Tag Archives: George Forrest

Episode 207. Henry Wright and Pals

July 28, 2023African American Singers, Broadway, Great Baritones, Happy Birthday, In Memoriam, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Operetta, Pop Icons, Singers in Old Age, Singers of Color, Twentieth Century MusicAcey Prince, Alexander Borodin, Alfredo Bracchi, Anthony Newley, Arthur Rebner, Augusto Martelli, Bataille-Henri, Bill Evans, Biri, Bruno Martelli, Buddy Johnson, Cole Porter, Das Land des Lächelns, Dorsey Burnett, Duke Ellington, Eddie Cooley, Ennio Neri, Erich Korngold, Erich Werner, Francesco Specchia, Franco Calabrese, Franz Lehár, Frasquita, George Forrest, Gianfranco Intra, Gianni Ravera, Giovanni D’Anzi, Giulio Libano, Henry Defreyn, Henry Glover, Henry Wright, Irving Mills, Jimmy Kennedy, Joe Osborn, John Davenport, Johnny Mercer, José María Lacalle García, Joseph Kosma, Juan Tizol, Kismet, Lady Gaga, Leslie Bricusse, Little Willie John, Louis Lemarchand, Mario Buzà, Mario Cenci, Miguel Fleta, Mina, Nathaniel Shilkret, Nolan Lewis, Peggy Lee, Percy Faith, Peter Alexander, Peter Knight, Petula Clark, Ray French, Richard Tauber, Richy Nelson, Robert Stolz, Robert Wright, Romano Mussolini, Sinéad O’Connor, Titus Tee Turner, Tony Bennett, Tony Dallara, Tullio Romano, Vittorio de Sica, Vittorio Mascheronicountermelody

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Today’s episode is first and foremost a tribute to a forgotten African American trailblazer, the pop singer Henry Wright, born in 1933, who, in the late fifties, claimed Italy as his adoptive country after touring there as a vocal soloist with Lionel Hampton. With a voice as suave and seductive as any of the great crooners of the 1950s and 1960s, Henry Wright first came to international prominence as the voice on the record to which Sophia Loren performed her legendary striptease in the 1962 film Ieri, oggi, domani [Yesterday, Today and Tomorrow]. He went on to make a great impact on Italian pop music throughout the 1960s. Your fearless podcaster discovered this fascinating singer almost by accident sometime in the past year and he (that is, I) have been collecting his rare and valuable recordings which I am thrilled to share with my listening public. Many of these songs exist in earlier versions, either from the Great American Songbook, from Italian films, from early American singers of R&B, from Italian pop stars of the 1950s, even from Viennese operetta! So I had the idea of playing those original versions alongside Henry Wright’s recordings. Thus you will encounter singers like Ricky Nelson, Peggy Lee, Tony Dallara, Peter Alexander, Mina, Petula Clark, Vittorio de Sica (who in his acting days was an Italian matinee idol!) and even opera legends Miguel Fleta and Richard Tauber. It’s a fascinating episode (if I do say so myself!) and I am thrilled beyond words to introduce the seductive, charming, compelling Henry Wright to my listeners. The episode begins with memorial tributes to recently departed pop music greats Tony Bennett and Sinéad O’Connor.

