Tag Archives: Hector Berlioz

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.

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 181. Nicolai Gedda in Song

January 27, 2023Art Song, In Memoriam, Lieder, Music for a World in Crisis Series, Needle Drop, Orchestral Songs, Richard Strauss, Schubert, Singers in Old Age, Twentieth Century MusicAldo Ciccolini, Alexander Pushkin, Alexander Tcherepnin, Alexander Varlamov, Alexis Weissenberg, Anthony Miranda, Ben Jonson, Benjamin Britten, Charles Gounod, Dalton Baldwin, Dichterliebe, Die schöne Müllerin, Edda Moser, Edvard Grieg, Erik Werba, Francis Poulenc, Franz Schubert, Frederic Waldman, Gabriel Faure, Geoffrey Parsons, Gerald Moore, Gerhard Singer, Hector Berlioz, Heinrich Heine, Henri Duparc, Hermann Reutter, Jan Eyron, Jean Sibelius, Johann Mayrhofer, Johann Wolfgang von Goethe, Leconte de Lisle, Leos Janacek, Nicolai Gedda, Nikolai Tcherepnin, Ottorino Respighi, Paul Éluard, Richard Strauss, Sergei Rachmaninov, Silvio Varviso, Spanisches Liederspiel, Théophile Gautier, Wilhelm Müller, William Faulkner, Wolfgang Sawallischcountermelody

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Today’s episode is a special request from one of my most dedicated listeners, and one with which I am happy to comply. It is already seven years this month since the death of the great Swedish tenor Nicolai Gedda (11 July 1925 – 8 January 2017). One of the most cultivated singers of the twentieth century, Gedda not only had a rock-solid technique and an instantly recognizable timbre, but he was a brilliant musician and a polyglot of the first order, singing a wide range of repertoire and styles in a host of languages. He was also a prolific recording artist. Though he sang an enormous range of operatic roles, in this episode, I have decided to focus entirely on a slightly lesser-known aspect of his career: his work in art song. Gedda was a master of French style, but also celebrated for his performances of Russian music. And one of the three languages he spoke while he was growing up was German, which lends his work in that language a real authenticity as well. In listening to recordings of song repertoire, I was struck by the frequent added spontaneity and commitment of his live versus his studio performances, so the episode features a large number of selections culled from Gedda’s live recitals. Gedda is accompanied by some of the most exceptional pianists of his time: Alexis Weissenberg, Wolfgang Sawallisch, Gerald Moore, Geoffrey Parsons, Dalton Baldwin, Erik Werba, Hermann Reutter, and his compatriot and most frequent collaborator Jan Eyron. Another extraordinary aspect of Gedda’s singing was his longevity. We hear him in songs by Strauss, Berlioz, Schubert, Janáček, Duparc, Grieg, Schumann, Fauré, Respighi, and Gounod, recorded over a period of nearly 40 years. Here is another singer who was active into the twilight of his life and sang into his seventies with both the intimacy and clarion power that were his musical trademarks.

Episode 169. Grace Bumbry

November 4, 2022African American Singers, Art Song, Crossover, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Baritones, Lieder, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Richard Strauss, Schubert, Singers of Color, VerismoAlexander Schmalcz, Amilcare Ponchielli, Andrea Maffei, Andrew White, Beaumont Glass, Berislav Klobučar, Detlev von Liliencron, Francesco Maria Piave, Franz Liszt, Franz Schubert, Friedrich Rückert, Giacomo Puccini, Giuseppe Adami, Giuseppe Verdi, Grace Bumbry, Gustave Charpentier, Hector Berlioz, Helmut Deutsch, Hermann Allmers, Jacques Revaux, Johann Gabriel Seidl, Johann Jacobi, Johann Mayrhofer, Johannes Brahms, John Fiore, Jules Massenet, Julius Mosen, Kenneth Collins, La Gioconda, Leonard Hokanson, Les nuits d’été, Macbeth, Michelangelo Veltri, Nabucco, Norman Bailey, Norman Newell, Oscar Wilde, Paul Anka, Renato Simoni, Richard Strauss, Robert Schumann, Roger Webb, Salome, Shirley Verrett, Spirituals, Stefan Soltesz, Temistocle Solera, Théophile Gautier, Turandot, Umberto Balsamo, Victor Hugo, William Shakespearecountermelody

