven years since my own father died of the same disease. The focus this week, however, is on not on Mesplé’s disease, but her extraordinary vocalism, musicianship, and versatility. Not only was she unmatched in the operatic repertoire for which she was justly celebrated, she was also a mistress of the mélodie, a charming interpreter of French operetta, and a fearless interpreter of contemporary repertoire. This episode examines her contributions in all of those genres, as well as celebrating her delicious expressions of musical humor, and her surprising depth, even profundity, in examining the darker recesses of human experience. On this episode, Mesplé is aided by fellow singers Gabriel Bacquier, Michel Dens, Jane Berbié, Alain Vanzo, and Michel Trempont; pianists Aldo Ciccolini, Jeanine Reiss, Dalton Baldwin, Gabriel Tacchino, and Michel Legrand; and conductors Georges Prêtre, Pierre Dervaux, Michel Plasson, Jean-Pierre Marty, Gilbert Amy, and Jean-Claude Hartemann.

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.

 


Episode 136. Puccini en Français



This week’s episode is a counterpart to my ongoing exploration of the practice of performing opera in translation which includes the “Verdi auf Deutsch” [www.countermelodypodcast.com/index.php/2021/10/17/episode-111-verdi-auf-deutsch] and “Polyglot Wagner” [www.countermelodypodcast.com/index.php/2020/11/29/episode-63-polyglot-wagner] episodes. With its soaring cantilena lines, Puccini’s music lends itself quite naturally to performance in French. The characteristics of the so-called “French school” of singing, with its frequent focus on bright-timbred, slightly nasal tonal production, lends Puccini’s music a peculiarly French quality when performed in that language. This episode features arias and duets from Madame Butterfly, La Vie de Bohème, and La Tosca, as they are known in French, supplemented by arias from Manon Lescaut and Turandot. These are sung by some of the most famous singers of the twentieth century (including Ninon Vallin, Georges Thill, Régine Crespin, Germaine Lubin, Gabriel Bacquier, Alain Vanzo, and Lily Pons) with contributions by equally impressive but less celebrated French, Corsican, and Belgian artists (including Yvonne Brothier, Berthe Monmart, César Vezzani, José Liccioni, Marthe Nespoulous, Paul Finel, Michèle Le Bris, Martha Angelici, Germaine Martinelli, Jane Rhodes, Georges Jouatte, and the long-lived Géori-Boué [1918-2017], Renée Doria [1921-2021], Suzanne Sarroca [b. 1927], and Robert Massard [b. 1925]). Also heard are foreign singers whose singing nevertheless defines the French method (the Australian Albert Lance, the Canadian Raoul Jobin, the US-American Arthur Endrèze, and the Ukrainian Joseph Rogatchewsky). This episode is a foretaste of a mini-series coming in May on great French lyric artists, including Mady Mesplé, Martial Singher, and Gabriel Bacquier.

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.


Episode 134. Legacy (Black History Month 2022 Postlude)



This is the second part of my final episode of Black History Month 2022, continuing the exploration of the legacies of more than two dozen mostly underrecorded African American artists. Each piece of this aural mosaic fills in gaps in the recorded history of these artists. After opening memorial tributes to Josephine Veasey, Antonietta Stella, and Betty Davis, the episode is broken into several sections: first, recordings of Baroque music by Aubrey Pankey, Carmen Balthrop, Adele Addison, Betty Allen, Seth McCoy, Marvin Hayes, and a rare live recording by Marian Anderson, whose 125th birthday was observed this past week. There follow recordings of concert repertoire sung by Dorothy Maynor, Louise Parker, and Grace de la Cruz, with William Pearson and Julius Eastman leading us briefly into the bizarre world of the extended vocal techniques of the 1960s. There follow recorded performances of art song by Helen Colbert, Rhea Jackson, John Riley, Clamma Dale, Ellabelle Davis, Marvis Martin, and Cynthia Haymon, whereupon the episode concludes with some rare performances of operatic repertoire with Gwendolyn Killebrew, Claudia Lindsey, Dagmar Průšová, and Gwendolyn Walters, capped by an exquisite a cappella performance of “A City Called Heaven” by the great Mattiwilda Dobbs.