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 206. Jerry Hadley

July 18, 2023Art Song, Bel canto, Broadway, Crossover, French Opera, Giuseppe Verdi, Great Tenors, In Memoriam, Music for a World in Crisis Series, Needle Drop, Operetta, Orchestral Songs, Pop Icons, Twentieth Century Music, Twentieth Century Opera, Wolfgang Amadeus MozartAlexander Borodin, Anthony Halstead, Arthur Rimbaud, Benjamin Britten, Candide, Carlo Rizzi, Charles Gounod, Charles Mackerras, Cosi fan tutte, Dawn Upshaw, Die tote Stadt, Die Zauberflöte, Edna Ferber, Elmer Rice, Emanuel Schikaneder, Eric Dalheim, Erich Korngold, Franz Lehár, Frederick Weatherly, Fritz Löhner-Beda, Gaetano Donizetti, George Forrest, Georges Bizet, Giuseppe Verdi, Gualtiero Negrini, Henry Lewis, James Levine, Jay Gorney, Jerome Kern, Jerry Hadley, John Mauceri, John McGlinn, Kismet, Kurt Weill, Langston Hughes, Leonard Bernstein, Les Illuminations, Lorenzo da Ponte, Oscar Hammerstein II, Paul Gemignani, Paul Knepler, Pyotr Il’yich Tchaikovsky, Richard Bonynge, Richard Wilbur, Robert Shaw, Robert Wright, Ruth Ann Swenson, Scott Bergeson, Seiji Ozawa, Sherman Edwards, Show Boat, Street Scene, William Boughton, Wolfgang Amadeus Mozart, Yevgeny Onegin, Yip Harburgcountermelody

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Jerry Hadley (16 June 1952 – 18 July 2007) is regarded by many as the most gifted American lyric tenor of the late 20th century. Last month he would have celebrated his 71st birthday. And today is the sixteenth anniversary of his untimely death. I knew Jerry well in the early 2000s when he was dating one of my best friends. Our friendship developed separately from that: in those years in which he was working at rebuilding his voice and career we worked together on a cross-section of his old and new repertoire. At the time of his death, he was no longer romantically involved with my friend, so he and I had drifted apart. Nevertheless, it hit me very, very hard, and I mourn his loss to this day. On that front, I have quite a few things to say about singers and mental illness, and the ruthlessness, implacability, and heartlessness of a profession which so often chews up the most vulnerable of us and spits them back out. When Jerry was at his best, his art sustained him, but the challenges ultimately became too much for him to face. But this episode is primarily a celebration: my primary objective is to present my friend at his exceptional best, in performances, both live and studio, which celebrate his voice, artistry, and spirit, performances which provided his public with some of the finest tenor singing they would ever hear, in that, or any other, era.

WARNING: THIS EPISODE CONTAINS A DISCUSSION OF SUICIDE AND SUICIDAL IDEATION.

Episode 157. Forgotten Broadway I

August 12, 2022African American Singers, Broadway, Comic Relief, Crossover, Great Baritones, In Memoriam, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Pop Icons, Queer Pride, Singers of Color, Twentieth Century MusicAdolph Green, Alan Bergman, Alfred Drake, Alice Playten, Angela Lansbury, Anton Coppola, Barbara Cook, Barbra Streisand, Beatrice Arthur, Ben Bagley, Betty Comden, Bob Merrill, Broadway, Bruce Coughlin, Buster Davis, Claibe Richardson, Daniel Gundlach, Dear World, Do I Hear a Waltz, Dolores Gray, Don Costa, Don’t Bother Me I Can’t Cope, Donald Pippin, Dorothea Freitag, Drat the Cat, Elisse Boyd, Ervin Drake, Ethel Merman, Flahooley, Fran Landesman, Fred Werner, Frederick Dvonch, Funny Girl, George Forrest, Happy Hunting, Harold Karr, Herbert Greene, High Spirits, Ira Levin, Jay Blackton, Jerry Herman, Jimmy Jones, John Alban Coughlan, John Williams, Jule Styne, June Carroll, Kenward Elmslie, Lehman Engel, Leslie Uggams, Lloyd Arriola, Marilyn Bergman, Matt Dubey, Maurice Levin, Micki Grant, Milton Schafer, Mimi Hines, Moises Vivanco, Murray Grand, musicals, Nancy Wilson, Peter Matz, Richard Marx, Richard Rodgers, Robert Wright, Roslyn Kind, Sally Ann Howes, Sergio Franchi, Sheldon Harnick, Shepard Coleman, Stephen Sondheim, Tammy Grimes, The Nervous Set, Tommy Wolf, Two on the Aisle, Yma Sumaccountermelody

