Tag Archives: Frauenliebe und -leben

Episode 262. Sylvia Sass Revisited

May 17, 2024Art Song, Behind the Iron Curtain, Bel canto, Broadway, Crossover, Forgotten Divas, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Tenors, Lieder, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Operetta, Orchestral Songs, Richard Strauss, Sylvia Sass, Twentieth Century Music, Twentieth Century Opera, Verismo, Wolfgang Amadeus MozartAdalbert von Chamisso, Alain Lombard, Aldo Ceccato, Alexandre Dumas fils, Alfred Grünwald, Alfred Maria Willner, András Kórodi, András Schiff, András Sebestyén, Andrea Maffei, Andrea Martin, Andrew Lloyd Webber, Béla Bartók, Béni Egressy, Charles Gounod, Cosi fan tutte, Cristina Brancato, Emmerich Kálmán, Endre Ady, Ervin Lukács, Ferenc Erkel, Ferenc Szőnyi, Fernando Previtali, Francesco Maria Piave, Frauenliebe und -leben, Gaetano Donizetti, Giacomo Puccini, Gianluigi Gelmetti, Giorgio Moroder, Giovanni Foiani, Giuseppe Adami, Giuseppe Verdi, Gräfin Mariza, Heinz Reichert, Hunyadi László, I Lombardi alla Prima Crociata, Irene Cara, Iván Bradányi, János Kovács, Jesus Christ Superstar, José Carreras, Joseph von Eichendorff, Jules Barbier, Julius Brammer, Keith Forsey, La rondine, La Traviata, Lamberto Gardelli, Lili Áldor, Lorenzo da Ponte, Lucia di Lammermoor, Ludwig van Beethoven, Macbeth, Maria Grazia Piolatto, Michel Carré, Michel Plasson, Neil Shicoff, Nicola Ghiuselev, Patrizia Dordi, Péter Wolf, Richard Strauss, Richard Woitach, Robert Schumann, Roméo et Juliette, Rosanna Didonè, Ryszard Karczykowski, Salvadore Cammarano, Sylvia Sass, Temistocle Solera, Tim Rice, Tommaso Grossi, Tosca, Vier letzte Lieder, Walter Scott, William Shakespeare, Wolfgang Amadeus Mozart, Zsolt Durkócountermelody

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Several summers ago I published my first episode celebrating the artistry of Sylvia Sass which primarily featured her 1984 album of pop songs sung in Hungarian. At the time I called it, without any irony, the finest crossover album of the 1980s and one of the best of all time. Sass is an artist who continues to engage discourse. Many of the opinions, theories, and input encountered therein are predicated on dissecting the reasons for her short international career. My objective with today’s episode, however, is simply to celebrate Sass’s singing in all its glory, extending from the standard Italian operatic repertoire with which she is most associated through the thorniest contemporary idioms to the subtlest art song to the most refined Mozart singing, with, once again, a nod to the pop material which initially drew me to her. I always say that I believe in giving flowers to our favorite artists when they are still around to receive them, and today’s bouquet is a stunning display full of color and variety humbly presented to one of my favorite divas.

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 235. Anna Tonna Introduces Teresa Berganza (Listeners’ Favorites VI)

January 17, 2024Art Song, Bel canto, French Opera, In Memoriam, Lieder, Listeners' Favorites, Mezzo Madness, Mirella Freni, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Operetta, Twentieth Century Music, Wolfgang Amadeus MozartAlexander Gibson, Alfonso X El Sabio, Ataúlfo Argenta, Benito Lauret, Carlo Maria Giulini, Carmen (Bizet), Cosi fan tutte, El Puñao de Rosas, Elisabeth Soderstrom, Ettore Gracis, Federico Moreno Torroba, Felix Lavilla, Franco Bonisolli, Frauenliebe und -leben, Frederic Mompou, Gabriel Bacquier, Georg Solti, Georges Bizet, Gioacchino Rossini, Giovanni Battista Pergolesi, Hans Rosbaud, István Kertész, Joaquín Turina, José Serrano, La Cenerentola, La Chulapona, La Clemenza di Tito, Las Hijas del Zebedeo, Le nozze di Figaro, Lola Rodríguez Aragón, Lorenzo da Ponte, Los Claveles, Luis Antonio García Navarro, Manuel de Falla, Maria Callas, Medea (Cherubini), Mirella Freni, Nicola Rescigno, Pilar Lorengar, Rafael Frühbeck de Burgos, Ricardo Requejo, Robert Schumann, Ruperto Chapí, Siete canciones populares españolas, Stabat Mater (Pergolesi), Teresa Berganza, Wolfgang Amadeus Mozart, Zarzuelacountermelody

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Today’s Listeners’ Favorites episode of Countermelody is introduced by my good friend (and Countermelody fan) the marvelous mezzo-soprano Anna Tonna. In her introduction Anna tells about her first exposure to the podcast and introduces us to one of her favorite episodes: the one I published in May 2022 a week after the beloved singer died at the age of 89. The episode pays tribute to her artistry through the exploration of her operatic roles, from Neris in Medea opposite Maria Callas, through her matchless Mozart and Rossini portrayals, through her fascinating and highly individualized portrait of the title heroine of Bizet’s Carmen. Special emphasis is given to her performance of Spanish music, from the zarzuelas of Ruperto Chapí and Federico Moreno Torroba, to art songs of Manuel de Falla and Fredric Mompou. Vocal guest stars include Mirella Freni, Pilar Lorengar, Lola Rodríguez Aragón, Franco Bonisolli, and the incendiary Callas herself, an early mentor and supporter of Berganza. I began the preparation for this episode with an incomplete appreciation of Berganza’s voice and artistry, but, knowing that she was one of Anna’s most treasured singers and role models, my goal was to see her through Anna’s eyes, and in the end, I was completely won over. This episode perfectly illustrates the podcast as a journey of mutual discovery for both me and my listeners.