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.


Episode 133. Never Forget (Black History Month 2022)



I bid a lingering farewell to Black History Month 2022 with the first of a two-part episode featuring singers, each of whom left a relatively small but invaluable recorded legacy. I begin with soloists from the Leonard de Paur Chorus, and continue with earliest recorded examples, more than a century old, of African American singers. I follow with a series of singers, each of whom made a mark in varied productions of Porgy and Bess, but all of them singing other material: by Mozart, Arlen, Bernstein, Cole Porter, Howard Swanson, and a US workers’ song translated into German. I conclude with a trio of exceptional Verdi sopranos of whom you may not yet have heard. Among the singers heard today are Charles Holland, Luther Saxon, Eugene Holmes, John C. Payne, Harry T. Burleigh, Evelyn Dove, LeVern Hutcherson, Inez Matthews, Todd Duncan, Florence Cole-Talbert, Kenneth Spencer, Martha Flowers, Bruce Hubbard, Helen Thigpen, Ella Lee, Ruby Elzy, Theresa Green Coleman, Edward Boatner, Betty Allen, and Sarah Reese. Prepare to have your horizons expanded and your consciousness raised!

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.


Episode 132. Brock Peters (Black History Month 2022)



How often it happens that, even when an artist produces an august and varied body of work, that they are remembered only for a tiny fragment of their output? Such is the case with Brock Peters (1927 – 2005). Universally recognized and justly celebrated for his portrayal of Tom Robinson in the 1962 film version of To Kill a Mockingbird, Peters, born George Fisher, was also a superb singer who made his mark in a number of film musicals, as well as appearances in Broadway musicals and a series of folk albums recorded in the late 1950s and early 1960s. While the focus in this episode is on his musical accomplishments as a solo artist, I also discuss his early appearances in ensembles headed by Harry Belafonte, Leonard de Paur, and others; his jazz collaborations with Miles Davis, Randy Weston, and Duke Ellington; his other film roles; his exceptional work in voiceover and narration; and his late career singing appearances. That Brock Peters was a great actor is a given; that he was a great singer as well may be a delicious surprise to many. Guest vocal appearances by Adele Addison, Martha Flowers, Margaret Tynes, Marilyn Horne, and The Four Lads.

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.


Episode 131. Happy Birthday, Reri Grist! (Black History Month 2022)



The great African American coloratura Reri Grist was born on leap year 1932. We celebrate her upcoming 90th birthday with a tribute featuring many of her greatest roles and recordings. After appearing as Consuelo in the 1957 Broadway premiere of West Side Story, and encouraged by Leonard Bernstein, Grist began a career in opera that took her around the world to all of the greatest opera houses. Reri Grist was the perfect exemplar of the so-called “-ina” roles: soubrette parts in Mozart and Strauss operas (Blondchen, Susanna, Despina, Zerlina, Zerbinetta, and Sophie), as well as the comic operas of Donizetti and Rossini (including Adina, Norina, and Rosina). This episode features her in most of these roles and concludes with the glorious finale of the second act of Richard Strauss’s 1935 comedy Die schweigsame Frau, one of her most notable successes. Vocal guest stars today include Christa Ludwig, Luciano Pavarotti, Sena Jurinac, Nicolai Gedda, Gwyneth Jones, Luigi Alva, Judith Raskin, Donald Grobe, and Richard Lewis. Whether you are celebrating 90 years or 22-and-a-half leap years, we celebrate you, Frau Grist, and offer heartfelt thanks for the joys that you have offered us.

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.