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Today I begin Forgotten Broadway, a new miniseries within my summer series “Musical Life in New York City 1950-1975.” This wildly eclectic (some might say chaotic) program, the first of three, concerns itself with several different aspects of “forgotten” Broadway: forgotten songs, forgotten shows, and forgotten performers; as well as all imaginable combinations of the above. For instance, many might not remember the show Drat! the Cat! but will remember quite well the song “He [originally She] Touched Me.” Everyone remembers Ethel Merman and Angela Lansbury, but I would bet that fewer remember their less successful shows Happy Hunting and Dear World. This episode includes songs by Richard Rodgers, Jule Styne, Bob Merrill, Wright and Forrest, and Comden and Green, as well as lesser known composers and lyricists such as Claibe Richardson, Bill and Patti Jacob, and Ervin Drake, sung by such stalwarts as Leslie Uggams, Barbara Cook, Alfred Drake, and Barbra Streisand, as well as such blazing (but less remembered figures) such as Alice Playten, Dolores Gray, Mimi Hines, and June Carroll. Such recently departed figures as Micki Grant, Kenward Elmslie, Sally Ann Howes, and Donald Pippin also receive airplay. Part II will be published in two weeks, and Part III will soon be available as a bonus episode for my Patreon subscribers.

Episode 148. Judy Garland @ 100

June 9, 2022Happy Birthday, In Memoriam, Music for a World in Crisis Series, Needle Drop, Pop Icons, Queer Pride, Twentieth Century MusicAdolph Green, Alan Jay Lerner, Arthur Schwartz, Barbra Streisand, Betty Comden, Bob Merrill, Bobby Cole, Bronislaw Kaper, Burton Lane, Carl Sigman, Carolyn Leigh, Charles Chaplin, Cole Porter, Cy Coleman, David Lee, Gene Palumbo, Geoffrey Parsons, George Forrest, Gilbert Bécaud, Gus Kahn, Harold Arlen, Harry Robinson, Howard Dietz, Ira Gershwin, Jack Yellen, Judy Garland, Jule Styne, Julia Ward Howe, Larry Conley, Liza Minnelli, Lorenz Hart, Max Meth, Milton Ager, Mort Lindsey, Norrie Paramor, Richard Rodgers, Robert Wright, Roger Edens, Ted Koehler, Tony Osborne, Walter Jurmann, Willard Robison, Yip Harburgcountermelody

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On Friday 10 June 2022, Judy Garland celebrates her 100th birthday. My Pride 2022 series kicks off with a close examination of Judy’s status as gay icon, as well as my claim that Garland was, is, and remains the world’s greatest entertainer of all time. As always with Countermelody, the proof is in the performances, and I share a generous sampling of recordings, primarily from the final years of Judy’s life, that bolster that claim. Included are performances of songs by Harold Arlen, Yip Harburg, Ted Koehler, Ira Gershwin, Rodgers and Hart, Jule Styne, Burton Lane, Alan Jay Lerner, Cole Porter, Cy Coleman, Carolyn Leigh, Gilbert Bécaud, Wright and Forrest, Schwartz and Dietz, Charles Chaplin, and others, in live recordings from The Judy Garland Show, which ran for a single season in 1963-64; live concert performances from New York, Amsterdam, London, Paris, Philadelphia, and Copenhagen; and a smattering of rare studio recordings. I also discuss the impact of Judy’s enormous talent impact on my own life, as well as her still-substantial numbers of worldwide fans. Vocal guest stars include two other classic gay icons, Barbra Streisand, and Judy’s own daughter, Liza Minnelli.

