Tag Archives: Felice Romani

Episode 289. Meet Vera Little

September 15, 2024African American Singers, Bel canto, Black History Month 2024, Forgotten Divas, Great Contraltos, Mezzo Madness, Needle Drop, NYCO Divas, Richard Strauss, Singers of Color, Twentieth Century Music, Twentieth Century OperaAlberto Erede, Andrès Wheatley, Anna Bolena, Anneliese Rothenberger, Barry McDaniel, Chester Kallman, Christoph von Dohnányi, Daphne, Die Bassariden, Eberhard Wächter, Euripides, Felice Romani, Florence Price, Gaetano Donizetti, Hans Werner Henze, Harry T. Burleigh, Helmut Reinold, Herbert Prikopa, Hilde Güden, Igor Stravinsky, Ingeborg Bachmann, Joseph Gregor, Karl Böhm, Kostas Paskalis, Loren Driscoll, Maria Bosse-Sporleder, Oscar Danon, Richard Strauss, Spirituals, Teresa Żylis-Gara, The Bassarids, The Rake’s Progress, Vera Little, Vera Little-Augustithis, W.H. Auden, Waldemar Kmentt, Wilhelm Hauff, William Hogarthcountermelody

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On Monday June 3, 2024, a new memorial plaque commemorating African American mezzo-soprano Vera Little (10 December 1928 – 24 October 2012) was unveiled at her former residence in Berlin’s Charlottenburg neighborhood. Little is remembered today as the first Black singer to appear as Carmen on the stage of Berlin’s Städtische Oper, soon to be renamed the Deutsche Oper Berlin. At the time of that appearance there were cries and protests about her hiring instead of an “equally capable” German singer. And yet, when Little returned to the stage of the Deutsche Oper in 1963, now singing the role of Amneris, she became one of the central singers in the ensemble of that company, being named a Kammersängerin there in 1970. This episode examines the life and career of Vera Little, from her birth in Memphis through her decades-long residence in Berlin. It is a fascinating, circuitous path, and one which is documented only sporadically on recording. On this episode, I play excerpts from Little’s only solo recording, a 1957 Decca records release of spirituals recorded in France, as well as her recordings on Deutsche Grammophon of Der junge Lord by Hans Werner Henze, and Richard Strauss’s Daphne. In addition, there are live recordings of Little singing Baba the Turk in Stravinsky’s The Rake’s Progress, Giovanna Seymour in Donizetti’s Anna Bolena, and Beroe in Henze’s Die Bassariden, which Little created in its 1966 world premiere at the Salzburg Festival. Vera Little was also an author, who published four books of memoir and poetry, and just yesterday I obtained a copy of her first book, 1978’s Tears in My Eyes, from which I read a number of excerpts. I had known Little’s name for decades, but had never fully explored her legacy before. It is here (and on an accompanying bonus episode) my honor and privilege to present a great (and somewhat forgotten) artist for your delectation. Today’s vocal guest stars include Kostas Paskalis, Hilde Güden, Anneliese Rothenberger, and Teresa Żylis-Gara.

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 284. Claudia Muzio Revisited

August 27, 2024Art Song, Bel canto, Claudia Muzio, Crossover, Full-Figured Baroque, Giacomo Puccini, Giuseppe Verdi, Music for a World in Crisis Series, Needle Drop, Twentieth Century Music, Twentieth Century Opera, VerismoAlexandre Dumas fils, Alfred Bachelet, Alfred de Musset, Alphonse Daudet, Antônio Carlos Gomes, Antonio Ghislanzoni, Arrigo Boito, Bianca e Fernando, Carlo Roti, Cavalleria Rusticana, Cecilia, Claudia Muzio, David Belasco, Domenico Gilardoni, Emidio Mucci, Émile Moreau, Enrico Golisciani, Ermanno Wolf-Ferrari, Eugène Adénis-Colombeau, Eugène de Mirecourt, Felice Romani, Francesco Cilea, Francesco Maria Piave, Francesco Merli, George Frideric Handel, Giacomo Puccini, Giacomo Rossi, Giovanni Targioni-Tozzetti, Giovanni Verga, Giuseppe Giacosa, Giuseppe Verdi, Guido Menasci, Henri Murger, Il segreto di Susanna, John Luther Long, L’Arlesiana, La Boheme, La Traviata, Léo Delibes, Leopoldo Marenco, Licinio Refice, Lorenzo Molajoli, Luigi Illica, Madama Butterfly, Madame Sans-Gêne, Otello, Paride ed Elena, Pietro Mascagni, Ranieri de’ Calzabigi, Renato Simoni, Rinaldo, Salvator Rosa, Torquato Tasso, Umberto Giordano, Victorien Sardou, Vincenzo Bellini, William Shakespearecountermelody

