Tag Archives: Arrigo Boito

Episode 298. Verdi Duets



Last week, absorbed in preparations for my own birthday, I passed over the birthday of the great Giuseppe Verdi, born 10 October 1813. Two years ago I produced a pair of Verdi episodes, and today I feature the one first published as a bonus episode at that time, which features duets from Luisa Miller, Il Trovatore, La Traviata, Rigoletto, Otello, and Falstaff. In the spirit of my two recent episodes “Requiescat” and “In Pace,” I had the brilliant idea of highlighting great Verdi singers (and one conductor) who died in Octobers past, including: Joan Sutherland (October 10, 2010); Eleanor Steber (October 3, 1990); Montserrat Caballé (October 6, 2018); Vladislav Piavko (October 6, 2020); Rosanna Carteri (October 25, 2020); Leonard Bernstein (October 14, 1990); Walter Berry (October 27, 2000); Franco Bonisolli (October 30, 2003); Edita Gruberová (October 18, 2021); Ingvar Wixell (October 8, 2011); and Rolando Panerai (October 22, 2019). Heard alongside these musicians are the blazingly talented John Alexander, Sherrill Milnes, Leonard Warren, Irina Arkhipova, Mario del Monaco, Anselmo Colzani, Regina Resnik, Margherita Rinaldi, Giorgio Zancanaro, Luigi Alva, Judith Raskin, and Mattiwilda Dobbs. Live performances are featured alongside soundtrack recordings from three different operatic films, as well as a few rare studio recordings ensure that the great Giuseppe receives sufficient, if belated, accolades.

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 290. Ileana Cotrubaș Revisited



More than four years ago, I published my very first bonus episode on Patreon, which I offer here in a fancy new setting and with a wonderful new coda. When I first published an episode on the great Ileana Cotrubaș in honor of her 81st birthday, I promised a bonus episode which would offer further examples of this treasurable artist’s plangent and pathos-filled singing. This episode explores delves deeper into Cotrubaș’s artistic legacy, examining roles that she took on later in her career, including Elisabetta in Don Carlo, Nedda in Pagliacci, Amelia in Simon Boccanegra, and Desdemona in Otello. In addition, I play excerpts of roles that lay somewhat outside of her normal repertoire, including Tatyana in Yevgeny Onegin, Konstanze in Die Entführung aus dem Serail, and Tytania in A Midsummer Night’s Dream. This is followed by two extended live excerpts of her two greatest roles, Mimì in La Bohème and Violetta in La Traviata. The entire episode is capped with an exquisite example of Cotrubaș singing Bach, in anticipation of a new all-Bach episode at the end of the 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.


Episode 286. Julia Varady Revisited



This week, the sublime Julia Varady celebrated her 83rd birthday, and here at Countermelody that is an occasion well worth commemorating and celebrating. I’m newly home in Berlin, but with a huge pile of “welcome home” stuff that I have to attend to, so this episode consists of bonus content that I published a year ago while I was (once again) in transit between my extended visit to the US and my return home to Berlin. It was a doozy of a trip (and not in a good way!) but this is a doozy of an episode in the best way possible. That Julia Varady could sing! And this episode presents numerous extended operatic excerpts, from Otello, Lear, Feuersnot, Pique-Dame, and Forza del destino, plus songs by Bartók, Zemlinsky, and Kodály, the latter of which in particular, an arrangement of a Hungarian folk song which offers a feminist spin on the Bluebeard story, will knock you on your ear!

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 284. Claudia Muzio Revisited



Claudia Muzio was known as “the Duse of Song,” a title that might be lost somewhat in time, since it refers to the great stage actress Eleanora Duse, felt to rank among the greatest actresses of all time. She is one of a handful of singers that number among my most beloved vocal artists of all time and all genres. As such, Muzio is not only featured in the theme music to every single Countermelody episode, she was also the rightful star of Countermelody’s hundredth episode. In choosing the repertoire for that episode, I made a too-large selection of must-hear Muzio selections. These spilled over into a bonus episode which I am now releasing for all of my listeners. Among those recordings we hear: Muzio singing Handel; two recordings of Muzio singing Mimì, including her earliest recording, made in 1911; several unusual so-called verismo arias; Muzio as both classicist (Gluck) and bel cantista (Bellini); Muzio singing light classical parlor songs; and then two capstones of her recorded legacy: the “Dio ti giocondi” duet from Otello with the Italian dramatic tenor Francesco Merli; and the death scene from Licinio Refice’s Cecilia, a staged sacra rappresentazione written expressly for Muzio. These last two works were also heard in my recent Renata Scotto memorial tribute, and make for a fascinating comparison between these two great 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 281. La Scottissima



