Tag Archives: Friedrich Schiller

Episode 208. Happy Birthday, Gundula Janowitz!

August 1, 2023Art Song, Full-Figured Baroque, Giuseppe Verdi, Great Tenors, Happy Birthday, Lieder, Music for a World in Crisis Series, Needle Drop, Orchestral Songs, Richard Strauss, Richard Wagner, Schubert, Twentieth Century Opera, Wolfgang Amadeus MozartArabella, Carl Maria von Weber, Charles Spencer, Cosi fan tutte, Del Rubio Triplets, Der Freischütz, Der Ring des Polykrates, Erich Wolfgang Korngold, Fidelio, Franco Corelli, Franz Schubert, Friedrich Schiller, Fritz Rieger, Giuseppe Verdi, Gundula Janowitz, Heinrich Hollreiser, Horst Stein, Hugo von Hofmannsthal, Johann Sebastian Bach, Karl Böhm, Karl Lappe, Lee Hazlewood, Lorenzo da Ponte, Lucia Popp, Ludwig van Beethoven, Mathieu Lange, Paul Reubens, Pee Wee Herman, Pee Wee’s Playhouse, Richard Strauss, Richard Wagner, Tannhäuser, Vier letzte Lieder, Wilhelm Loibner, Wolfgang Amadeus Mozart, Wolfgang Sawallisch, Zubin Mehtacountermelody

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From a very young age I was interested in today’s birthday celebrant, the great Gundula Janowitz, at least partially because of a similarity between her first name and my last name! But even more than that, I was drawn to the ethereal purity of her voice, possessed of an immediately identifiable timbre unlike that of any other singer. From the 1960s through the 1980s, Janowitz was the reigning queen of the jugendlich dramatisch soprano repertoire, excelling in the roles of Mozart, Strauss and Wagner (the so-called wagneriennes blanches heroines), as well as being a Bach singer of the highest order and an exceptional Lieder singer. What is there not to love? Janowitz was also a frequent visitor to the recording studio, and to this day her recordings form a cornerstone of the Deutsche Grammophon catalog. On today’s episode, however, I stick firmly to her live and radio recordings, some of them quite rare, of the repertoire for which she was so justly celebrated. We sample live recordings of her Arabella, Fiordiligi, Agathe, and Elisabeth in Tannhäuser, as well as a more surprising Elisabetta, the conflicted queen in Verdi’s Don Carlo. Also highlighted is her exceptional and career-defining performance of the role of Leonore in Beethoven’s Fidelio, in a rare live 1977 from the Orange Festival. Guest vocalists include Lucia Popp and Franco Corelli. This is a mouthful, so I’ll say it for all of us: Herzlichen Glückwunsch zum Geburtstag an eine der gefeiertsten und verehrtesten Sopranistinnen des 20. Jahrhunderts!

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 193. Alexander Kipnis

April 21, 2023Art Song, Giuseppe Verdi, Great Baritones, Music for a World in Crisis Series, Needle Drop, Richard Strauss, Richard Wagner, SchubertAlexander Kipnis, Alexander Pushkin, Antonio García Gutiérrez, Arrigo Boito, Arthur Bergh, Arturo Toscanini, Boris Godunov, Celius Dougherty, Clemens Schmalstich, Coenraad V. Bos, Der Rosenkavalier, Der Zauberflöte, Detlev von Liliencron, Dichterliebe, Emanuel Schikaneder, Erich Ortmann, Ernst Victor Wolff, Folk Song, Francesco Maria Piave, Frank Bibb, Franz Schubert, Friedrich Schiller, Georg Friedrich Daumer, Gerald Moore, Giuseppe Verdi, Gleb Yellin, Heinrich Heine, Hermann Lingg, Hugo von Hofmannsthal, Hugo Wolf, Italienisches Liederbuch, J. Michel Diack, Johannes Brahms, Joseph von Eichendorff, Ludwig Rellstab, Michelangelo, Modest Mussorgsky, Nicolai Berezovsky, Paul Heyse, Richard Strauss, Richard Wagner, Robert Schumann, Schwanengesang, Simon Boccanegra, Tristan und Isolde, Walter Heinrich Robert-Tornow, Wolfgang Amadeus Mozart, Wolfgang Rosécountermelody