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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.

Episode 281. La Scottissima

August 19, 2024Bel canto, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Tenors, In Memoriam, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Renata Scotto, Singers in Old Age, Twentieth Century Opera, Verismo, Wolfgang Amadeus MozartAlfredo Kraus, Amilcare Ponchielli, Andrea Maffei, Angelo Campori, Antonio García Gutiérrez, Antonio Somma, Antonio Tonini, Arnold Schoenberg, Arrigo Boito, Charles Duveyrier, Claudio Abbado, David Belasco, Didier Gold, Don Giovanni, Emidio Mucci, Erwartung, Ettore Caimi, Eugène Scribe, Eve Queler, Felice Romani, Francesco Molinari-Pradelli, Francis Poulenc, Fulvio Vernizzi, Gaetano Donizetti, George Schick, Giacomo Puccini, Gioavacchino Forzano, Giuseppe Adami, Giuseppe Giacosa, Henri Meilhac, Henri Murger, I vespri siciliani, Il tabarro, Il Trovatore, James Levine, Jean Cocteau, Jesus Lopez-Cobos, John Alexander, John Luther Long, John Wustman, Jon Vickers, Josep Pons, Jules Massenet, Julius Rudel, L’elisir d’amore, La Boheme, La Gioconda, La voix humaine, Licinio Refice, Lodoletta, Lorenzo da Ponte, Lucia di Lammermoor, Luciano Pavarotti, Luigi Illica, Macbeth, Madama Butterfly, Manon, Marie Pappenheim, Mercedes Llopart, Nello Santi, Norma, Otello, Ouida, Philippe Gille, Pietro Mascagni, Renata Scotto, Riccardo Muti, Salvadore Cammarano, Sixten Ehrling, Spiris Argiris, Suor Angelica, Tatiana Troyanos, Un ballo in maschera, Vasile Moldoveanu, Victor Hugo, Vincenzo Bellini, Walter Scott, William Shakespeare, Wolfgang Amadeus Mozartcountermelody

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I began work on this episode on the one-year anniversary of the death of Renata Scotto, perhaps the most beloved of my many dearly-loved divas. But I have been thinking about and planning it ever since August 16, 2023. Now I am collected my thoughts on what made Scotto, in my opinion, one of the greatest artists of the past century. I break down her main repertoire into three groups (bel canto, Verdi, and verismo [including, however incorrectly, Puccini]); I describe her artistic and vocal training and her development into a powerful singing actress; I play her in duet with some of her most significant colleagues (including a few surprises); I assess her greatest roles and some of her surprising late-career assumptions; and I consider some of her most daring career risks (and the resultant flops and triumphs, sometimes in the same role!) I draw on a deep pool of mostly live recordings that reveal Scotto’s musical and dramatic intelligence as I describe my own encounters with her live in performance, both in person and on the television screen. Throughout I have tried my best to capture the individuality and the fearlessness of the singer who most deeply influenced and affected me as my musical tastes were forming: La Scottissima, my diva.

