Tag Archives: Eve Queler

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 5: Shirley Verrett I: La Nera Callas

Episode 5: Shirley Verrett: La Nera Callas I. Falcon or Verdi soprano?

This episode is the first of two on one of my favorite singers, the Zwischenfachsängerin Shirley Verrett. Renowned in the United States for her performances of Verdi mezzo-soprano parts, particularly Azucena in Il Trovatore and Eboli in Don Carlo, the late singer commanded an enormous repertoire, comprising bel canto and French roles, on which she left her indelible stamp. I focus in particular on the French roles she performed at the Opéra de Paris from the mid-1980s through the early 1990s, as well as her Verdi soprano roles, including Amelia in Un ballo in maschera and the title role in Aida. Known in the Italian press as La Nera Callas [The Black Callas], Verrett is heard in this episode singing Brahms, Gluck, Saint-Saëns, and Verdi roles for both soprano and mezzo-soprano. Special attention is paid to her newsworthy appearances with fellow African American mezzo-cum-soprano, Grace Bumbry, the first of which, a joint Carnegie Hall concert in 1982, honored the iconic contralto Marian Anderson on the occasion of her 80th birthday.