Tag Archives: Cesar Franck

Episode 253. Randall Scarlata Introduces Gérard Souzay (Listeners’ Favorites)



The French baritone Gérard Souzay was born Gérard Tisserand on 8 December 1918 and died in Antibes on 17 August 2004. This episode was one of my first episodes, originally posted in honor of his then 101st birthday. It has been chosen by my friend Randall Scarlata as his Listeners’ Favorite episode in the last of this month’s Great Baritones series, and this is particularly appropriate and moving, because from the age of 19 until Souzay’s death, Randall had a close association with Souzay as both teacher and mentor. He tells some wonderful stories about their work together, shares some of Souzay’s bon mots and also presents with great compassion some of the personal challenges that Souzay faced. He also discusses some of Souzay’s other artistic pursuits, one in particular of which may surprise you! The episode itself explores Souzay’s recorded legacy, with particular emphasis on his earliest recordings. Repertoire ranges from Jaime Ovalle to César Franck, and Robert Schumann and Franz Schubert to Maurice Ravel, Henry Purcell, and Claude Debussy (including an excerpt from his 1955 radio performance of Golaud in Pelléas et Mélisande), many of them accompanied by Souzay’s musical and personal partner Dalton Baldwin. We also hear performances by his teachers and mentors Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Lotte Lehmann, as well as his sister, Geneviève Touraine. And Randall’s jewel of an introduction is a testimonial and tribute you’ll want to turn to again and again. I am proud to present again for your listening pleasure a singer who means as much to me as any other who has ever lived.

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 227. A Golden Age Christmas



In the midst of our recent move, I came across a stash of old “mixtapes” (actually CDs and much other archival material. One such item which particularly moved me was one entitled “A Golden Age Christmas 2003” which I handed out to my colleagues and friends twenty years ago. Looking over the tracklist, I realized that this was a sort of early iteration of Countermelody: me sharing music that I particularly loved with people that I cared about. Today’s podcast uses as its basis that same CD (slightly trimmed in length) and features performances by a glorious group of singers ranging from Olive Fremstad, Charles Gilibert, and Margarete Matzenauer from the early years of the twentieth century to such later favorites as Elly Ameling, Beverly Sills, and Leontyne Price. I can’t guarantee that this episode will put you in the holiday spirit, but I sure hope it does!

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 191. Music for Holy Week



Welcome to all listeners both old and new to the podcast! This week I am focusing on music related to the Christian observation of Holy Week: oratorios, motets, cantatas, songs and song cycles, even operas from Renaissance to contemporary, performed by a wide range of singers. Alongside podcast favorites Jennie Tourel, Roberta Alexander, Eugene Holmes, Hugues Cuénod, Mitsuko Shirai, Muriel Smith, and others, I also feature performances by recently departed vocal giants Virginia Zeani and James Bowman (both of whom will be foregrounded in next week’s episode), as well as the sublime British mezzo-soprano Diana Montague, who celebrates her birthday this week. We also hear her husband, the magnificent tenor David Rendall, as well as their extraordinarily gifted son, baritone Huw Montague Rendall, whom I was privileged to meet in Berlin this past week. We also hear a variety of settings of the 13th century Stabat Mater text from Giovanni Felice Sances in the 17th century to the more thorny twentieth-century idiom of the Swiss Frank Martin and the African American Julia Perry. Contemplative art songs by Schubert, Wolf, Hindemith, Finzi, and Andriessen round out 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 177. Great Singers at Twilight