Episode 124. Dave’s Picks

January 14, 2022African American Singers, Art Song, Bel canto, Broadway, Comic Relief, Giacomo Puccini, Great Baritones, Happy Birthday, Lieder, Needle Drop, Pop Icons, Queer Pride, Schubert, Singers of Color, Twentieth Century MusicAlban Berg, Alfred Drake, Anneliese Rothenberger, Arnold Schoenberg, Arthur Winograd, Bette Midler, Beverly Wolff, Birgit Nilsson, Bobby Freeman, Burt Bacharach, Carl Orff, Carmina Burana, Carolyn Leigh, Cathy Berberian, Claude Debussy, Colette, Colin Davis, Cy Coleman, David Crosby, David Savran, Don Giovanni, Dusty Springfield, Eddie Fisher, Elisabeth Soderstrom, Erich Kleiber, Erwin Wohlfahrt, Eugene Ormandy, Fiddler on the Roof, First Choice, Franco Corelli, Françoise Ogéas, Frank Zappa, Friedrich Rückert, George Forrest, George Gershwin, George Schick, George Shirley, Giacomo Puccini, Giuseppe Verdi, Gustav Mahler, Hal David, Harve Presnell, Holland-Dozier-Holland, Il Trovatore, Ira Gershwin, Jane Berbié, Janis Ian, Jefferson Airplane, Jerry Bock, Joni Mitchell, Judith Raskin, Julia Migenes, Kismet, L’enfant et les sortilèges, Le nozze di Figaro, Leonard Bernstein, Leontyne Price, Leopold Ludwig, Lisa Della Casa, Little Me (Coleman and Leigh), Lorin Maazel, Luciano Berio, Lulu (Berg), Maria Callas, Maurice Maeterlinck, Maurice Ravel, Montserrat Caballé, Nina Hagen, Norma, Oscar Hammerstein II, Paul Burkhard, Pelleas et Melisande, Pierre Boulez, Porgy and Bess, Richard Rodgers, Rita Tritter, Robert Craft, Robert Wright, Sammy Davis Jr., Sandy Denny, Sheldon Harnick, South Pacific, Stevie Wonder, The Byrds, The Mothers of Invention, The Supremes, Tim Buckley, Trouble in Tahiti, Tullio Serafin, Turandot, Vincenzo Bellini, Wladimiro Ganzarolli, Wolfgang Amadeus Mozart, Yvonne Mintoncountermelody

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Today’s special episode is in honor of my best friend, partner-in-crime and Corona-lockdown buddy, the distinguished theater scholar and author David Savran, who this week once again celebrated another journey around the sun. I invited him to be the first guest in a new series I will be presenting on Countermelody featuring colleagues and friends speaking about the music (and the singers!) that have most deeply affected and inspired them. Perhaps it’s not surprising that in the nearly two decades that we have known each other, that David’s taste in music and singers often falls neatly in step with mine. But there are many other musical paths and byways that he has explored that have taken him in quite different directions. Our spirited dialogue is punctuated by music that spoke to him most deeply in the first 25 years of his life. We hear samples of everything and everyone from Sammy Davis, Jr. to Grace Slick, from Cathy Berberian to Joni Mitchell, from Lisa della Casa to Nina Hagen, from Alfred Drake to Frank Zappa. The episode also constitutes a fascinating exploration of the role that memory and nostalgia play in the creation of musical tastes and preferences. Happy Birthday, Davey, and thanks for being my guest!

Episode 103. Gilbert Price

August 22, 2021African American Singers, BHM2023WK2, Black History Month, Broadway, Great Baritones, Happy Birthday, In Memoriam, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Pop Icons, Protest Songs, Queer Pride, Twentieth Century MusicAl Carmines, Alan Jay Lerner, Andrew Davis, Anthony Newley, Bruce Hubbard, Edward Elgar, Emily Yancey, Frederick Loewe, George Forrest, Gilbert Price, I’ve Gotta Be Me, Janet Baker, Jerico-Jim Crow, Jerome Kern, Langston Hughes, Leonard Bernstein, Leslie Bricusse, María Irene Fornés, Merv Griffin, Micki Grant, Oscar Hammerstein II, Robert Wright, The Roar of the Greasepaint – The Smell of the Crowd, Theater des Westens Berlin, Timbuktu!, Ty McConnell, Unchained Melodycountermelody