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If I were to indulge in the foolish task of dubbing certain artists the “Greatest Ever,” I would have little hesitation in naming Ukrainian-American bass Alexander Kipnis (1891–1978) “the greatest” in several categories: greatest Wagner bass, greatest low-voiced Lieder singer, just maybe even the greatest bass ever captured on recording. Though I am trying to wean myself of these designations, I have no difficulty in naming Kipnis my favorite bass. In this episode, his operatic impersonations, though legendary, are touched on but peripherally: the focus instead is on his contributions in art song, specifically Lieder. Despite his heavily-accented German (which to my ear only increases the power of his interpretations in songs like Schubert’s “Aufenthalt” or Wolf’s Michelangelo-Lieder), Kipnis was as keenly attuned to text and its musical setting than any singer of art song before or since. As usual of late in my episodes, I begin with several short contrasting examples that illustrate the “why” question: why was this artist so important, and why does he remain so? There follow a few all-too-brief examples of Kipnis in opera, including examples stretching back to his earliest recordings in 1916, when he was barely 25 years old. Then follow a further examination of Kipnis’s Lieder recordings, including a rare 1943 radio broadcast of Schumann’s Dichterliebe accompanied by Wolfgang Rosé, the son-in-law of Gustav Mahler, as well as recordings issued under the aegis of the Hugo Wolf Society and the Johannes Brahms Society, and his matchless early recordings of the songs of Franz Schubert, which were my introduction not only to Kipnis’s magisterial voice, but also the songs themselves. In all of this material, whether tender, ardent, humorous, or transcendent, Kipnis’s dignity and humanity shine through.

Episode 192. Virginia Zeani: The Soul of the Voice

April 14, 2023Behind the Iron Curtain, Bel canto, Full-Figured Baroque, Giacomo Puccini, Giuseppe Verdi, Great Baritones, In Memoriam, Music for a World in Crisis Series, Needle Drop, Twentieth Century Music, Twentieth Century Opera, VerismoAida, Alberto Zedda, Alexander Pushkin, Alexandre Dumas, Alfredo Simonetto, Antonio Ghislanzoni, Arrigo Boito, Aureliano Pertile, Benjamin Britten, Boris Godunov, Carlo Sabajno, Cornel Trailescu, David Belasco, Death in Venice, Don Carlo, Edward Downes, Francesco Cavalli, Francesco Maria Piave, Franz Bauer Theussl, Friedrich Schiller, Gaetano Donizetti, George Frideric Handel, Giacomo Puccini, Gianandrea Gavazzeni, Gioacchino Rossini, Giulio Cesare, Giuseppe Giacosa, Giuseppe Verdi, Gloria Foglizzo, Henry Purcell, Ildebrando Pizzetti, Ion Buzea, James Bowman, Jean Bobescu, Johann Sebastian Bach, Johann Wolfgang Goethe, La Calisto, La Traviata, Leopold Stokowski, Lohengrin, Luigi Illica, Lute Songs, Lydia Lipowska, Madama Butterfly, Matthäus-Passion, Mefistofele, Melitta Muszely, Mihai Bradiceanu, Modest Mussorgsky, Myfanwy Piper, Nicola Rossi-Lemeni, Nicolae Herlea, Nikolai Rimsky-Korsakov, Nikolaus Harnoncourt, Otello, Philip Ledger, Raymond Leppard, Richard Wagner, Robert Stolz, Robert Tear, Salvadore Cammarano, Snegurochka, T.S. Eliot, The Fairy Queen, Thomas Mann, Tosca, Vincenzo Bellezza, Virginia Zeani, Walter Scott, Walther von der Vogelweide, William Shakespearecountermelody

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A number of significant classical and opera singers have died in this calendar year, and this episode pays tribute to three of them. First, James Bowman, the most significant British countertenor since Alfred Deller, who died on March 27th in his 82nd year. Second, Melitta Muszely, the Austrian jugendlich dramatisch soprano of Hungarian origin who died in her native Vienna at the age of 95 on January 18. And finally, a loss which reverberated around the operatic world with particularly poignancy and finality, the great Romanian soprano Virginia Zeani, who died on March 20 at the age of 97. While the focus of the episode is on Zeani, I also discuss the significance and contributions of Bowman and Muszely in detail, as well as offering examples of some of their best recordings. In the case of Zeani, I offer a thorough career and biographical overview, including excerpts from her rare studio recordings as well as live material from both the early and late years of her performing career. Also included are recordings by her teachers Lydia Lipowska and Aureliano Pertile, and her husband, the Italian-Russian bass Nicola Rossi Lemeni. And leave it to me to find a way of bringing three such disparate artists as Bowman, Muszely, and Zeani together at the conclusion of the episode!