Episode 122. Auld Acquaintance II



Part Two of my “Auld Acquaintance” mini-series on Countermelody continues the exploitation of even more artists who have already been featured on the podcast, but in rare recordings that have only recently come into my collection. Today’s episode begins with a tribute to the German-based African American mezzo-soprano Gwendolyn Killebrew, who died on Christmas Eve at the age of 80. Featured artists in the main episode include Paul Robeson, Magda Olivero, Edda Moser, Ileana Cotrubas, Carol Brice, Margaret Price, Igor Gorin, Josephine Baker, Eidé Noréna, Alberta Hunter, Thomas Carey, Christa Ludwig, Sylvia Sass, Francisco Araiza, William Warfield, and many, many more singing everything from reggae to Rigoletto. 2021 gets a better send-off than it deserves, what with these singers and this music that will certainly help us all to approach the upcoming New Year “keeping the song in our hearts!”

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.


Episode 115. Jules Bledsoe



This week I present an important African American artist who has been nearly forgotten by history: the bass-baritone Jules Bledsoe (1897-1943). He is most remembered for creating the role of Joe in Jerome Kern and Oscar Hammerstein II’s Show Boat, but he was equally celebrated in his time for his memorable concerts, which took place both here and in Europe, and for his operatic portrayals, most significantly, the title role in Louis Gruenberg’s opera The Emperor Jones, based on the play by Eugene O’Neill, which he portrayed both in the United States and in Europe. When this opera premiered at the Metropolitan Opera in 1933, the legendary baritone Lawrence Tibbett created the title role (in blackface). Barred from singing at the Met because of his race, Bledsoe took his portrayal of Brutus Jones on the road, performing it in a triumphant European tour, but also subsequently in New York in 1934 under the aegis of the short-lived Aeolian Opera Company, which was intended to provide performing opportunities for Black opera singers, but which folded almost immediately. Jules Bledsoe was also a composer who wrote many songs and arrangements of spirituals, as well as a version of Uncle Tom’s Cabin entitled Bondage, as well as his own operatic setting of O’Neill’s Emperor Jones, which may or may not have been performed at the time. Even less well-known and acknowledged is that Jules Bledsoe was a gay man in a relationship with a Dutch white man named Freddy Huygens who at the time of Bledsoe’s premature death was referred to as either his “manager” or his “closest friend.” I present examples of all the extant recorded material I could find by Jules Bledsoe, alongside recorded examples of work by his collaborators Abbie Mitchell, Irene Dunne, Anne Roselle, Marie Powers, Todd Duncan and excerpts from the work of composers W. Franke Harling, Shirley Graham Du Bois, and Louis Gruenberg performed by Jeanette MacDonald, Valaida Snow, Nicola Rossi-Lemeni, and Lawrence Tibbett. Billie Holiday even puts in a special appearance! The episode also includes tributes to the recently departed British soprano Joan Carlyle and the US-American bass-baritone Jake Gardner.

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.

 


Episode 113. Edda Moser



On 27 October the great German dramatic coloratura Edda Moser celebrated her 83rd birthday. Celebrated as the greatest Queen of the Night ever, Edda Moser’s operatic career was centered on the music of Mozart but also included so much more. I present, it is true, two rare live examples of her singing the music of Mozart, but I also include her performances of music by Henze, Lehár, Verdi, Handel, Gluck, Johann and Richard Strauss, Offenbach, and Boris Blacher, as well as precious examples of her singing of Lieder, including songs by Brahms, Schubert, and Clara Schumann. I conclude with her reading of a beloved poem in tribute to her ongoing commitment to German language and culture. Vocal guest stars this week include Kostas Paskalis, Alfredo Kraus, José van Dam, Arleen Augér, and Theo Adam. Geliebte Frau Moser, wir erfreuen uns an Ihrer Kunstfertigkeit als begnadete Sängerin und Ihrem Vorbild als kulturelle Fahnenträgerin.

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.