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Never heard of Gilbert Price? This episode will remedy that situation. With a voice that was easily produced, full-ranged, tonally refulgent, technically poised, the three-time Tony nominee Gilbert Price (1942-1991) deserves to be more fully remembered today for his deeply expressive portrayals, including a starring role in Leonard Bernstein’s failed Bicentennial musical, 1600 Pennsylvania Avenue. He also starred in Timbuktu!, Promenade, The Roar of the Greasepaint – The Smell of the Crowd, and Langston Hughes’s 1964 musical pageant Jerico-Jim Crow, which also featured the recently deceased Micki Grant in one of her first featured roles. I feature Gilbert Price in numerous live performances, both on stage and on television, as well as four obscure singles he made for Columbia Records, in addition to considering his tragic demise. The episode also features an 88th birthday tribute to Janet Baker as well as commemorations of Grant and other recently departed musicians.

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.

Episode 102. John Reardon

August 15, 2021African American Singers, Art Song, Bel canto, Broadway, Crossover, Giuseppe Verdi, Great Baritones, In Memoriam, Music for a World in Crisis Series, Needle Drop, Operetta, Queer Pride, Twentieth Century MusicAdolph Green, Alban Berg, Alexander Young, Arrigo Boito, Arthur Siegel, Betty Comden, Bliss Hebert, Candide, Chester Biscardi, Chester Kallman, Christoph von Dohnányi, Denis Deal, Douglass Cross, Edvard Grieg, Evelyn Lear, Franz Allers, Franz Lehár, Fred Rogers, George Cory, George Forrest, Gian Carlo Menotti, Gioacchino Rossini, Giuseppe Verdi, Helena Scott, Henry Butler, Herbert Grossman, Igor Stravinsky, Ira Gershwin, Jerome Kern, Jo Sullivan Lehman Engel, John Koch, John Reardon, Jorge Mester, Judith Raskin, Jule Styne, June Carroll, Kurt Weill, Leonard Bernstein, Leontyne Price, Lisa Della Casa, Marie Collier, Marvin David Levy, NBC Opera, New Faces of 1956, Newell Jenkins, Nicholas Flagello, On the Town, Oscar Hammerstein II, Peter Herman Adler, Ragnar Ulfung, Richard Owen, Robert Craft, Robert Oliver, Robert Wright, Samuel Krachmalnick, Sarah Caldwell, Song of Norway, Stephen Crane, The Flood, The Magic Flute, The Merry Widow, The Rake’s Progress, The Saint of Bleecker Street, W.H. Auden, Walter de la Mare, William Blake, William Orvis, Wolfgang Amadeus Mozartcountermelody

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Here’s another great baritone to help get us through another week: the extraordinarily versatile and talented John Reardon (1930-1988). Possessed of a voice of extraordinary beauty and flexibility, as well as deeply intuitive interpretive powers and a profound musicality and dramatic sensibility, he had everything it took to make his mark in the fields of musicals, operetta, and opera (the latter in both standard, and, even more significantly, contemporary repertoire). I have several rare live recordings as well as some uncommon studio recordings to share with my listeners. Guest stars include Leontyne Price, Judith Raskin, Jo Sullivan, Lisa Della Casa, Alexander Young, Ragnar Ulfung, Evelyn Lear, and Bliss Hebert, in a rare outing as a pianist accompanying Reardon in a 1967 recording of American art songs. I also pay homage to his television appearances, both on NBC Opera and, especially, between 1968 and 1986, as the character “Reardon” in Mister Rogers’ Neighborhood, which served to introduce countless multitudes of children to the glories of opera.

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.