Episode 180. Anna Moffo Reappraised

January 20, 2023Art Song, Bel canto, Broadway, Crossover, French Opera, Giacomo Puccini, Giuseppe Verdi, Lieder, Music for a World in Crisis Series, Needle Drop, Operetta, Richard Strauss, Twentieth Century MusicAdolf von Schack, Afro Poli, Alexandre Dumas, Alfred Grünwald, Anna Moffo, Anton Coppola, Anton Guadagno, Antonio Amurri, Arleen Augér, Berislav Klobučar, Billy Smith, Carlo Bergonzi, Carlo Felice Cillario, Charles Gounod, Don Giovanni, Emmerich Kálmán, Erich Leinsdorf, Falstaff, Fernando Previtali, Francesco Maria Piave, Francesco Molinari-Pradelli, Franco Ferrara, Franz Lehár, Friedrich Schiller, Fritz Löhner-Beda, Gaetano Donizetti, George Gershwin, Georges Bizet, Georges Pretre, Gerald Moore, Giacomo Puccini, Gian Francesco Malipiero, Gianni Ferrio, Gino Gorini, Giovanna d’Arco, Giuditta (Lehár), Giulio Fioravanti, Giuseppe Adami, Giuseppe di Stefano, Giuseppe Giacosa, Gräfin Mariza, Hans Carste, Hans Rosbaud, Heinrich Hart, Henri Meilhac, Henri René, I Puritani, Ira Gershwin, Jacopone da Todi, James King, Jane Berbié, John Orrick, Jules Barbier, Jules Massenet, Julius Brammer, Kurt Eichhorn, La rondine, La sonnambula, La Traviata, Lehman Engel, Leopold Stokowski, Lorenzo da Ponte, Lorin Maazel, Lucia di Lammermoor, Ludovic Halévy, Luigi Illica, Madama Butterfly, Manon, Mario Lanfranchi, Mario Rossi, Michel Carré, Miti Truccato Pace, Oliviero de Fabritiis, Oscar Straus, Paul Knepler, Peter Maag, Philippe Gille Abbé Prévost, Piero Piccioni, Piero Umiliani, Prosper Mérimée, Renato Simoni, René Leibowitz, Richard Fredericks, Richard Hundley, Richard Strauss, Roméo et Juliette, Rudolf Friml, Rudolf Schock, Salvadore Cammarano, Sergio Franchi, Sergio Lorenzi, Skitch Henderson, Temistocle Solera, The Chocolate Soldier, Tosca, Tullio Serafin, Turandot, Victor Herbert, Victorien Sardou, Vincenzo Bellini, Walter Scott, Werner Schmidt-Boelcke, William Shakespeare, Wolfgang Amadeus Mozartcountermelody

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The Italian-American lyric coloratura soprano Anna Moffo (1932-2006) is, for many, one of the great singers of the past century. My first exposure to this artist was one of two, frankly, disastrous recordings released in the mid-1970s, in which the voice was a mere shadow of its former self, and in which her vocal defects and mannerisms had overtaken the intrinsic beauty of her voice. But there are so many exceptional qualities to Moffo as an artist, musician, and media star, that I felt compelled to do a frank reappraisal of her contribution to the lyric art. And am I glad that I did! I discovered an artist of great integrity who, in her best work, attained a similar level to any of the other great singers performing during that period. Unlike any other opera singer that I can think of, she conquered three distinct markets with equal success: first in Italy (where she rose to overnight stardom in the late 1950s and went on in the 1960s to become the star of her own eponymous television series); then in the United States throughout the 1960s; and finally, in the late 1960s and 70s, in Germany. But hers is also a cautionary tale of “too much, too soon” and the potentially destructive power of the media which has significance also in today’s opera world. Throughout the episode, live and studio examples of Moffo’s work, both bad and (mostly) good over the course of more than twenty years, are offered to support my discussion of her importance and influence as an artist, one that continues to this day. Vocal guest stars include tenors Carlo Bergonzi, Rudolf Schock, Giuseppe di Stefano, and Sergio Franchi, and musical collaborators include Tullio Serafin, Gerald Moore, Lorin Maazel, Hans Rosbaud, Fernando Previtali, Lehman Engel, Oliviero de Fabritiis, René Leibowitz, Kurt Eichhorn, Berislav Klobučar, and Franco Ferrara. For those who love Moffo, for those who hate her, and for those who find themselves somewhere in between, this episode is (dare I say it?) required listening.