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Though the great diva Grace Bumbry has often been featured on Countermelody, I have not yet done a full episode on this incomparable artist. Today’s episode seeks to remedy that, and to celebrate a singer whose contribution and influence extends back many decades and continues to this very day. Normally when I consider an artist so well-renowned, I try to offer a perspective that sheds different light on that singer. So today’s Bumbry celebration considers three aspects of her artistry that have received somewhat less attention. While her successes in a wide range of mezzo soprano repertoire are well-known and well-documented, her soprano assumptions have been somewhat more controversial. I highlight numerous scenes and arias, including from Macbeth, Salome, Turandot, and Nabucco, in both live and studio performances, that shed light on the enormous prowess and fearlessness with which she confronted these roles. Alongside such larger-than-life impersonations are Bumbry’s intimate and detailed performances as a Lieder singer, a tribute to her training under that matchless singer and teacher Lotte Lehmann, with whom Bumbry studied at the Music Academy of the West. Recordings of art song by Schubert, Schumann, Brahms, Strauss, Liszt, and Berlioz, made over the course of 45 years are also a testament to Bumbry’s vocal longevity and technical prowess. In recent years, Grace Bumbry has devoted her time to the care, nurturing, and training of young singers under the aegis of a program she has named “The Bumbry Way.” The episode closes with a definitive performance of the song “My Way,” which incorporates and encapsulates all the colors of this extraordinary singer in all her fearlessness, self-assurance, determination, vulnerability, and strength. Evviva “The Bumbry Way!”

Episode 162. NYCO Divas: An Introduction

September 16, 2022African American Singers, Bel canto, Broadway, French Opera, Giuseppe Verdi, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, NYCO Divas, Opera in Translation, Richard Strauss, Singers of Color, Twentieth Century Music, VerismoAlexander Borodin, Anne Elgar, Anton Guadagno, Ariadne auf Naxos, Arthur Miller, Benvenuto Cellini, Beverly Sills, Brenda Lewis, Camilla Williams, Carlisle Floyd, Carol Brice, Carol Neblett, Charles Gounod, Charles Wilson, Christopher Keene, Douglas Moore, Ellen Faull, Emerson Buckley, Faust, Frances Bible, Gustav Meier, Hector Berlioz, Herbert Beattie, Hugo von Hofmannsthal, Jack Beeson, Johanna Meier, John LaTouche, Jules Massenet, Julius Rudel, Kenward Elmslie, Laszlo Halasz, Lillian Hellman, Lizzie Borden (Beeson and Elmslie), Lydia Ibarrondo, Manon, Maralin Niska, Marc Blitzstein, New York City Opera, Olivia Stapp, Patricia Brooks, Patricia Wells, Patricia Wise, Phyllis Curtin, Prince Igor, Regina, Richard Strauss, Robert Ward, Samuel Krachmalnick, Sarah Caldwell, Susannah, The Ballad of Baby Doe, The Crucible, Veronica Tyler, Wolfgang Amadeus Mozartcountermelody

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Today is the final regular episode of Season Three of Countermelody, as well as the last of my summer series documenting musical life in New York City during the years 1950 through 1975. I am thrilled to start what I hope will be an occasional series of episodes that will drop throughout Season Four, which begins in two weeks. I present to you a small sampling of the extraordinary singing actors that peopled the stage of New York City Opera during the years in question. The most famous of these, of course, is Beverly Sills, and she is aptly represented in her most radiant early prime. But there are many other singers as well, including African American divas Carol Brice and Veronica Tyler, preceded by Camilla Williams (the first Black singer to be awarded a standing contract with a major US opera company… in 1946!). City Opera was celebrated for presenting an absolute slew of new American work in its heyday, and we hear works by Carlilse Floyd, Robert Ward, Douglas Moore, Marc Blitzstein, and Jack Beeson in performances by Phyllis Curtin, Frances Bible, Brenda Lewis, and Ellen Faull. Other divas strutting their stuff include Olivia Stapp, Johanna Meier, and the three mesdames Patricia: Brooks, Wells, and Wise. The episode is capped by some of the rarest live recordings from the stage of City Opera by three singers who made their mark during their heyday, and would be the biggest stars in the world were they singing today: Gilda Cruz-Romo, Maralin Niska, and Carol Neblett, all of whom will be featured in her own episode during Countermelody’s upcoming season. A fitting way to end Season Three, as well as a harbinger of vocal delights to come! (Next week will be a preview of the upcoming season!)