I began work on this episode on the one-year anniversary of the death of Renata Scotto, perhaps the most beloved of my many dearly-loved divas. But I have been thinking about and planning it ever since August 16, 2023. Now I am collected my thoughts on what made Scotto, in my opinion, one of the greatest artists of the past century. I break down her main repertoire into three groups (bel canto, Verdi, and verismo [including, however incorrectly, Puccini]); I describe her artistic and vocal training and her development into a powerful singing actress; I play her in duet with some of her most significant colleagues (including a few surprises); I assess her greatest roles and some of her surprising late-career assumptions; and I consider some of her most daring career risks (and the resultant flops and triumphs, sometimes in the same role!) I draw on a deep pool of mostly live recordings that reveal Scotto’s musical and dramatic intelligence as I describe my own encounters with her live in performance, both in person and on the television screen. Throughout I have tried my best to capture the individuality and the fearlessness of the singer who most deeply influenced and affected me as my musical tastes were forming: La Scottissima, my diva.

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 279. Ernst Kozub Reappraised



Have you heard of the remarkable German Heldentenor Ernst Kozub? If you haven’t, you’re in for a special treat. And if you have, you know doubt have preconceived notions about him, which I hope that you will be prepared to set aside as I present an episode that explores the many facets of an often unjustly-maligned artist. Throughout his short life (he died in December 1971 shortly before his 48th birthday), Ernst Kozub performed a wide range of roles and styles of music, but he was certainly most celebrated for his Wagner and Strauss roles, as well as for his Florestan in Fidelio. The musical selections I have chosen today surround him with some of the most impressive of the jugendlich dramatisch soprano voices of the era, including Hilde Zadek, Melitta Muszely, Elisabeth Grümmer, and Gundula Janowitz, with special emphasis placed on two American sopranos whose careers were primarily based in Europe: Arlene Saunders and Claire Watson. Kozub also performs Schlager, operetta, Jewish cantorial music, nostalgic quasi-folk music, and operas by Offenbach, and Puccini, as well as his particular favorite, Verdi, all sung in German translation.

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 277. Benjamin Luxon In Memoriam



Last week on July 25th, the music world was saddened by the death of the Cornish baritone Benjamin Luxon at the age of 87. I began collecting recordings of this exceptional artist a few years ago with the intention of producing an episode in his honor at some point. Here is that episode, albeit a posthumous effort now. In an episode I produced in the first few months of Countermelody in 2019, I featured the French baritone Gérard Souzay and called him “a modern troubadour.” There are very few singers of recent years to whom one could accurately apply that appellation, but Ben Luxon is emphatically one of them. Music and words simply flowed out of him, and he sang with equal aplomb in an extraordinary number of different styles: opera, oratorio, art song, Broadway, crossover, and, perhaps most immediately and delectably, folk. In opera alone his range was exceptional, covering key roles in Mozart, Verdi, Tchaikovsky, Wagner, Berg, and Britten, who wrote the title role of his television opera Owen Wingrave expressly for Luxon. In song as well he covered a vast array of repertoires, including Russian, German, and British (including Victorian ballads), including, again, many contemporary composers. Luxon’s career hit a snag in the late 1980s, when he first began experiencing hearing loss which eventually resulted in him putting a stop to his singing career. But he hardly retired: moving to the Berkshires, he became actively involved in the artistic life of the region, and founded a theatre troupe, the Sandisfield Players, while continuing to give poetry readings and spoken word performances. The program today attempts to recreate his profound versatility, and range from folk song to pop song; from orchestral song cycles to world premiere creations; art songs by Hugo Wolf, Mussorgsky, George Butterworth, Schubert, and John Ireland; to late career narration and poetry projects. Collaborators include artists such as Benjamin Britten, Bill Crofut, Galina Vishnevskaya, Leonard Bernstein, Robert Tear, Janet Baker, Seiji Ozawa, Ileana Cotrubaș, Jill Gomez, Klaus Tennstedt, Mstislav Rostropovich, and his most frequent recital collaborator, pianist David Willison.

