Tag Archives: Cavalleria Rusticana

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 221. Robert Massard



This is an episode I have been planning for years now! This past August 15, the great French baritone Robert Massard turned 98 years old. As many of my listeners know, I have a thing for baritones in general, and I have devoted episodes to artists of the baritone persuasion from world-renowned to virtually unknown to somewhere in-between. Just think of it: Gérard Souzay, Jorma Hynninen, Eugene Holmes, Andrzej Hiolski, Gabriel Bacquier, Will Parker, Gilbert Price: these and many more have already been featured with more (Hugo Hasslo, Eric Sædén) on the horizon for next season. But I would be hard-pressed to think of a baritone who possessed a more beautiful natural voice, a more refined technique, or a more elegant artistry than did Robert Massard, who in his thirty-odd years of career chalked up approximately 2,500 performances, including 1,003 at the Paris Opéra alone (the same number, he himself points out, as Don Giovanni’s conquests)! Massard also sang an incredibly varied (though primarily operatic) repertoire, and this episode presents highlights from both the standard to the more obscure repertoire, from Gluck, Gounod, Verdi, and Massenet; to Reyer, Milhaud, Lalo, and Diaz (who?). These recordings are supplemented by a number of excerpts from French operetta (Planquette, Varney, Messager, and Beydts) which provide unalloyed melodic delight, the Massard voice heard at its absolute peak. And the colleagues who appear opposite Massard are like a Who’s Who of great opera singers (French and otherwise) of the era: Régine Crespin, Mady Mesplé, Denise Duval, Shirley Verrett (subject of next week’s episode!), Andréa Guiot, Jean Giraudeau, André Turp, Marilyn Horne, Renée Doria, Jane Rhodes, Andrée Esposito, Rita Gorr, and the falcon Suzanne Sarroca, who died last month at the age of 96. And if you listen very closely, you will also catch fleeting glimpses of favorites Patricia Neway and George Shirley. I know I say this too often, but if you only listen to one episode of Countermelody, make it this one!

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 30. Giulietta Simionato (Mezzo Madness I)



Today’s episode, a celebration of the delicious and versatile Italian mezzo-soprano Giulietta Simionato (1910-2010), kicks off a miniseries in celebration of the mezzo-soprano voice. The centerpiece of the episode is a 10-inch London/Decca recording entitled Operatic Recital by Giulietta Simionato which features arias of Rossini, Bellini, and Verdi. The remainder of the episode features live and studio recordings, primarily from La Scala and Salzburg, by Simionato with distinguished partners, including Maria Callas, Franco Corelli, Jon Vickers, Ettore Bastianini, Gianadrea Gavazzeni, Antonino Votto, Carlo Maria Giulini, and Herbert von Karajan. Works include Il barbiere di Siviglia, Cavalleria rusticana, I Capuleti e i Montecchi, Don Carlo, Adriana Lecouvreur, Orfeo ed Euridice, Norma, La Cenerentola, Gli Ugonotti, L’Italiana in Algeri, and Aida, with one special Easter egg at the end. This episode, dedicated to my dear friend Gloria Parker, also features a tribute to the late German mezzo-soprano Hertha Töpper. A te la buona Pasqua!

Countermelody is a 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 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.


Episode 22. Gloria Davy (Black History Month III)



Today we examine the fascinating and somewhat frustrating career of Gloria Davy (1931-2012). Yet another African American singer who found greater opportunity abroad than in the United States, Davy has the distinction of being the first Black singer to perform the title role of Verdi’s Aida at the Metropolitan Opera, which role served as her debut in 1958. Another early career success came when she replaced Leontyne Price as Bess in an international tour of Porgy and Bess. Her earliest recordings, both live and studio, reveal a voice of uncommon beauty with an interpretive sensitivity to match. A superb musician, Davy also sang contemporary music throughout her career, including important premieres by Hans Werner Henze and Karlheinz Stockhausen. One must ask the question, however, if her voice would have been better served had she not turned to sung Bess and Aida so early in her career, but had instead had access to roles such as Anna Bolena, which she sang brilliantly at Town Hall in New York in 1957. The episode includes a rare airing of Davy’s 1956 album of Spirituals, in arrangements by the lesser-known African American composer Julia Perry and excerpts from her recordings of Shulamit Ran’s O the Chimneys, on poems by Nelly Sachs, and the 1972 revision of Stockhausen’s momentous Momente.

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