Episode 178. Andrzej Hiolski

January 6, 2023Art Song, Behind the Iron Curtain, Bel canto, Full-Figured Baroque, Giuseppe Verdi, Great Baritones, Gustav Mahler, Happy Birthday, Holiday Music, In Memoriam, Lieder, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Orchestral Songs, Queer Pride, Richard Wagner, Schubert, Singers in Old Age, Twentieth Century Music, VerismoAdam Mickiewicz, Adamo Didur, Aldous Huxley, Alexander Pushkin, Alina Bolechowska, Andrea Chénier, Andrzej Boruta, Andrzej Hiolski, Arnold Rezler, Augustyn Bloch, Bohdan Wodiczko, Consuelo Velazquez, Die Teufel von Loudun, Don Carlo, Don Giovanni, Eugenia Wnukowska, Franz Schubert, Frédéric Chopin, Friedrich Schiller, Gioacchino Rossini, Giuseppe Verdi, Gustav Mahler, Halka (Moniuszko), Heinrich Heine, Helena Christenko. Karol Szymanowski, Helmut Melchert, Henryk Czyz, Henryk Debich, Il barbiere di Siviglia, Jacek Urbaniak, Jan Chęciński, Jan Krenz, Jerzy Gert, Jerzy Kotyczka, Jerzy Maksymiuk, Jerzy Marchwiński, Johann Sebastian Bach, Johann Wolfgang von Goethe, John Whiting, Kazimierz Przerwa-Tetmajer, King Roger (Szymanowski), Konrad Bryzek, Krzysztof Penderecki, Lorenzo da Ponte, Luigi Illica, Marek Janowski, Mieczysław Karłowicz, Mieczysław Mierzejewski, Pagliacci, Paolo Tosti, Pyotr Il’yich Tchaikovsky, Richard Wagner, Ruggero Leoncavallo, St. Luke Passion (Penderecki), Stanisław Moniuszko, Straszny dwór (Moniuszko), Tadeusz Baird, Tadeusz Szeligowski, Tannhäuser, Tatiana Troyanos, The Devils of Loudun, Umberto Giordano, Un ballo in maschera, William Shakespeare, William Wordsworth, Włodzimierz Lwowicz, Włodzimierz Wolski, Wolfgang Amadeus Mozart, Yevgeny Onegin, Zygmunt Krasińskicountermelody

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This week I have been tantalizing my followers with the promise of a tall, dark, handsome singer who was born on January 1. I shall keep you in suspense no longer: he is the great Polish baritone Andrzej Hiolski, born in Lvov in New Year’s Day 1922 and died in Krakow on 26 February 2000. I have known of Hiolski for years because of his association with the works of the late Krzysztof Penderecki, but I began digging deeper into his legacy a few years ago and was absolutely stunned at what I found: a singer with a near-perfect technique with a powerful voice with a slightly burred timbre characterized by both beauty, range, and subtlety of expression. I have been collecting his recordings for a few years now and have featured him at every possible opportunity on the podcast, including twice already in the current season. But this episode is devoted entirely to him and it may well serve, strange as it may seem for an artist who is so revered and treasured in his native country, as an introduction for many of my listeners to one of the great baritone voices of the twentieth century. The episode features recordings and performances, many of them exceedingly rare, ranging over more than 50 years, and includes music by Verdi, Wagner, Schubert, Mahler, Bach, Leoncavallo, Mozart, Tosti, Rossini, Tchaikovsky, and Giordano, but also a generous helping of music by Hiolski’s compatriots, including Karol Szymanowski, Frédéric Chopin, Augustyn Bloch, Mieczysław Karłowicz, Stanisław Moniuszko, Tadeusz Baird, Tadeusz Szeligowski, as well as, of course, Penderecki. Guest vocalists include the supercharged Greek-American mezzo Tatiana Troyanos and the delectable Polish soprano Alina Bolechowska, as well as the venerable Polish bass Adamo Didur, an early mentor of Hiolski’s. who now joins company with Jorma Hynninen and Gérard Souzay in the triumvirate of my favorite baritones of all time!

