Tag Archives: Gabriele Santini

Episode 261. Thom Baker Introduces Rosanna Carteri (Listeners’ Favorites)

May 8, 2024Bel canto, Forgotten Divas, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Baritones, Great Tenors, In Memoriam, Listeners' Favorites, Music for a World in Crisis Series, Needle Drop, Operetta, Orchestral Songs, Twentieth Century Music, Twentieth Century Opera, Verismo, Wolfgang Amadeus MozartArtur Rodzinski, Carlo Bergonzi, Cesare Valletti, Charles Gounod, Ettore Bastianini, Falstaff, Ferruccio Tagliavini, Francis Poulenc, Gabriele Santini, Gaetano Donizetti, Georges Pretre, Giacomo Puccini, Gilbert Bécaud, Gioacchino Rossini, Giuseppe di Stefano, Giuseppe Gismondo, Giuseppe Taddei, Giuseppe Verdi, L’elisir d’amore, La Boheme, La rondine, La Traviata, Le nozze di Figaro, Leonard Warren, Madama Butterfly, Mario Rossi, Nicolai Gedda, Otello, Pierre Monteux, Pietro Mascagni, Rosanna Carteri, Serge Prokofiev, Thom Baker, Tullio Serafin, Vincenzo Bellezza, Vittorio Gui, William Shakespearecountermelody

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Today’s episode is one of my Listeners’ Favorites episodes, this one introduced by my wonderful friend Thom Baker. He had just written me about his enthusiasm for the Rosanna Carteri episode I posted in the fall of 2020 on the occasion of her death, just a few short weeks before her 90th birthday. Thom and I were both equally taken with this long-lived artist, who abandoned her performing career in 1966 when she was only 35 years old, brought her full-throated voice and impeccable artistry to operatic stages around the world for fifteen exceptional years. Carteri’s was a lyric yet full-bodied voice with facility that allowed her to undertake soubrette parts as well as some spinto roles. I feature extended examples of her versatility over the course of that entire career, including excerpts from La traviata, La bohème, La rondine, Guglielmo Tell, Falstaff, L’elisir d’amore, Madama Butterfly, Roméo et Juliette, Otello, Pietro Mascagni’s L’amico Fritz and Iris, Prokofiev’s War and Peace (the final version of which she created in Florence in 1954), the premiere recording of Poulenc’s Gloria and Gilbert Bécaud’s Opéra d’Aran (which she premiered in Paris in 1962). These operas represent just a fraction of her repertoire, in which are featured, among others, Giuseppe di Stefano, Nicolai Gedda, Leonard Warren, Carlo Bergonzi, Ettore Bastianini, Ferruccio Tagliavini, Giuseppe Taddei, Cesare Valletti, and Giuseppe Gismondo and conductors Tullio Serafin, Pierre Monteux, Vittorio Gui, Georges Prêtre, Gabriele Santini, and Artur Rodzinski. In other words, the crème de la crème of the operatic firmament in the 1950s and 1960s, in which company Carteri most emphatically belonged.

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 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 59. Rosanna Carteri In Memoriam

November 1, 2020Bel canto, Giuseppe Verdi, In Memoriam, Needle Drop, Operetta, VerismoArtur Rodzinski, Carlo Bergonzi, Cesare Valletti, Charles Gounod, Ettore Bastianini, Ferruccio Tagliavini, Francis Poulenc, Gabriele Santini, Gaetano Donizetti, Georges Pretre, Giacomo Puccini, Gilbert Bécaud, Gioacchino Rossini, Giuseppe di Stefano, Giuseppe Gismondo, Giuseppe Taddei, Giuseppe Verdi, Leonard Warren, Mario Rossi, Nicolai Gedda, Pierre Monteux, Pietro Mascagni, Rosanna Carteri, Serge Prokofiev, Tullio Serafin, Vincenzo Bellezza, Vittorio Guicountermelody

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I had been planning a 90th birthday tribute to this extraordinary artist in December, but alas, the great Rosanna Carteri departed this earth a week ago today, just a few weeks short of that landmark celebration. But let us celebrate today nonetheless, that this long-lived artist, who abandoned her performing career in 1966 when she was only 35 years old, brought her full-throated voice and impeccable artistry to operatic stages around the world for fifteen exceptional years. Carteri’s was a lyric yet full-bodied voice with facility that allowed her to undertake soubrette parts as well as some spinto roles. I feature extended examples of her versatility over the course of that entire career, including excerpts from La traviata, La bohème, La rondine, Guglielmo Tell, Falstaff, L’elisir d’amore, Madama Butterfly, Roméo et Juliette, Otello, Pietro Mascagni’s L’amico Fritz and Iris, Prokofiev’s War and Peace (the final version of which she created in Florence in 1954), the premiere recording of Poulenc’s Gloria and Gilbert Bécaud’s Opéra d’Aran (which she premiered in Paris in 1962). These operas represent just a fraction of her repertoire, in which are featured, among others, Giuseppe di Stefano, Nicolai Gedda, Leonard Warren, Carlo Bergonzi, Ettore Bastianini, Ferruccio Tagliavini, Giuseppe Taddei, Cesare Valletti, and Giuseppe Gismondo and conductors Tullio Serafin, Pierre Monteux, Vittorio Gui, Georges Prêtre, Gabriele Santini, and Artur Rodzinski. In other words, the crème de la crème of the operatic firmament in the 1950s and 1960s, in which company Carteri most emphatically belonged.

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, including a new extra episode further exploring today’s topic.