Episode 161. Janet Baker: Subject of the Queen

September 9, 2022Art Song, Bel canto, French Opera, Full-Figured Baroque, Happy Birthday, In Memoriam, Lieder, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Schubert, Twentieth Century MusicAlceste, Alexander Gibson, Benjamin Britten, Charles Mackerras, Christoph Willibald Gluck, Franz Schubert, Gaetano Donizetti, Gloriana (Britten), Hector Berlioz, Henry Purcell, Ivor Gurney, Janet Baker, Joan Cross, Johann Sebastian Bach, John Pritchard, La Mort de Cléopâtre, Maria Stuarda, Martin Isepp, Matthäus von Collin, Neville Marriner, Paul Hamburger, Pauline Tinsley, Raymond Leppard, William Plomercountermelody

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The world changed yesterday with the death of Queen Elizabeth II, whose subjects in the United Kingdom just this summer celebrated the 70th year of her reign. How do I, as a progressive (and non-British) person, neither a royalist nor an imperialist, commemorate her passing with the respect that she deserves? I found my answer, as I so often do in other of life’s conundrums, in the artistry of Janet Baker, who celebrated her 89th birthday on 17 August, and who, in her day was often known as “the English Rose.” There is something about Baker’s artistic personality: her nobility of utterance, her gravitas, her humanity, that made her a particularly striking interpreter of various queens in the operatic literature, from Alceste and Dido to Mary Stuart. And because, from the time of her Carnegie Hall debut in 1966 until her final appearance there in 1989, seven years after her official retirement from the operatic scene, she was a fixture of the New York concert scene, she also fits quite comfortably into the framework of this summer’s celebration of musical life in New York between the years 1950 and 1975. Her towering operatic performances of roles by Gluck, Donizetti, Berlioz, and Purcell, are balanced with her profoundly moving performances of music by Bach, Gurney, and Schubert. Queen Elizabeth II is further memorialized by an excerpt from the world premiere performance of Benjamin Britten’s Gloriana, composed for, and premiered six days after, her coronation in 1953.

Episode 134. Legacy (Black History Month 2022 Postlude)

March 4, 2022African American Singers, Art Song, Behind the Iron Curtain, Bel canto, BHM2023WK4, Black History Month, French Opera, Full-Figured Baroque, Giuseppe Verdi, Great Baritones, In Memoriam, Lieder, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Queer Pride, Schubert, Singers of Color, Twentieth Century MusicAdele Addison, Alan Curtis, Alfred Bachelet, Antonietta Stella, Antonín Dvořák, Aubrey Pankey, August Heinrich Hoffmann von Fallersleben, Béatrice et Bénédict, Bernard Greenhouse, Betty Allen, Betty Davis, Bohumil Gregor, Carmen Balthrop, Carolyn Watkinson, Charles Groves, Charles Jennens, Christoph Willibald Gluck, Clamma Dale, Claude Frank, Claudia Lindsey, Cynthia Haymon, Dagmar Průšová, Dorothy Maynor, Eight Songs for a Mad King, El Cimarrón (Henze), Ellabelle Davis, Erich Itor Kahn, Esteban Montoya, Eugène Adénis-Colombeau, Franz Schubert, Franz von Schober, Frederick Delius, George Frideric Handel, Gioacchino Rossini, Giulio Caccini, Giuseppe Verdi, Grace de la Cruz, Gwendolyn Killebrew, Gwendolyn Walters, Handel and Haydn Society, Hans Werner Henze, Harry T. Burleigh, Hector Berlioz, Heinrich Heine, Helen Colbert, Herbert von Karajan, Hubert Reichert, Il barbiere di Siviglia, Iphigénie en Aulide, Jean Baptiste Racine, Jean-Guy Bailly, Jean-Jacques Kantorow, Jerzy Lefeld, Johann Sebastian Bach, Johann Wolfgang von Goethe, Johannes Brahms, John Reilly, Joseph-Marie Canteloube, Josephine Veasey, Judas Maccabaeus (Handel), Julius Eastman, Kjell Olsson, Koanga (Delius), L’incoronazione di Poppea, Laurence Hope, Leonard Bernstein, Louise Parker, Marian Anderson, Marius François Gaillard, Marvin Hayes, Marvis Martin, Matthäus-Passion, Mattiwilda Dobbs, Maurice Abravanel, Messa da Requiem (Verdi), Messiah (Handel), Paul Hindemith, Peter Maag, Peter Maxwell Davies, Rhea Jackson, Robert Bloom, Seiji Ozawa, Seth McCoy, Simone Treillard, Spirituals, Thomas Morell, Thompson Stone, Walt Whitman, Warren Jones, William Pearson, William Shakespeare, Wolfgang Amadeus Mozartcountermelody