Episode 165. Giuseppe Verdi: A Libran Birthday Tribute

October 7, 2022African American Singers, Art Song, Behind the Iron Curtain, Bel canto, Canadian Singers, Giuseppe Verdi, Great Baritones, Happy Birthday, Mezzo Madness, Needle Drop, NYCO Divas, Singers of ColorAchille de Lauzières, Aida, Alan Titus, Alberto Erede, Alexandre Dumas, Alfredo Simonetto, Alzira, Andrea Maffei, Antonino Tonini, Antonio Ghislanzoni, Antonio Sommo, Arrigo Boito, Attila, Bruno Reibold, Bryan Balkwill, Camilla Williams, Camille du Locle, Carlo Felice Cillario, Christoph von Dohnányi, Claramae Turner, Colin Davis, Delia Rigal, Dmitri Hvorostovsky, Don Carlo, Edda Moser, Elizabeth Connell, Eugène Scribe, Falstaff, Francesco Maria Piave, Francisco Araiza, Francisco Casanova, František Jílek, Friedrich Schiller, Galina Vishnevskaya, Georg Singer, Giovanna d’Arco, Giulietta Simionato, Giuseppe Verdi, Guido Cantelli, Hana Janků, Igor Gorin, Ion Buzea, Irene Dalis, Irmgard Seefried, Jean Bobescu, John Alexander, Jon Vickers, Josef Dünnwald, Joseph Méry, Juan Emilio Martini, Julius Rudel, Karl Böhm, La forza del destino, La Traviata, Lamberto Gardelli, Laszlo Halasz, Luciano Pavarotti, Nabucco, New York City Opera, Nino Verchi, Otello, Requiem (Verdi), Rigoletto, Rolando Panerai, Sena Jurinac, Speranza Scappucci, Temistocle Solera, Tito Gobbi, Un ballo in maschera, Vasile Moldoveanu, Victor Hugo, Virginia Zeani, Voltaire, William Shakespearecountermelody

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The great Giuseppe Verdi was born this week in 1813. Since his birthday occurs in the same week as mine, and since I firmly believe that I was a Verdi soprano in a former life, I am paying tribute to him this week with a series of excerpts from his works performed by exceptional singers whose birthdays also occur in the month of October. It’s astounding how many great Verdi singers were born at the time of the harvest moon: Luciano Pavarotti, Tito Gobbi, Camilla Williams, Jon Vickers, Rolando Panerai, Dmitri Hvorostovsky, Sena Jurinac, and many, many more. I have assembled a setlist featuring more than 20 such singers, including more than a few surprises (the young Irmgard Seefried singing the soprano solo in the Requiem; and a few choice artists that you may have forgotten about, among them Irene Dalis, Delia Rigal, and John Alexander). This whole month will be a birthday extravaganza and this is a marvelous way to start off the celebration, if I do say so myself!

Episode 160. Donald Gramm

September 2, 2022Art Song, Bel canto, Broadway, Comic Relief, Crossover, French Opera, Full-Figured Baroque, Giacomo Puccini, Giuseppe Verdi, Great Baritones, In Memoriam, Lieder, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Queer Pride, Twentieth Century MusicAchim von Arnim, Arnold Schoenberg, Carmen, Clemens Brentano, Des Knaben Wunderhorn, Donald Gramm, Donald Hassard, Douglas Moore, Edwin Arlington Robinson, Eugene Istomin, Friedrich Schiller, Fritz Reiner, George Frideric Handel, George Shirley, Georges Bizet, Giacomo Puccini, Gioacchino Rossini, Giuseppe Antonio Borgese, Giuseppe Verdi, Igor Stravinvsky, Il barbiere di Siviglia, John Duke, Julius Rudel, Loren Driscoll, Ludwig van Beethoven, Ned Rorem, Oscar Hammerstein II, Paul Bowles, Paul Verlaine, Richard Cumming, Richard Rodgers, Robert Craft, Roger Sessions, Sarah Caldwell, South Pacific, Tennessee Williams, Thomas Sherman, Tosca, Walt Whitman, William Murphy, William Shakespeare, Wolfgang Amadeus Mozartcountermelody