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 266. Sisters in Sapho (Listeners’ Favorites)

June 14, 2024African American Singers, Art Song, Bel canto, Crossover, Drag Performance, Full-Figured Baroque, Giuseppe Verdi, Great Tenors, Gustav Mahler, Ileana Cotrubas, Lieder, Listeners' Favorites, Margaret Price, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, NYCO Divas, Operetta, Pop Icons, Protest Songs, Queer Pride, Richard Strauss, Schubert, Singers of Color, Twentieth Century Music, Twentieth Century Opera, Wolfgang Amadeus MozartAchille de Lauzières, Achim von Arnim, Aida, Alban Berg, Aldous Huxley, Alessandro Scarlatti, Alfred Hennequin, Alfred-Charlemagne Delacour, Antonio Ghislanzoni, Aribert Reimann, Ariodante, Arleen Augér, Auguste Mariette, Bernice Johnson Reagon, BIGLovely, Brigitte Fassbaender, Camille du Locle, Carl Mathieu Lange, Cecilia Gasdia, Clemens Brentano, Cord Garben, Cosi fan tutte, Cris Williamson, Deidre McCalla, Der Rosenkavalier, Des Knaben Wunderhorn, Don Carlo, Donato Renzetti, Dusty Springfield, Erik Werba, Felice Romani, Felix Mendelssohn, Ferron, Francesco Cavalli, Frank Wedekind, Franz Schubert, Friedrich Cerha, Friedrich Schiller, George Frideric Handel, Georges Pretre, Giovanni Faustini, Giuseppe Verdi, Gundula Janowitz, Gustav Mahler, Heinrich Heine, Heinrich von Waldberg, Holly Near, Hugo von Hofmannsthal, Ileana Cotrubas, James Levine, Janet Baker, Janis Ian, Johann Gabriel Seidl, John Wustman, Joseph Méry, Konstantin Balmont, Krzysztof Penderecki, Kurt Eichhorn, Kurt Weill, La Calisto, La Clemenza di Tito, Lorenzo da Ponte, Lulu, Marek Janowski, Margaret Price, Margie Adam, Maurice Ravel, Meg Christian, Meshell Ndegenocello, Nicolai Gedda, Pietro Metastasio, Raymond Leppard, Reri Grist, Riccardo Muti, Richard Heuberger, Richard Strauss, Robert Lloyd, Ronnie Gilbert, Serge Rachmaninov, Tatiana Troyanos, Toshi Reagon, Victor Léon, Vincenzo Bellini, Walter Mehring, Willy Mattes, Wolfgang Amadeus Mozart, Wolfgang Sawallischcountermelody

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It’s been a whirlwind of a week chez Gundlach and I find myself at the end of it without a new episode ready to post. In addition to that, we are already halfway through Pride Month and I realized this morning that I had no new queer material up my sleeve. So I’ll tell you what I’m gonna do: I am going to get to work on a brand new episode which will post sometime early next week. But in the meantime, I’m going to do my own Listener’s Favorite episode, one which I posted during the very first season of Countermelody, a wondrous compilation entitled “Sisters in Sappho.” It features not only two of my favorite mezzos of all time (Tatiana Troyanos and Brigitte Fassbaender – both of whom happen to have been lesbians); but also a sampling of the key figures in the Women’s Music Movement of the 1970s, including Meg Christian, Cris Williamson, Margie Adam, Holly Near, and Deidre McCalla. In celebrating these pop icons, I also pay tribute to those who, in turn, paved the way for them, including icons Janis Ian, Dusty Springfield, and Ronnie Gilbert, as well as tipping my hat to two of the queer Black singers (Toshi Reagon, Meshell Ndegeocello), that followed in the wake of these women. We all owe an enormous debt of gratitude to these extraordinary artists, who paved the way for us, their musical and artistic descendants, at the same time setting standards that will stand the test of time. Vocal guest stars include Janet Baker, Ileana Cotrubas, Cecilia Gasdia, Nicolai Gedda, Margaret Price, Gundula Janowitz, Arleen Augér, and Reri Grist.