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 265. Meet Hana Janků



Have you ever encountered a singer that no one has apparently heard of, yet once you have discovered them, you feel compelled to introduce them to practically everyone you know? I’ve had this experience more than a few times over the past five years of producing weekly Countermelody episodes, and today I bring you another such singer: friends, meet Hana Janků, the Czech soprano who lived from 25 October 1940 to 28 April 1995. Her voice is one of steely brilliance that she can taper down to the slightest whisper of a pianissimo. As important as her extraordinary voice was her profoundly-felt and deeply-etched characterizations of all the roles she assumed. As a young music lover, Hana’s aims were modest, but thanks to a voice teacher who recognized her gift, she moved from the chorus to a member of the ensemble at the Brno Opera before she was 20. Five years later in Bratislava, she first performed the role with which she would be most closely associated: Puccini’s Turandot. Two short years later, after an arduous audition process, she sang the role at La Scala and became a star overnight. Her large repertoire also encompassed roles such Tosca, Gioconda, and Lady Macbeth, French and Russian operas as well as Mozart and Wagner roles, with a large smattering of roles by Czech composers as well, in particular Smetana and Dvořák. Because of political unrest, she made the difficult decision to leave her native Czechoslovakia, performing instead throughout the world, including stints in the ensembles at the Deutsche Oper am Rhein in Düsseldorf and the Deutsche Oper Berlin. Ill health forced her to leave the opera stage prematurely, and she died of cancer in Vienna before she turned 55. Janků left very few commercial recordings, but I have been plumbing the internet for rare live recordings spanning her entire career, encompassing not only her legendary Italian roles, but also roles by Mozart, Gounod, and Othmar Schoeck, as well as a smattering of Czech repertoire. It is an honor to present to you the woman whom Birgit Nilsson dubbed the finest Turandot of her era and who was, as we shall hear, so much more as well! Vocal guest stars include Franco Corelli, Giorgio Merighi, Cornell MacNeil, Roland Hermann, William Holley, and Naděžda Kniplová.

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 258. (Frank) Lopardopalooza



Today I present to you the American lyric tenor Frank Lopardo, who from 1984 through 2014 appeared in all the major opera houses of the world, celebrated particularly for his Mozart and Rossini roles. Too often today these superb singers even from the recent past are forgotten by today’s audiences, and my listeners know that it is always a mission of mine to celebrate great artists who, for whatever reason, are not in the forefront of the public’s awareness. In Frank’s case, I suggest it has absolutely nothing to do with his stellar voice and astounding technique. Some singers are content to do their job and live their lives and serve the music and the art form to the best of their considerable abilities without engaging in antics or self-destructive behavior. A quick glance at Frank’s accomplishments and the musicians with whom he collaborated makes it immediately clear that his career unfolded naturally and organically at the highest levels. Today’s episode explores the infinite variety of Lopardo’s artistry and his impeccable musicianship and technique, which aided him in his pursuit of always discovering new aspects of the central roles in his career. Conductors with whom he collaborated (and as heard on the episode) include Georg Solti, Claudio Abbado, Ion Marin, Riccardo Muti, Robert Spano, and the late Seiji Ozawa. While Lopardo was never tempted to move outside the natural confines of his lyric voice, he did in the final years of his career, move into some of Verdi’s larger lyric tenor parts, in operas like Un ballo in maschera and Simon Boccanegra, both of which are sampled here. We also hear Frank in duet with some of his favorite colleagues, including memorable Chilean sopranos Verónica Villarroel and Cristina Gallardo-Domâs. It was all I could do not to entitle this episode Lopardopalooza, ‘cause that’s exactly what it is!

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 222. Shirley Verrett, Falcon Sfogatissima



It is hard to believe that it’s already been 13 years since the death of Shirley Verrett on November 5, 2010. It has also already been four years since I did a pair of episodes on this extraordinary and beloved artist, and this anniversary gives me the perfect excuse to revisit the work of this mezzo-soprano turned soprano who more than any other singer in my experiences (even soon-to-be birthday girl Maria Callas) was capable of singing nearly anything. This type of singer is sometimes referred to as a soprano sfogato (or a falcon, after the 19th century French mezzo-cum-soprano Cornélie Falcon. Since Verrett, like Falcon, sang both mezzo and soprano, I instead coin the term falcon sfogatissima to describe her vocal magic. This episode is chock full of examples of Verrett’s impassioned yet technically-grounded vocalism, from art songs by Brahms and Pasatieri to operatic roles by Handel, Gluck, Cherubini, Bellini, Puccini, and Verdi (including both soprano and mezzo roles in Aida and the Messa da Requiem and soprano roles in Ballo in Maschera, Macbeth, Don Carlo, and Otello). I close the episodes with Verrett’s astonishing but limited forays into the German operatic repertoire. Her collaborators on this episode include conductors Seiji Ozawa, Claudio Abbado, Bernard Haitink, Zubin Mehta, Eve Queler, Georges Prêtre, Sarah Caldwell, and the late Kenneth Montgomery; and fellow operatic greats Sherrill Milnes, Luciano Pavarotti, James McCracken, Robert Massard (last week’s featured artist), and her frenemy the late Grace Bumbry.