Episode 145. Teresa Berganza In Memoriam

May 20, 2022Art Song, Bel canto, Full-Figured Baroque, In Memoriam, Lieder, Mezzo Madness, Mirella Freni, Music for a World in Crisis Series, Needle Drop, Operetta, Twentieth Century MusicAlexander Gibson, Alfonso X El Sabio, Ataúlfo Argenta, Benito Lauret, Carlo Maria Giulini, Carmen (Bizet), Cosi fan tutte, El Puñao de Rosas, Elisabeth Soderstrom, Ettore Gracis, Federico Moreno Torroba, Felix Lavilla, Franco Bonisolli, Frauenliebe und -leben, Frederic Mompou, Gabriel Bacquier, Georg Solti, Georges Bizet, Gioacchino Rossini, Giovanni Battista Pergolesi, Hans Rosbaud, István Kertész, Joaquín Turina, José Serrano, La Cenerentola, La Chulapona, La Clemenza di Tito, Las Hijas del Zebedeo, Le nozze di Figaro, Lola Rodríguez Aragón, Lorenzo da Ponte, Los Claveles, Luis Antonio García Navarro, Manuel de Falla, Maria Callas, Medea (Cherubini), Mirella Freni, Nicola Rescigno, Pilar Lorengar, Rafael Frühbeck de Burgos, Ricardo Requejo, Robert Schumann, Ruperto Chapí, Siete canciones populares españolas, Stabat Mater (Pergolesi), Teresa Berganza, Wolfgang Amadeus Mozart, Zarzuelacountermelody

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A week ago today the beloved and revered Spanish mezzo-soprano Teresa Berganza, died at the age of 89. This episode pays tribute to her artistry through the exploration of her operatic roles, from Neris in Medea opposite Maria Callas, through her matchless Mozart and Rossini portrayals, through her fascinating and highly individualized portrait of the title heroine of Bizet’s Carmen. Special emphasis is given to her performance of Spanish music, from the zarzuelas of Ruperto Chapí and Federico Moreno Torroba, to art songs of Manuel de Falla and Fredric Mompou. Vocal guest stars include Mirella Freni, Pilar Lorengar, Lola Rodríguez Aragón, Franco Bonisolli, and the incendiary Callas herself, an early mentor and supporter of Berganza. I began the preparation for this episode with an incomplete appreciation of Berganza’s voice and artistry, but she won me over and I am now, even if belatedly, a huge fan.

Episode 123. Lois Marshall (Great Canadian Singers)

January 7, 2022Art Song, Behind the Iron Curtain, Full-Figured Baroque, Giacomo Puccini, Gustav Mahler, Lieder, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Richard Strauss, Richard Wagner, Schubert, Singers of Color, Twentieth Century Music, VerismoAchim von Arnim, Acis and Galatea, Adalbert von Chamisso, Ah Perfido!, Anne Frank, Anthony Bernard, Anton Kuerti, Benjamin Britten, Brian Priestman, Chansons de Bilitis, Claude Debussy, Clemens Brentano, Des Knaben Wunderhorn, Eduard Grikurov, Eduardo Pedrazolli, Ernest MacMillan, Folk Songs, Franz Schubert, Frauenliebe und -leben, George Frideric Handel, George van Renesse, Giacomo Puccini, Glenn Gould, Grace Bumbry, Gustav Mahler, Healey Willan, Heinrich Heine, Henry Purcell, Johann Sebastian Bach, Johannes Brahms, John Dryden, John Weldon, Joseph Haydn, Judy Loman, La Clemenza di Tito, Lois Marshall, Ludwig van Beethoven, Manuel de Falla, Maureen Forrester, Orford String Quartet, Oskar Morawetz, Ottorino Respighi, Percy Bysshe Shelley, Pierre Louÿs, Pietro Metastasio, Richard Strauss, Richard Wagner, Robert Bloom, Robert Burns, Robert Schumann, Tannhäuser, The Creation (Haydn), The Fairy Queen, Thomas Moore, Turandot, Weldon Kilburn, Welford Russell, Wilhelm Müller, Winterreise, Wolfgang Amadeus Mozart, Wolfgang Sawallisch, Yehudi Wynercountermelody

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Today is my first episode of the New Year, and the first in my three-part series this month on Great Canadian Singers. It is my contention that my first subject, Lois Marshall (1925-1997), is one of the greatest artists of the twentieth century. If you haven’t heard of her (which is entirely possible, given the vagaries of posthumous fame and reputation), you are in for an enormous treat. Possessed of a rare musical scrupulousness, an interpretive honestly, directness, and integrity, as well as a finely-honed dramatic sensibility, Lois Marshall, in a better world, would have graced the world’s operatic stages. Alas, she was stricken with polio as a child, and though she managed to gain the ability to walk, staged opera was a genre which she only rarely attempted. Yet she worked with the world’s greatest conductors, among them Toscanini, Stokowski, and Beecham, and was a recitalist celebrated the world over. This episode offers an extended yet partial glimpse of the range and variety of her artistry, and includes recordings of arias by both Purcell and Puccini (the title role of Turandot!), Bach and Beethoven, as well as a dazzling array of recital repertoire from Debussy to folk song arrangements. Fellow Canadians Maureen Forrester and Glenn Gould are also featured. In my opinion, this artist is ripe for rediscovery, and I hope that you will join me on this extraordinary journey into the life and career of Lois Marshall.