Category Archives: Verismo

Episode 100. Claudia Muzio



Countermelody celebrates its landmark 100th episode with a tribute to the artist that is my ne plus ultra, the Italian soprano Claudia Muzio (1889-1936). What better artist to salute on this occasion, as her voice is heard at the top of every episode of the podcast, and her beautiful presence graces the Countermelody logo. I discuss my theory that each individual listener has a singer whose voice penetrates to the core of their being. For me, as for many others, Claudia Muzio is that singer. I explore her recorded legacy, which falls into three distinct periods recording for three distinct record companies. In the case of “L’altra notte,” the classic aria from Arrigo Boito’s Mefistofele, Muzio left three different recordings, one from each period. I examine these, and many of her other roles, in my attempt to plumb the depths of the Muzio mystique. Incidentally, there is a special bonus episode on Muzio that has been concurrently published for my Patreon supporters. What better time to celebrate this artist, and this occasion, than by signing up to become a monthly supporter on Patreon? (www.patreon.com/countermelody)

The episode begins with a tribute to the late Italian dramatic tenor Giuseppe Giacomini, who died this past week at the age of 80.

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 82. Magda Olivero: La Verissima



This week we celebrate the recent 111th birthday of the great Italian verista Magda Olivero. An extraordinary artist whose unusual career saw her taking a ten-year hiatus just as her career was gaining steam, to return in 1950 at the express request of the composer Francesco Cilea, who felt that her portrayal of the title role of his Adriana Lecouvreur was definitive (and of course he was right!) Olivero made a Metropolitan Opera debut as Tosca at the advanced age of 65; even after her official retirement, she continued to make occasional appearances in concert, including her final one at the age of 99! She began with a modest but capable voice and developed it into a finely-tuned instrument capable of taking on the most dramatic repertoire, including Cherubini’s Medea and Minnie in La fanciulla del West, but always capable of the finest pianissimo shadings. Her voice displays an extraordinary range of color and her dramatic acumen has never been matched. This week’s episode features a number of her live appearances in Amsterdam, including an extraordinary Adriana Lecouvreur from 1965 which features her at her artistic and vocal peak. The episode also features excerpts from an extraordinary live concert at the Church of San Jacopino in Firenze on 28 March 1969 which includes nearly superhuman displays of vocal skill and dramatic insight. Magda Olivero lived to the age of 104; though she is no longer with us on earth, her artistry continues to inspire and delight lovers of opera and singing.

This episode was prepared with the kind assistance and input of Denis Robert, who maintains the Magda Olivero Archives page on YouTube. He was a personal friend of the artist and has done much to meticulously preserve her artistry and keep her legacy alive. He has provided me with high-quality masterings of many of the recordings featured on today’s episode and also regaled me with wonderful personal anecdotes and reminiscences of this great 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 72. Igor Gorin (Great Baritones II)



I recently rediscovered the great Ukranian-American baritone Igor Gorin (1904-1982) and was bowled over by the sheer beauty of his voice. In fact, I am tempted to call his the most beautiful baritone voice I have ever heard. His 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, including starring roles at Lyric Opera of Chicago and one 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 exceptional a live late career performance of Ernest Bloch’s Avodath Hakodesh, in which he returned to his cantorial roots. If you do not (or do) already know this artist, you are in for a treat.

A bonus episode on Igor Gorin for my Patreon subscribers 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.” 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 64. Jorma Hynninen in Opera (Great Baritones I)



This is the first of two episodes I have planned in honor of the great Finnish baritone Jorma Hynninen, who turns 80 in 2021. The focus today is on his work in opera. His stylistic range was unusually large: during the years in which he appeared internationally he triumphed in roles ranging from Mozart to Verdi to the title role in Eugene Onegin in opera houses around the world. What is perhaps less well-remembered is that he also was a phenomenal Pelléas and also a distinguished Wagnerian, singing Wolfram, Amfortas, and Kurwenal, among other parts. All of these are featured in today’s episode, as well as arias and scenes from operas by Strauss, Dallapiccola, and Hindemith. Jorma Hynninen made his greatest contribution to the field, however, in his legendary creations in the world of Finnish opera. The second portion of the program features excerpts of his performances in works by pioneers Leevi Madetoja and Aarre Merikanto and continues with roles he created in operas by Aulis Sallinen and Einojuhani Rautavaara. Though he retired from opera in 2012, he continues to concertize in Finland; in the fall of 2019 he embarked on a brief concert tour with a voice nearly untouched by the years. Mirella Freni, Hildegard Behrens, and Victoria de los Ángeles are also featured in the episode. Join me in an exploration of the operatic career of this extraordinary singer.

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.


Episode 59. Rosanna Carteri In Memoriam



I had been planning a 90th birthday tribute to this extraordinary artist in December, but alas, the great Rosanna Carteri departed this earth a week ago today, just a few weeks short of that landmark celebration. But let us celebrate today nonetheless, that this long-lived artist, who abandoned her performing career in 1966 when she was only 35 years old, brought her full-throated voice and impeccable artistry to operatic stages around the world for fifteen exceptional years. Carteri’s was a lyric yet full-bodied voice with facility that allowed her to undertake soubrette parts as well as some spinto roles. I feature extended examples of her versatility over the course of that entire career, including excerpts from La traviata, La bohème, La rondine, Guglielmo Tell, Falstaff, L’elisir d’amore, Madama Butterfly, Roméo et Juliette, Otello, Pietro Mascagni’s L’amico Fritz and Iris, Prokofiev’s War and Peace (the final version of which she created in Florence in 1954), the premiere recording of Poulenc’s Gloria and Gilbert Bécaud’s Opéra d’Aran (which she premiered in Paris in 1962). These operas represent just a fraction of her repertoire, in which are featured, among others, Giuseppe di Stefano, Nicolai Gedda, Leonard Warren, Carlo Bergonzi, Ettore Bastianini, Ferruccio Tagliavini, Giuseppe Taddei, Cesare Valletti, and Giuseppe Gismondo and conductors Tullio Serafin, Pierre Monteux, Vittorio Gui, Georges Prêtre, Gabriele Santini, and Artur Rodzinski. In other words, the crème de la crème of the operatic firmament in the 1950s and 1960s, in which company Carteri most emphatically belonged.

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.