Episode 98. John Raitt

July 18, 2021Broadway, Crossover, Great Baritones, Needle Drop, Opera in Translation, Pop IconsAlan Jay Lerner, Anne Jeffreys, Barbara Cook, Bill Reddie, Bonnie Raitt, Burton Lane, Carousel, Cesare Bixio, Doretta Morrow, Ernesto de Curtis, Florence Henderson, Folk Songs, Franz Allers, Frederick Loewe, George Bassman, George Forrest, Gioacchino Rossini, Glenn Osser, Harold Hastings, Irving Berlin, Jay Blackton, Jerome Kern, Jerry Ross, Joe Guercio, John Raitt, Joseph Littau, Karen Morrow, Neopolitan Songs, Oscar Hammerstein II, Pete King, Ralph Blane, Richard Adler, Richard Rodgers, Robert Wright, Rosemary Cloooney, Ruggero Leoncavallo, Yip Harburgcountermelody

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Today I feature as part of my summer series on Great Baritones, one of the greatest Broadway baritones of all time, John Raitt (1917-2005). Wait: did I say one of the greatest? Make that possibly the greatest! Along with Alfred Drake and a handful of others, John Raitt completely redefined the Broadway leading man: strapping, robust, virile, handsome, with an operatic caliber voice and splendid acting chops to match. His creation of the role of Billy Bigelow in Rodgers and Hammerstein’s magnum opus, Carousel, turned a deeply problematic character into a sympathetic one. In this episode we hear excerpts from this role, as well as some of Raitt’s other hits (and non-hits), both on—and away from—Broadway: The Pajama Game, Oklahoma!, Annie Get Your Gun, Three Wishes for Jamie, Show Boat, and others, as well as a bit of opera! I also feature tracks from four of his solo records, recorded and released between 1955 and 1970, which include Neopolitan songs, folk songs, and pure late 60s pop as well as Broadway standards not normally associated with him. Some of his duet partners include Barbara Cook, Rosemary Clooney, Florence Henderson, Doretta Morrow, Anne Jeffreys, as well as his daughter Bonnie, herself one of the great blues singers and guitarists of the late 20th century. We also hear Bonnie’s deeply personal song “Circle Dance,” which concerns their sometimes fraught—but eventually fully reconciled—relationship. Was he really a baritone, was he a tenor masquerading as a baritone, or was he a true “baritenor”? I consider all these possibilities but leave it to my listeners to draw their own conclusions. No matter how you assess John Raitt’s voice, in the end, it sustained him through a career that lasted seven decades; it is a thrill to present him to my listeners in his full baritenorial splendor.

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.

Episode 52. Operaish Broadway (Crossover Classics VIII)

September 13, 2020African American Singers, Broadway, Comic Relief, Crossover, Mezzo Madness, Needle Drop, Operetta, Pop Icons1600 Pennsylvania Avenue, Adam Guettel, Adolph Green, Alan Jay Lerner, Alfred Drake, Anton Coppola, Audra McDonald, Barbara Cook, Betty Comden, Bruce Yarnell, Camilla Williams, Candide, Carol Brice, Carolyn Leigh, Cesare Siepi, Claibe Richardson, Cy Coleman, Dorothy Sarnoff, Du Bose Heyward, Eve Queler, Ezio Pinza, Florence Henderson, Franco Corelli, Franz Allers, George Forrest, George Gershwin, Georges Bizet, Giorgio Tozzi, Giuseppe Verdi, Harold Arlen, Harold Rome, Helen Traubel, Ira Gershwin, Irving Berlin, Jacques Brel, Jerome Kern, Jerry Ross, Joe Darion, John Raitt, John Reardon, José Van Dam, Judy Kaye, Jule Styne, Kenward Elmslie, Lawrence Winters, Lee Venora, Lehman Engel, Leonard Bernstein, Leslie Scott, Lisa Vroman, Lorenz Hart, Madeline Kahn, Marin Mazzie, Mitch Leigh, Mona Paulee, Nicolai Gedda, Oscar Hammerstein II, Paul Gemignani, Porgy and Bess, Rebecca Luker, Richard Adler, Richard Rodgers, Risë Stevens, Robert Gilbert, Robert Trehy, Robert Wright, Rosemary Clooney, Sheldon Harnick, Shirley Verrett, Show Boat, Stephen Sondheim, The Grass Harp, The Light in the Piazza, Victoria Clark, Yip Harburgcountermelody