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Dear ones, I present to you today the extraordinarily versatile bass-baritone and my fellow native Milwaukeean Donald Gramm (1927-1983), one of the central house singers at both the Metropolitan Opera and New York City Opera from the 1960s through his premature death at the age of 56. Gifted with an intrinsically beautiful voice, an impeccable technique and an expansive range, he also was a crackerjack musician whose repertoire easily encompassed musical styles from florid Baroque music through the thorniest contemporary idioms. He is probably best celebrated these days for his commitment to American art, and this episode features him singing songs by Ned Rorem, John Duke, Richard Cummings, Douglas Moore, and Paul Bowles, with a particular emphasis on texts by Walt Whitman. What is perhaps less well-remembered today is how versatile an opera singer he was, singing roles from Osmin to Scarpia, with a strong emphasis on both bel canto and buffo roles by Rossini and Donizetti. The episode also explores his collaborations with Igor Stravinsky, Glenn Gould, and, perhaps most significantly, Sarah Caldwell, another important musical figure from that era who is strongly deserving of reappraisal.

Episode 155. Barely Sang at the Met I

July 28, 2022African American Singers, Behind the Iron Curtain, Giacomo Puccini, Giuseppe Verdi, Great Baritones, Happy Birthday, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Richard Strauss, Richard Wagner, Singers of Color, Twentieth Century MusicAida, Alexander Melik-Pashaev, Argeo Quadri, Arlene Saunders, Carl Maria von Weber, Charles Mackerras, Chester Kallman, Der Freischütz, Der Rosenkavalier, Dimitri Mitropoulos, Don Carlo, Eleanor Steber, Elisabeth Grümmer, Felicia Weathers, Ferdinand Leitner, Friedrich Schiller, Galina Vishnevskaya, Giacomo Puccini, Giangiacomo Guelfi, Giuseppe Verdi, Gundula Janowitz, Hugo van Hoffmansthal, Idomeneo, Igor Stravinsky, Irmgard Seefried, John Barbirolli, John Pritchard, Joseph Keilberth, Julia Varady, La Fanciulla del West, La Traviata, Leopold Ludwig, Martha Mödl, Metropolitan Opera, Nancy Evans, Nello Santi, Oskar Czerwenka, Pavel Lisitsian, Piero Cappuccilli, Richard Strauss, Richard Wagner, The Rake’s Progress, Thomas Schippers, Tristan und Isolde, Virginia Zeani, W.H. Auden, William McAlpine, Wolfgang Sawallisch, Wolfgang Schneiderhan, Wolfgang Windgassen, Wolgang Amadeus Mozartcountermelody

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Today’s brain teaser: What do world-class singers Irmgard Seefried, Virginia Zeani, Piero Cappuccilli, birthday girl Gundula Janowitz, Galina Vishnevskaya, Giangiacomo Guelfi, Felicia Weathers, Elisabeth Grümmer, Wolfgang Windgassen, Pavel Lisitsian, and Arlene Saunders, have in common? If you need a hint, it’s in the title of today’s episode: each of them sang at least one and not more than ten performances at that venerable institution, the Metropolitan Opera. These and a number of other artists will be featured on this week’s episode, to be followed by more world-class artists who, for one reason or another (though certainly not talent, skill, or ability) “barely sang at the Met.” We hear music of Mozart, Strauss, Verdi, Stravinsky, Wagner, Puccini, and Weber, led by conductors who either were fixtures at the Met (Thomas Schippers, Nello Santi, Dimitri Mitropoulos), appeared occasionally at the Met (Leopold Ludwig, Charles Mackerras), or never appeared there (Wolfgang Sawallisch, Ferdinand Leitner, Joseph Keilberth) or appeared there only once (John Barbirolli, who led a single gala concert there in 1940).

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 cotent including interviews and livestreams is planned for the upcoming season.

Episode 111. Verdi auf Deutsch I

October 17, 2021African American Singers, Behind the Iron Curtain, Giuseppe Verdi, Great Baritones, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Singers of ColorAida, Annelies Kupper, Anneliese Rothenberger, Anton de Ridder, Betty Allen, Bruno Bartoletti, Bruno Seidler-Winkler, Carl Besi, Clemens Krauss, Don Carlo, Elisabeth Grümmer, Erich Orthmann, Ferdinand Leitner, Friedel Beckmann, Frieder Weissmann, Friedrich Schiller, Fritz Wunderlich, Georg Hann, Georgina von Milinkovic, Giuseppe Patanè, Giuseppe Verdi, Gloria Davy, Gottlob Frick, Grace Bumbry, Hans Schmidt-Isserstedt, Helge Rosvaenge, Hilde Güden, Hildegard Hillebrecht, Horst Stein, Il Trovatore, Inge Borkh, James King, János Kulka, Jess Thomas, Josef Gostic, Josef Greindl, Karl Elmendorff, La forza del destino, La Traviata, Lawrence Winters, Leonora Lafayette, Luisa Miller, Margarete Teschemacher, Maria Cebotari, Maria Stader, Meta Seinemeyer, Nicolai Gedda, Otello, Otto Gerdes, Pilar Lorengar, Raymond Wolansky, Richard Kraus, Richard Tauber, Robert Burg, Rudolf Schock, Sabine Kalter, Sándor Kónya, Teresa Stratas, Un ballo in maschera, Willi Domgraf-Fassbaender, Wolfgang Sawallisch, Wolfgang Windgassencountermelody