Episode 112. Barry McDaniel



This past week would have been the 91st birthday of Barry McDaniel (1930-2018), the great US-American Berlin-based lyric baritone whose artistry encompassed opera, oratorio (particularly the music of Bach), art song (particularly Lieder), and contemporary music, as well as delicious forays into operetta. This episode celebrates all aspects of this exceptionally fine singer, whose immediately recognizable voice, allied to a firm technique, superb diction, superior musicianship, and devotion to his craft yielded finely-hewn, distinctively inflected performances in a career which spanned nearly fifty years. The episode features him singing music of Strauss, Bach, Rossini, Schubert, Reimann, Ravel, Henze, Rossini, Mozart, Debussy, Millöcker and more. Vocal guest stars include Alfredo Kraus, Agnes Giebel, Kurt Böhme, Arlene Saunders, Mack Harrell (who was McDaniel’s teacher), and Edita Gruberová, to whom we pay especial tribute after her tragic death early last week.

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.


Episode 111. Verdi auf Deutsch I



Today’s is a mammoth episode on a mammoth topic: historical performances of Verdi’s operas in German translation. I trace the historical and ongoing popularity of Verdi’s works in Germany, and include discussions of the works of Friedrich Schiller as Verdian subject matter; the co-opting of Verdi’s genius by the Third Reich; and the numerous African American Verdi singers, including Gloria Davy, Lawrence Winters, Lenora Lafayette, Betty Allen, and Grace Bumbry, who based their careers (or significant portions thereof) in German-speaking European countries. I include duets and trios from eight different Verdi operas; recordings featured were made between the years 1923 and 1973 and feature such native German-speaking singers as Richard Tauber, Margarete Teschemacher, Maria Cebotari, Josef Greindl, Meta Seinemeyer, Inge Borkh, Fritz Wunderlich, Annelies Kupper, Elisabeth Grümmer, Wolfgang Windgassen, Gottlob Frick, and Hilde Güden, among many others. Non-German singers such as Teresa Stratas, Sándor Kónya, Pilar Lorengar, Jess Thomas, Raymond Wolansky, and James King are also highlighted. This episode is an exploration of the greatest operatic composer of all time, but in unexpected garb.

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.


Episode 107. Norman Bailey and Friends



Death has had a busy month in the music world, especially this past week, when we lost the great British Heldenbariton Norman Bailey and the delectable Hollywood star Jane Powell. This past week was also the memorial service for the soprano Carmen Balthrop, who died of pancreatic cancer on September 5. My original intent was to devote the episode to Norman Bailey, but when Jane (with whom I had a personal relationship, having been her late husband Dick Moore’s personal assistant from 2009-2012) also died, I realized I had to do an omnibus episode of sorts. I begin with several selections each from both of the recently departed divas and then plunge headlong into an appreciation of the voice, technique and artistry of the great Norman Bailey, featuring him in opera excerpts not just by Wagner, in whose music he excelled, but also by Verdi, Richard Strauss, and Michael Tippett. He is also featured in recordings from the 1970s of songs by Schumann, Brahms, Hugo Wolf, and Peter Warlock. The episode concludes with a tribute to Maria Callas on the 44th anniversary of her death on September 16, 1977.

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. 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.


Episode 104. Nicolae Herlea



Yesterday, August 28, would have been the 94th birthday of the great Romanian baritone Nicolae Herlea (1927 – 2014). I continue my great baritone series with a salute to this extraordinary singer, who, unlike many of his fellow Romanian artists during this era, was able to pursue an active career in the rest of Europe and the United States. For many fans of great singing, Herlea is the Verdi baritone of choice. With this tribute, I begin a series examining great singers whose careers originated on the other side of the so-called Iron Curtain. I present examples from one of Herlea’s first recordings, a 1959 recording of arias made in Moscow with the great Gennady Rozhdestvensky conducting. I follow this with three excerpts from his two albums of Neapolitan songs, and conclude with extended excerpts from four of his recordings, made in Romania, of complete operas, which introduce us to a number of Herlea’s Romanian colleagues from the era, including Virginia Zeani, Arta Florescu, Ion Buzea, Ludovic Spiess, Ludovic Konya, and Magda Ianculescu. This episode also includes brief tributes to two of my favorite singers, recently deceased, who represented completely different genres: the folk singer and songwriter Nanci Griffith, who died on August 13 at the age of 68, and the exquisite Polish soprano, Teresa Żylis-Gara, who died yesterday at the age of 91.