Episode 258. (Frank) Lopardopalooza

April 18, 2024Bel canto, Forgotten Divas, Giacomo Puccini, Giuseppe Verdi, Great Tenors, Interview, Music for a World in Crisis Series, Needle Drop, Singers in Old Age, Wolfgang Amadeus MozartAlberto Zedda, Alexandre Dumas, Andrew Davis, Antonio García Gutiérrez, Antonio Somma, Arrigo Boito, Ascher Fisch, Bruno Campanella, Carl Orff, Carmina Burana, Cesare Sterbini, Cosi fan tutte, Cristina Gallardo-Domâs, Don Giovanni, Donald Runnicles, Eugène Scribe, Felice Romani, Francesco Maria Piave, Frank Lopardo, Gaetano Donizetti, Georg Solti, Giacomo Puccini, Gioacchino Rossini, Giuseppe Giacosa, Giuseppe Verdi, Henri Murger, Il barbiere di Siviglia, Il Turco in Italia, Ion Marin, Jean-François Bayard, John Fiore, Jules-Henri Vernoy de Saint-Georges, Kathleen Kim, La Boheme, La fille du regiment, La Traviata, Lorenzo da Ponte, Lucia di Lammermoor, Luigi Illica, Marco Armiliato, Messa da Requiem (Verdi), Michel Trempont, Pierre Beaumarchais, Riccardo Muti, Robert Spano, Robert White, Salvadore Cammarano, Seiji Ozawa, Semiramide, Simon Boccanegra, Sondra Radvanovsky, Un ballo in maschera, Verónica Villarroel, Walter Scott, Wolfgang Amadeus Mozartcountermelody

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Today I present to you the American lyric tenor Frank Lopardo, who from 1984 through 2014 appeared in all the major opera houses of the world, celebrated particularly for his Mozart and Rossini roles. Too often today these superb singers even from the recent past are forgotten by today’s audiences, and my listeners know that it is always a mission of mine to celebrate great artists who, for whatever reason, are not in the forefront of the public’s awareness. In Frank’s case, I suggest it has absolutely nothing to do with his stellar voice and astounding technique. Some singers are content to do their job and live their lives and serve the music and the art form to the best of their considerable abilities without engaging in antics or self-destructive behavior. A quick glance at Frank’s accomplishments and the musicians with whom he collaborated makes it immediately clear that his career unfolded naturally and organically at the highest levels. Today’s episode explores the infinite variety of Lopardo’s artistry and his impeccable musicianship and technique, which aided him in his pursuit of always discovering new aspects of the central roles in his career. Conductors with whom he collaborated (and as heard on the episode) include Georg Solti, Claudio Abbado, Ion Marin, Riccardo Muti, Robert Spano, and the late Seiji Ozawa. While Lopardo was never tempted to move outside the natural confines of his lyric voice, he did in the final years of his career, move into some of Verdi’s larger lyric tenor parts, in operas like Un ballo in maschera and Simon Boccanegra, both of which are sampled here. We also hear Frank in duet with some of his favorite colleagues, including memorable Chilean sopranos Verónica Villarroel and Cristina Gallardo-Domâs. It was all I could do not to entitle this episode Lopardopalooza, ‘cause that’s exactly what it is!

Episode 215. Trauer und Trost

September 19, 2023African American Singers, Art Song, Bel canto, Full-Figured Baroque, Great Tenors, Happy Birthday, In Memoriam, Lieder, Mezzo Madness, Music for a World in Crisis Series, Opera in Translation, Schubert, Singers of ColorArleen Augér, Die schöne Müllerin, Dinu Lipatti, Felice Romani, Franz Schubert, George Frideric Handel, Georges Pretre, Jessye Norman, Johann Sebastian Bach, Joseph von Eichendorff, Kathleen Ferrier, La sonnambula, Lambert Orkis, Malcolm Sargent, Maria Callas, Matthias Claudius, Myra Hess, Robert Schumann, Spirituals, Vincenzo Bellini, Wilhelm Müllercountermelody

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This week’s episode offers music of both mourning and consolation performed by treasured artists, many of whom celebrate significant anniversaries this fall, and all of whom died before their time. Thus we hear singers Maria Callas, Jessye Norman, Fritz Wunderlich, Kathleen Ferrier, Judith Raskin, Arleen Augér, and Lucia Popp, and pianist Dinu Lipatti performing music of Bach, Schubert, Fauré, Bellini, and others. This episode may conform to my new streamlined format, but it packs an emotional wallop nonetheless. A bonus episode to be published later in the week will feature Tatiana Troyanos, Judy Garland, Lorraine Hunt Lieberson, Dusty Springfield, Renata Scotto and others in music designed, as in this episode, to console and comfort.