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 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 193. Alexander Kipnis



If I were to indulge in the foolish task of dubbing certain artists the “Greatest Ever,” I would have little hesitation in naming Ukrainian-American bass Alexander Kipnis (1891–1978) “the greatest” in several categories: greatest Wagner bass, greatest low-voiced Lieder singer, just maybe even the greatest bass ever captured on recording. Though I am trying to wean myself of these designations, I have no difficulty in naming Kipnis my favorite bass. In this episode, his operatic impersonations, though legendary, are touched on but peripherally: the focus instead is on his contributions in art song, specifically Lieder. Despite his heavily-accented German (which to my ear only increases the power of his interpretations in songs like Schubert’s “Aufenthalt” or Wolf’s Michelangelo-Lieder), Kipnis was as keenly attuned to text and its musical setting than any singer of art song before or since. As usual of late in my episodes, I begin with several short contrasting examples that illustrate the “why” question: why was this artist so important, and why does he remain so? There follow a few all-too-brief examples of Kipnis in opera, including examples stretching back to his earliest recordings in 1916, when he was barely 25 years old. Then follow a further examination of Kipnis’s Lieder recordings, including a rare 1943 radio broadcast of Schumann’s Dichterliebe accompanied by Wolfgang Rosé, the son-in-law of Gustav Mahler, as well as recordings issued under the aegis of the Hugo Wolf Society and the Johannes Brahms Society, and his matchless early recordings of the songs of Franz Schubert, which were my introduction not only to Kipnis’s magisterial voice, but also the songs themselves. In all of this material, whether tender, ardent, humorous, or transcendent, Kipnis’s dignity and humanity shine through.

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 192. Virginia Zeani: The Soul of the Voice



A number of significant classical and opera singers have died in this calendar year, and this episode pays tribute to three of them. First, James Bowman, the most significant British countertenor since Alfred Deller, who died on March 27th in his 82nd year. Second, Melitta Muszely, the Austrian jugendlich dramatisch soprano of Hungarian origin who died in her native Vienna at the age of 95 on January 18. And finally, a loss which reverberated around the operatic world with particularly poignancy and finality, the great Romanian soprano Virginia Zeani, who died on March 20 at the age of 97. While the focus of the episode is on Zeani, I also discuss the significance and contributions of Bowman and Muszely in detail, as well as offering examples of some of their best recordings. In the case of Zeani, I offer a thorough career and biographical overview, including excerpts from her rare studio recordings as well as live material from both the early and late years of her performing career. Also included are recordings by her teachers Lydia Lipowska and Aureliano Pertile, and her husband, the Italian-Russian bass Nicola Rossi Lemeni. And leave it to me to find a way of bringing three such disparate artists as Bowman, Muszely, and Zeani together at the conclusion of the 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. 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 170. Oralia Domínguez



Earlier this year, in an episode entitled “Women of Color Sing Mahler,” I provided many of my listeners to their first exposure to the Mexican contralto Oralia Domínguez (25 October 1925 – 25 November 2013). Domínguez is famed for her collaborations with such musical giants as Maria Callas and Herbert von Karajan, but on her own terms, she ranks alongside those monumental true contraltos like Marian Anderson and Kathleen Ferrier. Though there is no question that she was underrecorded, she left a handful of classic commercial recordings, and a plethora of recorded live performances which an artist both technically grounded and fearless in expression, one whose legato singing exuded repose just as her phenomenal coloratura singing generates genuine excitement. I cannot say enough about this artist, who has rapidly become one of my very favorites! The episode features Domínguez in a wide range of material, from Monteverdi, Handel, and Vivaldi to the meat and potatoes roles in the standard operatic repertoire (Verdi, Rossini, Donizetti, Ponchielli, Saint-Saëns, Massenet) as well as less familiar fare by Michael Tippett and Mexican composers Silvestre Revueltas and Salvador Moreno. Along the way our Earth Goddess is joined by fellow singers Joan Sutherland, Martina Arroyo, Mirella Freni, József Simándy, Monica Sinclair, and, of course, Maria Callas. A bonus episode published concurrently on Patreon presents Domínguez in extended operatic scenes and further rare song material.

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 165. Giuseppe Verdi: A Libran Birthday Tribute



The great Giuseppe Verdi was born this week in 1813. Since his birthday occurs in the same week as mine, and since I firmly believe that I was a Verdi soprano in a former life, I am paying tribute to him this week with a series of excerpts from his works performed by exceptional singers whose birthdays also occur in the month of October. It’s astounding how many great Verdi singers were born at the time of the harvest moon: Luciano Pavarotti, Tito Gobbi, Camilla Williams, Jon Vickers, Rolando Panerai, Dmitri Hvorostovsky, Sena Jurinac, and many, many more. I have assembled a setlist featuring more than 20 such singers, including more than a few surprises (the young Irmgard Seefried singing the soprano solo in the Requiem; and a few choice artists that you may have forgotten about, among them Irene Dalis, Delia Rigal, and John Alexander). This whole month will be a birthday extravaganza and this is a marvelous way to start off the celebration, if I do say so myself!