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. 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.


Episode 101. Heinrich Rehkemper



I continue my salute to Great Baritones with an examination of the recorded legacy of one of my favorite German baritones, the nearly-forgotten Heinrich Rehkemper (1894-1949) who left a small but important cache of discs, many of them devoted to the Lieder of Franz Schubert. He also made the first complete recording of Gustav Mahler’s Kindertotenlieder. I place Rehkemper in the context of the other significant German baritones of his era, Heinrich Schlusnus, Willi Domgraf-Fassbaender, Karl Schmitt-Walter, and Gerhard Hüschand examine the specter of Nazism that hangs over all German artists from this period. But it is first and foremost the unique legacy of Rehkemper’s art song recordings that concerns me here, and I discuss what makes his work so important, and what today’s singers can learn through close study of his recordings.

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. 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.


Episode 98. John Raitt



Today I feature as part of my summer series on Great Baritones, one of the greatest Broadway baritones of all time, John Raitt (1917-2005). Wait: did I say one of the greatest? Make that possibly the greatest! Along with Alfred Drake and a handful of others, John Raitt completely redefined the Broadway leading man: strapping, robust, virile, handsome, with an operatic caliber voice and splendid acting chops to match. His creation of the role of Billy Bigelow in Rodgers and Hammerstein’s magnum opus, Carousel, turned a deeply problematic character into a sympathetic one. In this episode we hear excerpts from this role, as well as some of Raitt’s other hits (and non-hits), both on—and away from—Broadway: The Pajama Game, Oklahoma!, Annie Get Your Gun, Three Wishes for Jamie, Show Boat, and others, as well as a bit of opera! I also feature tracks from four of his solo records, recorded and released between 1955 and 1970, which include Neopolitan songs, folk songs, and pure late 60s pop as well as Broadway standards not normally associated with him. Some of his duet partners include Barbara Cook, Rosemary Clooney, Florence Henderson, Doretta Morrow, Anne Jeffreys, as well as his daughter Bonnie, herself one of the great blues singers and guitarists of the late 20th century. We also hear Bonnie’s deeply personal song “Circle Dance,” which concerns their sometimes fraught—but eventually fully reconciled—relationship. Was he really a baritone, was he a tenor masquerading as a baritone, or was he a true “baritenor”? I consider all these possibilities but leave it to my listeners to draw their own conclusions. No matter how you assess John Raitt’s voice, in the end, it sustained him through a career that lasted seven decades; it is a thrill to present him to my listeners in his full baritenorial splendor.

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. 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.


Episode 92. Blessed Memory (In Memoriam III)



The final episode (for now) in my series commemorating recent deaths in the musical community, this one presents a further group of treasurable (and often less well-known) musical artists, refracted through the lens of memory: personal memory, collective memory, eternal memory, blessed memory. Prepare to make or renew acquaintance with Adele Stolte, Silvano Carroli, Inés Rivadeneira, Eugenia Ratti, Caroline Kaart, Galina Savova, Bernard Ładysz, Cora Canne Meijer, Arthur Woodley, Jolanda Meneguzzer, Eldar Aliev, Sophie Boulin, and Edith Thallaug, among many others. Some were “voiceless wonders,” relatively speaking, others were gifted with enormous vocal gifts. All were artists and human beings who each made their mark in their own distinctive way. Guest stars include Vasile Moldoveanu, Cesare Siepi, Aimé Doniat, and Ralf Gothóni.