Episode 211. Janet Baker @ 90

August 25, 2023UncategorizedAchim von Arnim, Anthony Lewis, Beverly Sills, Caterino Mazzolà, Christian Friedrich Henrici, Christopher Hassall, Claudio Monteverdi, Clemens Brentano, Des Knaben Wunderhorn, Dido and Aeneas, Ernest Lush, Felice Romani, Geoffrey Chaucer, Gioacchino Rossini, Giovanni Francesco Busanello, Giuseppe Patanè, Giuseppe Verdi, Gustav Mahler, Heinrich Heine, Henry Purcell, Hippolyte et Aricie, Hugo von Hofmannsthal, I Capuleti e i Montecchi, Janet Baker, Jean Baptiste Racine, Jean-Philippe Rameau, Johann Sebastian Bach, Johannes Brahms, John Pritchard, Klaus Growth, L’incoronazione di Poppea, La Cenerentola, La Clemenza di Tito, Martin Isepp, Maurice Delage, Melos Ensemble, Nahum Tate, Neville Marriner, Norman Del Mar, Norman Foster, Ottorino Respighi, Picander, Pietro Metastasio, Raymond Leppard, Renata Scotto, Richard Strauss, Robert Ferguson, Roberto Ascoli, Simon-Joseph Pellegrin, Thomas Dunhill, Troilus and Cressida, Vasil Stefanov, Vincenzo Bellini, William Shakespeare, William Walton, Wolfgang Amadeus Mozartcountermelody

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This past week the opera world was plunged into mourning over the sudden death of Renata Scotto. Originally I had intended this week’s episode to be devoted to her memory. But I can’t even speak her name without bursting into tears. In other words, I need more time as I try to come to terms with her demise. I have decided to feature the matchless singing actor in the first episode of Season Five. In the meantime, we have another momentous occasion (and artist) to acknowledge: the 90th birthday of the English Rose: the phenomenal Janet Baker. Given that I could probably devote an entire podcast to Dame Janet, and given the wealth of material in my personal collection featuring this artist, much of it rare and unusual, I have chosen to feature this beloved artist in her third full Countermelody episode. There are few vocal artists in the history of classical music who have exhibited greater versatility than Janet Baker; this episode features many rare performances across the entirety of her long career of repertoire in which she had virtually no equal, as well as music in which she also excels but which might prove surprising. Thus we hear the expected mélodie, Lied, British song and Bach aria alongside Purcell’s Dido and pants roles by both Mozart and Richard Strauss. But we also hear such surprises as Monteverdi’s Poppea (sinuously and surprisingly sexy), Bellini’s Romeo (opposite Beverly Sills), William Walton’s Cressida (in the 1976 version of his opera Troilus and Cressida refashioned expressly for Baker), and a sublime extended orchestral song by Respighi, as well as the ultimate jaw-dropper, Rossini’s Cenerentola! We wish long life and continued health and vitality to one of the greatest mezzo-sopranos of the twentieth century!

Episode 210. The Mystery of Anita Cerquetti

August 14, 2023Bel canto, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Baritones, Great Tenors, Music for a World in Crisis Series, Needle Drop, Opera in Translation, VerismoAlfredo Catalani, Amilcare Ponchielli, Anita Cerquetti, Arrigo Boito, Arturo Basile, Carl Maria von Weber, Carlo Maria Giulini, Emidio Tieri, Ernani, Ettore Bastianini, Felice Romani, Franco Corelli, Fulvio Vernizzi, Gabriele Santini, Gaspare Spontini, Giacomo Puccini, Gianandrea Gavazzeni, Giannella Borelli, Giuseppe Giacosa, Giuseppe Verdi, I vespri siciliani, Luigi Cherubini, Luigi Illica, Miriam Pirazzini, Nabucco, Norma, Ottavio Ziino, Un ballo in maschera, Victor Hugo, Victorien Sardou, Vincenzo Bellini, Vittorio Guicountermelody

