Tag Archives: Carol Brice

Episode 55. Season Two Teaser



This week represents the limbo between the first and second seasons of Countermelody. I have been collating ideas for programs for the coming year and I have some short snippets representing singers and topics that we’ll be encountering there. We begin the episode with Francisco Araiza, who celebrates his 70th birthday on October 4th. And we conclude the episode celebrating the live of Helen Reddy, whose song “I Am Woman” formed the soundtrack to the burgeoning Women’s Movement in the 1970s. In between I present short clips of some of my favorite singers who will be featured in upcoming episodes, including Anita Cerquetti, Alexander Kipnis, Russell Oberlin, Ruby Elzy, Eidé Noréna, Sándor Kónya, Heather Harper, Paul Robeson, Cyndi Lauper, Milada Šubrtová, Carol Brice, John Reardon, Yi-Kwe Sze, Judith Blegen, Charles Cambon, Dory Previn, Donald Gramm, Pierre Bernac, Irmgard Seefried, Lotte Lenya, Dusty Springfield, and many others. This episode is also a thank you to all listen and support the podcast in whatever ways they are able. I can’t wait to bring you the first episode of Season Two 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 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!


Episode 52. Operaish Broadway (Crossover Classics VIII)



Today’s episode (in celebration of Countermelody’s first birthday!) picks up where the last one left off: more musicals, more opera (and operaish) singers! Excerpts from cast recordings, radio broadcasts, telecasts, and live performances highlight the work of singers who divided their time, to a greater or lesser extent, between the Broadway stage and the operatic stage. We begin with the great bass-baritones (Ezio Pinza, Cesare Siepi, Giorgio Tozzi, and José Van Dam) and move through the great Broadway (and sometime opera) baritones (Alfred Drake, John Raitt, Bruce Yarnell, Robert Trehy, Leslie Scott, Lawrence Winters, and John Reardon) with a nod to other opera singers who have also graced the Broadway stage (Helen Traubel, Shirley Verrett, Mona Paulee, Dorothy Sarnoff, Risë Stevens, Lee Venora, Camilla Williams, and Carol Brice). We then consider singers whose vocal abilities could easily have put them on the opera stage, had they chosen to so devote themselves (Alice Ghostley, Madeline Kahn, Barbara Cook, Florence Henderson, Judy Kaye, Lisa Vroman, Audra McDonald, Victoria Clark, Rebecca Luker, and the late Marin Mazzie). The episode also features tributes to two recently deceased divas (Gabriella Tucci and Christiane Eda-Pierre) as well as a spotlight on the gorgeous soprano Margaret Tynes, who just celebrated her 101st birthday.

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!

 


Episode 51. Legitimate Broadway (Crossover Classics VII)



Today’s topic is operetta and opera on Broadway. From the early days of the Great White Way, a large amount of the musical theatre repertoire was actually operetta. I begin with a discussion of the composers of such operettas (Victor Herbert, Rudolf Friml, and Sigmund Romberg, with a significant nod to Jerome Kern as well) and the singers who appeared in those works. Then I present an array of works adapted from the classical repertoire (primarily Wright and Forrest’s Song of Norway and Kismet), followed by examples of that curious hybrid, Broadway opera, including Gian Carlo Menotti’s The Medium and The Consul; Marc Blitzstein’s Regina; Frank Loesser’s The Most Happy Fella; Kurt Weill and Langston Hughes’s Street Scene; and Leonard Bernstein’s Candide. A wide range of singers is included, some celebrated (Lotte Lenya, Patricia Neway, Barbara Cook, Marta Eggerth, Lawrence Tibbett), some less so (Helena Scott, Lee Venora, Fritzi Scheff, Robert Rounseville), the careers of some of whom stretch back to the beginning of the century, but all singers which straddled the fence between musicals, operetta, and opera. But rest assured: this is no dry history lesson: it’s a fast-paced romp through a fun and fascinating topic!

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!


Episode 27. That Time of Evening (Music for a World in Crisis II)



Today’s episode, spontaneously crafted over the course of a few hours, features live performances of three longer works that, each in its own way, has something very specific to offer us as we face the uncertainty of our immediate future. First, a 1946 performance of Brahms’s Alto Rhapsody featuring the African American contralto Carol Brice with Serge Koussevitzky leading the Boston Symphony Orchestra. There follows a live performance from 1954 of French soprano Françoise Ogéas performing the title role of Debussy’s Rossetti-based cantata La damoiselle élue with mezzo-soprano Ginette Guillamat as the Récitante. Debussy specialist Désiré-Émile Inghelbrecht leads the forces of the ORTF. The third major work in today’s episode is Samuel Barber’s Knoxville: Summer of 1915, in a live Carnegie Hall performance from October 10, 1958 by Eleanor Steber, who commissioned and premiered the work, accompanied by pianist Edwin Bitcliffe. Guest vocal appearances by Jewel Brown singing “I Left My Heart in San Francisco” and Marian Anderson performing “He’s Got the Whole World in His Hands” round out the episode.

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 (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your support at whatever level you can afford.