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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 51. Legitimate Broadway (Crossover Classics VII)

September 6, 2020African American Singers, Broadway, Crossover, Needle Drop, OperettaAlexander Borodin, Alfred Drake, Anderson), Anne Jeffreys, Barbara Cook, Bitter-Sweet (Coward), Blossom Time (Friml), Brenda Lewis, Brian Sullivan, Candide, Carol Brice, Claramae Turner, Cris Groenendaal, Dennis King, Edvard Grieg, Eleanor Steber, Elmer Rice, Erie Mills, Follies (Sondheim), Frank Loesser, Franz Allers, Franz Lehár, Fritzi Scheff, George Dvorsky, George Forrest, George Metaxa, Gian Carlo Menotti, Helen Goes to Troy, Helena Bliss, Helena Scott, Henry Calvin, Inia Te Wiata, Irra Petina, Jacques Offenbach, Jan Kiepura, Jarmila Novotna, Jeanne Lehman, Jerome Kern, Jo Sullivan, John Brownlee, John McGlinn, John Reardon, John Stanford, Kalem Kermoyan, Kismet, Kurt Weill, Langston Hughes, Lawrence Tibbett, Lee Venora, Leo Robin, Leonard Bernstein, Licia Albanese, Lotte Lenya, Lydia Fredericks, Marc Blitzstein, Marie Powers, Marta Eggerth, Maurice Abravanel, Mlle Modiste (Herbert), Noël Coward, Norman Cordon, Oscar Hammerstein II, Patricia Neway, Peggy Wood, Polyna Stoska, Rebecca Luker, Regina, Richard Banke, Richard Wilbur, Robert Rounseville, Robert Weede, Robert Wright, Rudolf Friml, Samuel Krachmalnick, September Song (Weill, Sigmund Romberg, Song of Norway, Stephen Sondheim, Street Scene, Sylvan Levin, Tandy MacKenzie, The Consul (Menotti), The Girl in Pink Tights, The Happiest Girl in the World, The Medium (Menotti), The Most Happy Fella, The New Moon (Romberg), The Vagabond King (Friml), Very Warm for May, Victor Herbert, Walter Cassel, Yip Harburgcountermelody

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Today’s topic is operetta and opera on Broadway. From the early days of the Great White Way, a large amount of the musical theatre repertoire was actually operetta. I begin with a discussion of the composers of such operettas (Victor Herbert, Rudolf Friml, and Sigmund Romberg, with a significant nod to Jerome Kern as well) and the singers who appeared in those works. Then I present an array of works adapted from the classical repertoire (primarily Wright and Forrest’s Song of Norway and Kismet), followed by examples of that curious hybrid, Broadway opera, including Gian Carlo Menotti’s The Medium and The Consul; Marc Blitzstein’s Regina; Frank Loesser’s The Most Happy Fella; Kurt Weill and Langston Hughes’s Street Scene; and Leonard Bernstein’s Candide. A wide range of singers is included, some celebrated (Lotte Lenya, Patricia Neway, Barbara Cook, Marta Eggerth, Lawrence Tibbett), some less so (Helena Scott, Lee Venora, Fritzi Scheff, Robert Rounseville), the careers of some of whom stretch back to the beginning of the century, but all singers which straddled the fence between musicals, operetta, and opera. But rest assured: this is no dry history lesson: it’s a fast-paced romp through a fun and fascinating topic!

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!