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. 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.


Episode 91. Unforgotten (In Memoriam II)



We continue our memorial tributes this week with the second of (at least) three episodes commemorating the recent deaths of singers and musicians who have helped make our existence a little more manageable, our world a bit more beautiful. From Milva to Rudolf Kelterborn, from Yevgeny Nesterenko to Mary Wilson, from Jane Manning to Antoine Hodge, may they all rest in peace and power. Above all, this episode is dedicated to George Floyd on the first anniversary of his murder.

The two Countermelody episodes from a year ago devoted to music of protest and emancipation:

www.countermelodypodcast.com/episode-37-no-more-slavery-chains

www.countermelodypodcast.com/episode-38-something-in-the-air

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. 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.


Episode 87. Christa Ludwig In Memoriam



The world of singing sustained an enormous loss a week ago: the death of the great German singer Christa Ludwig on April 24 at the age of 93. A singer whose repertoire centered around the great German composers but who also sang Verdi and French repertoire with often stunning results; a mezzo-soprano who was unparalleled in Wagner, Mahler, and Brahms, but who also sang the great soprano heroines of Richard Strauss; a Lieder singer of great perception and textual acuity whose supple technique nonetheless centered on legato singing: the greatness of this artist simply cannot be overestimated. In this, the first of several episodes that, over the next few months, I will devote to one of my favorite singers, I focus on the key composers (Richard Strauss, Gustav Mahler, and Richard Wagner) and conductors (Karl Böhm, Herbert von Karajan, and Leonard Bernstein) with whom she was most closely associated, while also examining some roles that might surprise you: Cenerentola, Amneris and Marie in Wozzeck. Vocal guest stars include Gloria Davy, Victoria de los Ángeles, Reri Grist, Gundula Janowitz, Gwyneth Jones, and Ludwig’s one-time husband Walter Berry. A bonus Patreon episode published concurrently with this one explores Ludwig’s mastery in the field of Lieder.

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. 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.


Episode 75. Lenora Lafayette (BHM2021 III)



Every so often I discover a singer who had previously not come under my radar, but who simply blows me away with their voice, artistry, and communicative powers. Such an artist is the Baton Rouge-born African American soprano Lenora Lafayette (1926-1975), historically important as the first Black artist to perform at Covent Garden. Relocating to Basel shortly after finishing her training under Dusolina Giannini at Juilliard, Lafayette encountered early career success in Switzerland, winning the Geneva Competition and making a highly successful debut at the Basel Opera as Aida, a role which, along with Madama Butterfly, she performed hundreds of times. And yet, despite enormous career success in Europe, she was never able to establish herself in her native country. Her recorded legacy is slim but revelatory: an Aida in German under Clemens Krauss; a 1958 BBC recording of Frederick Delius’s opera Koanga; and a single commercial recording of Puccini duets with Welsh tenor Richard Lewis under the baton of John Barbirolli, who also led her Covent Garden debut. All of these precious documents are sampled on this episode. She was struck down with cancer in her early forties and died prematurely at the age of 49. And yet listening to her recordings, one is struck by the emotional power of her utterance, the firmness of her vocal technique, and the bloom of her exquisite voice. Lenora Lafayette deserves a place among the greatest singers of her generation.

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. 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.


Episode 74. Lucretia West (Black History Month 2021 II)



The great African American contralto Lucretia West, born on 13 November 1922, is one of the great singers of German Lieder in general and of the music of Gustav Mahler in particular. Though she occasionally appeared in her native country, the majority of her life and career was spent in Germany. She was a favorite of some of the greatest conductors of the 1950s and 1960s, including Hans Knappertsbusch, Dimitri Mitropoulos, Carl Schuricht, and Hermann Scherchen. Her collaborations with them are all featured in this episode. Her recorded legacy is not large, but it is impressive, and includes releases of Schubert Lieder and two albums of spirituals which are among the most significant contributions to that genre. Though she did not sing much opera, I did uncover a 1958 recording with Ferdinand Leitner of Carl Orff’s realization of Claudio Monteverdi’s Orpheus, in which she sings the role of La Messaggera (Die Botin in Orff’s German-language version). All of her work reveals a singer of enormous expressivity and makes an interesting contrast with that of her near-contemporary, Carol Brice.

