Tag Archives: Alfredo Kraus

Episode 44. Gl’amour, Part Deux: The Invaders



Aux armes, citoyens! We have received advance warning that an army of foreigners masking as French speakers are storming the artistic gates, so to speak, and attempting to usurp France’s national artistic identity. Strangely, many of the invaders are operatic tenors, though they are accompanied by a coterie of vivandières singing popular music, all in French, no matter what their native tongues. Last week’s celebration of French glamour is today compromised, sullied, and usurped by all manner of unwelcome albeit glamorous guests, led by the New Zealander Frances Alda and buttressed by the American Eleanor Steber, fresh from celebrating her birthday this past week. Some of these figures masquerade more convincingly as actual French persons, but make no mistake, whether they be deceptive Canadians (Léopold Simoneau, Raoul Jobin, Richard Verreau), interloping Belgians (André d’Arkor), unwelcome Italians (the shocking Franco Corelli, the mysterious Dalida, and the dreaded Mirella Freni), subsersive Spaniards (Miguel Villabella, Alfredo Kraus, Tony Poncet) bullying Brazilians (Elis Regina), sneaky Swedes (Nicolai Gedda), denizens of the dreaded United Kingdom (Stuart Burrows, Dusty Springfield, Petula Clark, Annie Lennox), Germans of nefarious intent (Marlene Dietrich, Daniel Behle), questionable Australians (Albert Lance, traveling incognito), suspicious Russians (Joseph Rogatchewsky), or worst of all, Americans intent on conquest (Barbara Hendricks, Eartha Kitt, Barbra Streisand, Muriel Smith, and even the spotlight-stealing Daniel Gundlach), these characters are all intent on destroying France’s language and music and must be thwarted at all costs, no matter how appealing their songs might appear to be. Finally, following the heroic actions of Georges Thill, France re-asserts her right to her own repertoire. But it seems that the damage has been done, for Natalie Dessay, Françoise Hardy, and even the formerly trustworthy Hugues Aufray, now seem only interested in singing American pop songs, albeit in French. All in all, an episode packed with intrigue, deception, and glorious singing!

Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.


Episode 39. Pathos à la Cotrubas



Several weeks ago I began a series on particular vocal and artistic qualities that I find most important in a singer’s artistic profile. I had already done episodes on Charm and Glamour. Then the BLM protests intervened and I felt impelled to respond with two episodes examining Protest in Music. Today I resume my previous series with that all-important artistic trait Pathos. And who better exemplifies Pathos than the great Romanian soprano Ileana Cotrubas, who celebrated her 81st birthday this past week? Cotrubas was a deeply expressive and communicative artist who gained heights and plumbed depths that (in my estimation) no other artist of her generation was able to achieve. In this episode, I examine the earliest projects that brought her to international prominence, including the Glyndebourne production of Cavalli’s La Calisto, in which she sang the title role. I devote ample time to her traversals of Mozart operas, including her surprising (and surprisingly effective) assumption of Konstanze in Die Entführung aus dem Serail. Pausing briefly to acknowledge her work in the French repertoire and the bel canto soubrette parts, I then turn to her two greatest assumptions, Mimì in La bohème and Violetta in La Traviata. In relation to these I offer excerpts from live performances with Carlos Kleiber and Bruno Bartoletti. I conclude with a discussion of how her vocal flaws revealed her humanity in a way that an artist with a more perfect voice and technique might not have achieved, while never compromising musical values. The episode begins with a brief tribute to another singer of a different stripe who also exemplified Pathos: Judy Garland, who celebrated her 99th birthday this past week, and the 51st anniversary of whose death we commemorate next 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 classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.


Episode 24. Freni in Duet (Mirella In Memoriam I)



Today, in the first of two consecutive episodes. I pay tribute to the great Mirella Freni, who died on February 7 and who would have celebrated her 85th birthday on February 27th. Celebrated for the freshness of her timbre, her musical integrity and commitment, her vocal prowess and longevity, and her expressivity, Freni sang a repertoire which covered a wide range of styles and languages. Today’s selections, from over the course of her entire career, feature her exclusively in duet, and include selections from Gianni Schicchi, I Puritani, L’Elisir d’amore, Le nozze di Figaro, La Bohème, Otello, Manon Lescaut, Don Carlo, Le due illustri rivali, Don Giovanni, and La Traviata with Alfredo Kraus, Nicolai Gedda, Gundula Janowitz, Franco Corelli, Luciano Pavarotti, Peter Dvorsky, Luis Lima, Renata Scotto, and her husband Nicolai Ghiaurov. Three selections from a rare 1977 LP of Puccini and Verdi duets with the superlative (and notorious!) Italian tenor Franco form the centerpiece of this loving tribute.

Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com


Episode 9: Janet Williams Interview Part II: Serendipity @ Merola



Episode 9: Janet Williams Interview Part II: Serendipity @ Merola. In this episode, Janet relives her early career experiences, including time that both she and Daniel spent at the Merola Opera Program of the San Francisco Opera. She describes the continuing influence and tutelage of Camilla Williams; tells about her study in Paris with the great Régine Crespin, the mentorship of Marilyn Horne, and the inspiration of Harolyn Blackwell and Kathleen Battle; and elucidates how she was hired for a two-year Festvertrag at the Berliner Staatsoper and how, 27 years later, she still calls Berlin home. The episode is peppered throughout with musical examples.

Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com


Episode 2: A Countertenor for the 21st Century: An Interview with Nicholas Tamagna (Part 1)



Episode 2: A Countertenor for the 21st Century: An interview with Nicholas Tamagna (Part 1). Nicholas sat down with me this past June to discuss many different aspects of countertenordom, including in-depth discussions of several recent productions of Handel and Monteverdi operas in which he has recently been involved and the challenges in performing a range of musical styles and dramatic contexts. We also discuss the circuitous path by which Nicholas discovered his countertenor voice, the joys of playing comic roles, villains, and flawed heroes, as well as his childhood fascination with language, and how that has served him in good stead in his performing career. This episode, which also features numerous recent live clips of Nicholas singing, concludes with the discovery of our mutual love for an iconic French film. Please join us next week for the conclusion of this interview.

Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com