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Today’s is a mammoth episode on a mammoth topic: historical performances of Verdi’s operas in German translation. I trace the historical and ongoing popularity of Verdi’s works in Germany, and include discussions of the works of Friedrich Schiller as Verdian subject matter; the co-opting of Verdi’s genius by the Third Reich; and the numerous African American Verdi singers, including Gloria Davy, Lawrence Winters, Lenora Lafayette, Betty Allen, and Grace Bumbry, who based their careers (or significant portions thereof) in German-speaking European countries. I include duets and trios from eight different Verdi operas; recordings featured were made between the years 1923 and 1973 and feature such native German-speaking singers as Richard Tauber, Margarete Teschemacher, Maria Cebotari, Josef Greindl, Meta Seinemeyer, Inge Borkh, Fritz Wunderlich, Annelies Kupper, Elisabeth Grümmer, Wolfgang Windgassen, Gottlob Frick, and Hilde Güden, among many others. Non-German singers such as Teresa Stratas, Sándor Kónya, Pilar Lorengar, Jess Thomas, Raymond Wolansky, and James King are also highlighted. This episode is an exploration of the greatest operatic composer of all time, but in unexpected garb.

Episode 106. A Baritonal Schubertiade

September 12, 2021African American Singers, Art Song, Great Baritones, In Memoriam, Lieder, Music for a World in Crisis Series, Needle Drop, Voiceless WondersAksel Schiotz, Alexander Kipnis, Aloys Wilhelm Schreiber, Barry McDaniel, Bernard Kruysen, Dalton Baldwin, Ernest Lush, Frank Bibb, Franz Schubert, Franz von Schober, Friedrich Rückert, Friedrich Schiller, Gerald Moore, Gerard Souzay, Gerard van Blerk, Gérard Wyss, Hans Hotter, Heinrich Schlusnus, Hermann Prey, Irwin Gage, Johann Gabriel Seidl, Johann Georg Jacobi, Johann Mayrhofer, Jorma Hynninen, Josef Greindl, Karl Schmitt-Walter, Lawrence Winters, Leo Schützendorf, Max Saal, Michael Raucheisen, Oliver Pohl, Paul Ulanowsky, Pavel Lisitsian, Rolf Gothóni, Roman Trekel, Sebastian Peschko, Tom Krause, Walter Martin, Wilhelm Müller, Wolfgang Holzmaircountermelody

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On the 20th anniversary of the September 11 attacks, I am at a loss for meaningful words. Thus I have turned, as I have often done in my own life, and as I did once before at the beginning of the pandemic, to the music of Franz Schubert. I offer to you, my dear listeners, words and music of such profound sorrow, such crushing pain, and such undying hope as only Schubert can provide. As I have throughout this summer, I once again draw on that unquenchable source of great baritones to lend their eloquent voices to my efforts: here I present recordings and performances over 90 years, bookended by recordings by Alexander Kipnis in 1927 and by Roman Trekel in 2017 of the glorious Lieder of Franz Schubert. Other singers include Gérard Souzay, Hans Hotter, Tom Krause, Lawrence Winters, Hermann Prey, Barry McDaniel, Heinrich Schlusnus, Pavel Lisitsian, and Karl Schmitt-Walter, among others, each of whom offers a glimpse of Schubert’s unique genius, as well as comfort and solace during this time of solemn remembrance and commemoration.

P.S. Don’t forget about my first all-Schubert episode, which I posted at the beginning of the pandemic. www.countermelodypodcast.com/index.php/2020/04/05/episode-29-a-social-isolation-schubertiade. I listened to it this morning and it really holds up!

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. 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 including artist photos and episode setlists. And please head to my 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.