I had originally intended to post this extra episode as a bonus for my Patreon supporters, but I decided that all of my Black History Month episodes should be available to all interested listeners, whether they are Patreon subscribers or not. Please enjoy, and please pass on the word to all persons who might enjoy learning more about some of the lesser-known African American singers of past generations. And, if you are so inspired, please do consider becoming a monthly supporter on Patreon. I’m so happy that you are here to join in the celebration of this magnificent artist!

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. 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.


Episode 71. Eidé Noréna



Kaja Eidé Noréna (1884-1968, née Karoline Hansen), the Norwegian lyric-coloratura soprano, is one of the greatest singers of her generation, and nearly forgotten today. She made her concert debut at the age of 19 and in 1907 began her operatic career as Amor in Orfeo ed Euridice. In 1909 she married the actor Egil Eide, through whose coaching she became celebrated for her dramatic portrayals. Under her married name Kaja Eide she became one of the Norway’s most famous singers, though her career was essentially a provincial one until, mid-career, she restudied her technique and rebuilt her voice, which led to her La Scala debut as Gilda under the baton of Arturo Toscanini (and under her new professional name, Eide Norena). She went on to an international career, performing in the world’s most celebrated opera houses, including the Metropolitan Opera, Covent Garden, the Salzburg Festival, and, particularly, the Paris Opéra. Her repertoire was a wide one, ranging from Ophélie to Desdemona, and her vocal technique was solid to the point of near-perfection, her legato singing being particularly remarkable. What sets her apart, and what makes her one of my favorite singers, is her profoundly musical interpretations allied to her keen dramatic sense. The majority of the recordings featured on the episode are from the 1930s. Noréna retired in 1938 and spent the remainder of her life in Switzerland, where she died in 1968. Noréna is, for me, everything that a great singer should be, and it is a particular honor for me to feature her on the podcast.

A bonus episode posted today on my Patreon page (www.patreon.com/countermelody) features Noréna in the role of Juliette in Gounod’s opera, including both live and studio recordings of duets with Charles Hackett and Gaston Micheletti.

And a link to the article about Noréna that I wrote in 2007 for my long-defunct blog: www.counterleben.blogspot.com/2007/07/fairy-from-ice.html

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. 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.


Episode 63. Polyglot Wagner (Opera in Translation I)



Something a little different today: Wagner sung in a variety of languages, none of them German. Throughout much of the 20th Century, it was not at all unusual for Wagner’s operas to be performed in the vernacular. I have chosen to present this phenomenon in recordings and live performances over nearly six decades (1903-1962) and in four different languages (French, Italian, Swedish, and Russian). We examine how the language being sung influences phrasing and expression, even characterization. Operas represented include Tannhäuser, Lohengrin, Die Walküre, Siegfried, Die Meistersinger von Nürnberg, Tristan und Isolde, and Parsifal. Singers include Germaine Lubin, Maria Callas, Birgit Nilsson, Elisabeth Söderström, Mafalda Favero, Marjorie Lawrence, Ninon Vallin, Marcella Pobbe, Karin Branzell, Aureliano Pertile, Georges Thill, Leonid Sobinov, Miguel Fleta, Paul Franz, Ivan Ershov, Sergei Lemeshev, César Vezzani, Set Svanholm, Martial Singher, Bernhard Sönnerstedt, Rolando Panerai, Sigurd Björling, Boris Christoff, and Mark Reizen. Hop aboard the Wagner Express for a most unusual journey!

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. And please head to our 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, including a new extra episode further exploring today’s topic.