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 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 137. Ukrainian Singers and Composers



Here finally is my long-promised and long-overdue episode on great Ukrainian singers. Because I am so historically oriented, I begin the episode at the dawn of recorded sound and present singers from the early twentieth century all the way through to the present day. The first voice heard is the Ukrainian-Jewish bass Alexander Kipnis, still after all these years the noblest voice that I have ever encountered. There follow Teresa Arkel, Salomea Krushelnytska, Elena Ruszkowska, Lydia Lipovska and the extraordinary heldentenor Modest Menzinsky: all voices from the distant past, though much renowned in their day. Along with the exploration of Ukrainian singers (including Boris Gmyria, Ivan Kozlovsky, Yuri Mazurok, Mark Reizen, Misha Raitzin, Ira Malaniuk, Paul Plishka, Yuriy Mynenko, Anatoly Kocherga, and Bela Rudenko, among many others), I also provide a tip-of-the-iceberg introduction to the (for me, as I suspect for many of us) nearly unexplored world of Ukrainian composers, including Reinhold Glière, Mykola Lysenko, Yevhen Stankovych, Mykola Leontovych, Kyrylo Stetsenko, Vasyl Barvinsky, Boris Lyatoschinsky, Mykola Arkas, and Valentin Sylvestrov, their work often bolstered by the powerful poetry of that 19th century bard and figurehead of Ukrainian independence, Taras Shevchenko. Some of the greatest discoveries for me in preparing this episode were the tenor Anatoliy Solovyanenko and the baritones Mykola Kondratyuk and Dmytro Hnatiuk. I trust you will have your favorites as well. I offer this episode in tribute to, and in solidarity with, the people of Ukraine. 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. Resources for learning more about Ukrainian music: Myron Yusypovych’s website on Ukrainian composers The Ukrainian Art Song Project Natalya Pasichnyk’s documentary Ukrainian Rhapsody: A Journey into Ukrainian Classical Music Viktor Ostafeychuk’s astonishing YouTube channel, featuring many historical live performances from the Kiev Opera Ukrainian Vinyl, another invaluable YouTube channel, with rare and priceless recordings    

Episode 102. John Reardon



Here’s another great baritone to help get us through another week: the extraordinarily versatile and talented John Reardon (1930-1988). Possessed of a voice of extraordinary beauty and flexibility, as well as deeply intuitive interpretive powers and a profound musicality and dramatic sensibility, he had everything it took to make his mark in the fields of musicals, operetta, and opera (the latter in both standard, and, even more significantly, contemporary repertoire). I have several rare live recordings as well as some uncommon studio recordings to share with my listeners. Guest stars include Leontyne Price, Judith Raskin, Jo Sullivan, Lisa Della Casa, Alexander Young, Ragnar Ulfung, Evelyn Lear, and Bliss Hebert, in a rare outing as a pianist accompanying Reardon in a 1967 recording of American art songs. I also pay homage to his television appearances, both on NBC Opera and, especially, between 1968 and 1986, as the character “Reardon” in Mister Rogers’ Neighborhood, which served to introduce countless multitudes of children to the glories of opera.

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 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 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 3. Creating Magic, Interview with Nicholas Tamagna, Part 2



In the second part of our interview Nicholas discusses his early experiences with music, names three of his favorite singers, and riffs further on the themes of language and communication. Musical excerpts include a performance by Leather and Lace, the rock group that featured Nicholas’s mother and aunts, and Nicholas’s youthful stage performances as Oliver and Fagin in the musical Oliver! Nicholas is also featured in recordings of Henry Purcell and Philip Glass and we also include performances by Maria Vitale, Lorraine Hunt Lieberson, Jussi Björling, and Nina Simone.

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 1. Welcome to Countermelody, or Claudia and Zazà



Our first episode answers the question on everyone’s lips: “Where did the logo and the theme music come from?” We discuss the legendary Italian diva Claudia Muzio whose series of iconic recordings, particularly those recorded shortly before her premature death in 1936, are so extraordinary that they have kept her reputation intact to this day. We consider in particular her November 1920 recording of an aria from Ruggero Leoncavallo’s little-remembered verismo opera Zazà, in which her extraordinary artistry is on full display.

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