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Anita Cerquetti (13 April 1931 – 11 October 2014), the subject of today’s episode, possessed a one in a million voice, enormous, but with prodigious flexibility, and of an immediately recognizable timbre and style of text projection. She skyrocketed to world fame when she replaced Maria Callas in the title role of Bellini’s Norma in Rome in January 1958. Before that, the young soprano, still in her twenties, had been steadily building a career, primarily in Italy but also internationally, working in Italy’s biggest houses and music festivals with the greatest maestri and fellow singers of the period (including Ettore Bastianini and Franco Corelli, both of whom are heard on the episode). Immediately after those Rome performances, however, Cerquetti canceled a series of subsequent performances of Bellini’s Il Pirata, and her live performances dwindled thereafter to a mere trickle. In the fall of 1960, not yet thirty years of age, she gave what proved to be the final performance of her career, a recording for Dutch radio of Abigaille in Verdi’s Nabucco. Cerquetti is considered to be one of the great operatic mysteries of the second half of the twentieth century. She made only two commercial recordings, so the majority of her recorded legacy stems from live and radio performances. In this episode, I share some of my favorites among those recordings, and discuss the personal issues that surrounded Cerquetti’s premature disappearance from the world’s opera stages as well as why her still unmatched accomplishments still captivate listeners to this day.

Episode 198. Cesare Valletti

May 26, 2023African American Singers, Art Song, Bel canto, French Opera, Full-Figured Baroque, Giuseppe Verdi, Great Tenors, In Memoriam, Lieder, Music for a World in Crisis Series, Needle Drop, Pop Icons, Schubert, Twentieth Century Music, Voiceless Wonders, Wolfgang Amadeus MozartAlessandro Scarlatti, Alexandre Dumas, Cesare Valletti, Cosi fan tutte, David Bowie, Dichterliebe, Eduard Mörike, Edvard Grieg, Eleanor Steber, Eugène Scribe, Felice Romani, Francesco Maria Piave, Franz Schubert, Friedrich Martin von Bodenstedt, Fritz Stiedry, Gaetano Donizetti, Gianandrea Gavazzeni, Gioacchino Rossini, Giuseppe Antonicelli, Giuseppe Verdi, Hector Berlioz, Heinrich Heine, Hugo Wolf, Johann Wolfgang von Goethe, Jules Massenet, L’amico Fritz, L’italiana in Algeri, La Traviata, Leo Taubman, Les nuits d’été, Lorenzo da Ponte, Mafalda Favero, Maria Callas, Matthäus von Collin, Nicola Rescigno, Pietro Mascagni, Robert Schumann, Rosanna Carteri, Ruth and Thomas Martin, Stefano Donaudy, Théophile Gautier, Tina Turner, Tito Schipa, Vittorio Gui, Werther, Wolfgang Amadeus Mozartcountermelody

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Today’s episode celebrates the Italian tenore di grazia Cesare Valletti (18 December 1923 – 13 May 2000), perhaps the last in a lineage of Italian lyric tenors. Valletti studied under his illustrious predecessor Tito Schipa and rapidly conquered first the Italian opera houses, and then the world stages, with his small-scale but superbly produced voice and his spontaneous yet exacting musicianship. From 1953 through 1960 he was a mainstay of the Metropolitan Opera and also performed at opera houses and festivals worldwide under some of the greatest conductors and at the side of the greatest singers of his day. We hear a sampling of his greatest operatic roles, including duets with Eleanor Steber, Rosanna Carteri, and Maria Callas, as well as the repertoire in which – nearly unique for an Italian singer – he excelled: art song. The combination of his Italianate timbre with his scrupulous and imaginative musicianship makes for an ineffable and deeply satisfying artistic experience. He made five LPs of recital repertoire, including two live recitals from the stage of Town Hall in New York City, excerpts of which are all offered here. The episode begins with a tribute to the beloved Queen of Rock ‘n’ Roll: Tina Turner, who died on Tuesday at the age of 83.