Tag Archives: Boris Khaikin

Episode 263. Contralto Central



Finally, the first in my long-promised series on the contralto voice! The contralto is a rara avis in the today’s opera and classical music scene, and yet back in the day, there seem to have been more of them before the public. And of course contraltos have always been a powerful presence on the popular music scene, whether in blues, disco, jazz, or as purveyors of the Great American Songbook. There is no way that I can cover all of the great (and near-great) contraltos in recorded history, but that doesn’t mean I’m not going to try! Today’s selections span a wide chronological range , even for this podcast: nearly 120 years, and include voices both fleet and monolithic (and sometimes both). We begin with a tribute to the late Polish coloratura contralto Ewa Podleś and along with way we hear the most famous contraltos like Kathleen Ferrier and Marian Anderson, and jazz and pop contraltos like Nina Simone and Cassandra Wilson. We also sample singers from the earlier twentieth century such as Ernestine Schumann-Heink, Cloe Elmo, Clara Butt, Eugenia Mantelli, Kerstin Thorborg, and Sigrid Onégin (about whom I spill some major tea!) Throughout the episode are sprinkled some of the most beautiful voices of any kind that I have ever heard: the Scottish Caroline Kaart, the Romanian Florica Cristofereanu, the Czech Věra Soukupová, the Dutch Aafje Heynis, the French Germaine Cernay, the British Norma Procter, and the Russian Valentina Levko. And if like me you have despaired of ever hearing another true contralto again in our lifetime, we hear in young Jasmin White cause for rejoicing. And if your favorites are not heard today, fear not, for this is the tip of the iceberg: many more great singers will follow when the series continues in two weeks.

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 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