For the last episode of 2022, I begin a series of episodes which was one of the reasons I began Countermelody in the fall of 2019: a celebration of great singing from great singers in the late years of their lives and careers. In the early years of the recording industry, a long-retired artist such as Adelina Patti would consent to leave recorded documents of their voices for future generations to experience. Oftentimes a cherished artist will make a guest cameo appearance at an important event (think of Leontyne Price coming out of retirement at age 74 and singing “God Bless America” at the September 30, 2001 memorial concert at Carnegie Hall). Other times, artists like Johnny Mathis, Regina Resnik, or Helen Donath, simply never retire, but continue to bestow their artistry upon us decade after decade. Sometimes, as is the case of Lotte Lenya, a performer finds herself later in her life on a mission which demands that she resume performing, in Lenya’s case, as a means of securing the musical legacy of her late husband Kurt Weill. There is also, in the case of someone like Alberta Hunter or Elisabeth Welch, the thrill of a jazz or pop artist at the end of her life experiencing a career resurgence at the end of a long life. In the classical world, artists late in their lives can still give extraordinary performances of art song, which makes fewer demands on their voices than taxing operatic roles, while allowing full display of their deepened artistry and experience. There are also operatic roles specifically designed for the more mature artist: roles like Schigolch in Lulu, or the Countess in Pique-Dame, among many others, which are sampled here in performances by Hans Hotter and Rita Gorr, respectively. There are also those rare and exceptional artists who are able to perform movingly even into their nineties, like the Ukrainian bass Mark Reizen, or the verismo soprano Magda Olivero; or after having suffered catastrophic physical setbacks, like the German tenor Karl Erb, the African American baritone Robert McFerrin, or the pop icon Joni Mitchell. These artists (along with many others) and this topic seems deeply appropriate as 2022 draws to a close and we look forward to the inevitable challenges, the blank slate, the looming horizon, of the year to come.

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 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


Episode 14. Christmas Potpourri II: Hard/Try



Another week of Christmas music! The first part of the episode is a continuation of last week’s All-Tenor Extravaganza. We hear from Farrold Stephens, Luther Saxon, Roland Hayes, James Melton, Brian Sullivan, Richard Crooks, Raoul Jobin, Jussi Björling, Richard Verreau, Fritz Wunderlich (with an assist from Hermann Prey), Rudolf Schock, René Kollo, John McCormack, Peter Schreier, and Mel Tormé (with an assist from Judy herself!) And for those who have ambivalent feelings about this holiday, the second half of the program foregrounds six of my most favoritest Depressing Christmas Pop Songs, sung by Eileen Farrell, Rita Gardner, Joni Mitchell, Edith Piaf, Judy Garland and (in memory of the recently deceased Marie Fredriksson), Roxette. A line from Judy’s song “After the Holidays” (by John Meyer) provides the inspiration to the episode title: “I know it’s hard, but try.”

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 13. Christmas with the Tenors



This week is the first of two episodes featuring Christmas music. I decided to feature tenors, but with a difference: none of The Three Tenors will put in an appearance. In compensation, this week I feature a panoply of superb tenors (including Fritz Wunderlich, Georges Thill, Richard Lewis, Roland Hayes, Tino Rossi, Franco Corelli, Ernst Haefliger, Richard Tauber, Karl Erb, and Matthew Swensen) in repertoire ranging across the spectrum (Handel, Adam, Gounod, Bach, Berlin, and traditional Weihnachtsmusik, with some surprises along the way). The episode concludes with a brief musical tribute to Dalton Baldwin, Gérard Souzay’s partner and collaborator, who died on 12 December, a week to the day before his 88th birthday.

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 12. Gérard Souzay @ 101: A modern-day troubadour



The French baritone Gérard Souzay was born Gérard Tisserand on 8 December 1918 and died in Antibes on 17 August 2004. This episode celebrates his 101st birthday by exploring his recorded legacy, with particular emphasis on his earliest recordings. Repertoire by Jaime Ovalle, César Franck, Robert Schumann, Franz Schubert, Maurice Ravel, Henry Purcell, and Claude Debussy (including an excerpt from his 1955 radio performance of Golaud in Pelléas et Mélisande). We also hear performances by his teachers and mentors Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Lotte Lehmann, as well as his sister, Geneviève Touraine. I make my best effort to argue the case of Souzay’s artistic importance, his continuing significance, and the unique qualities of his artistry.

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