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This is the second part of my final episode of Black History Month 2022, continuing the exploration of the legacies of more than two dozen mostly underrecorded African American artists. Each piece of this aural mosaic fills in gaps in the recorded history of these artists. After opening memorial tributes to Josephine Veasey, Antonietta Stella, and Betty Davis, the episode is broken into several sections: first, recordings of Baroque music by Aubrey Pankey, Carmen Balthrop, Adele Addison, Betty Allen, Seth McCoy, Marvin Hayes, and a rare live recording by Marian Anderson, whose 125th birthday was observed this past week. There follow recordings of concert repertoire sung by Dorothy Maynor, Louise Parker, and Grace de la Cruz, with William Pearson and Julius Eastman leading us briefly into the bizarre world of the extended vocal techniques of the 1960s. There follow recorded performances of art song by Helen Colbert, Rhea Jackson, John Riley, Clamma Dale, Ellabelle Davis, Marvis Martin, and Cynthia Haymon, whereupon the episode concludes with some rare performances of operatic repertoire with Gwendolyn Killebrew, Claudia Lindsey, Dagmar Průšová, and Gwendolyn Walters, capped by an exquisite a cappella performance of “A City Called Heaven” by the great Mattiwilda Dobbs.

Episode 129. Leontyne Price in Concert (Black History Month 2022)

February 11, 2022African American Singers, Art Song, BHM2023WK2, Black History Month, Happy Birthday, Lieder, Music for a World in Crisis Series, Needle Drop, Richard Strauss, Schubert, Singers of Color, Twentieth Century MusicAda Negri, Adolf Friedrich von Schack, Armand Silvestre, Charles Baudelaire, Claude Debussy, Clemens Brentano, David Garvey, Du Bose Heyward, Eduard Mörike, Emily Dickinson, Francis Poulenc, Franz Liszt, Franz Schubert, Friedrich Rückert, Gabriel Faure, George Gershwin, Hector Berlioz, Hermit Songs (Barber), Howard Swanson, Hugo Wolf, Igor Stravinsky, Ira Gershwin, James Agee, Johann Wolfgang von Goethe, John La Montaine, Knoxville Summer of 1915, Langston Hughes, Lee Hoiby, Leontyne Price, Les nuits d’été, Lev Mei, Ludwig Rellstab, Margaret Bonds, Matthäus von Collin, Ottorino Respighi, Paul Éluard, Porgy and Bess, Richard Dehmel, Richard Strauss, Robert Schumann, Samuel Barber, Serge Rachmaninov, Spirituals, Théophile Gautier, Victor Hugocountermelody

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The great Leontyne Price, soprano par excellence and beacon to a world that desperately needed (and still needs) her, turned 95 this week. In celebration of her birthday, I chose to offer a less well-known and celebrated aspect of her artistry: Leontyne Price as an interpreter of art song, mélodie, and Lieder. The selections, both live and studio recordings, range over the course of her more than 40-year career, and include selections by Howard Swanson, as well as Samuel Barber and Lee Hoiby, both of whom crafted music with her specific voice in mind. Also included are melodies by Francis Poulenc, Hector Berlioz, Franz Liszt, and Claude Debussy; art songs by Respighi and Rachmaninov; Lieder by Wolf, Schubert, Schumann, and Richard Strauss; followed by a pair of spirituals arranged by Margaret Bonds. And, because this is Leontyne Price singing in concert, we must conclude, as she always did, with a performance of “Summertime” from Porgy and Bess. I also relate several brief stories which relate how I, in my youth, fell under the power of the voice of Leontyne Price. Fond birthday greetings to this extraordinary artist and woman! Long Live the Queen!

Episode 44. Gl’amour, Part Deux: The Invaders

July 19, 2020African American Singers, Art Song, Comic Relief, Mirella Freni, Music, Operetta, Pop Icons, Protest SongsAdam Le Postillon de Longjumeau, Adolphe Adam, Albert Lance, Alfred Bachelet, Alfredo Kraus, Allen Rogers, André Cluytens, André d’Arkor, Annie Lennox, Armand Canfora, Arthur Endrèze, Autour de minuit (Round Midnight), Barbara Hendricks, Barbra Streisand, Berlioz Zaïde, Bizet Les Pêcheurs de perles, Bob Dylan, Boieldieu La Dame blanche, Carole King, Charles Chaplin, Charles Gounod, Cherche la rose, Chère nuit, Claude Joseph Rouget de Lisle, Comment te dire adieu, Dalida, Daniel Beckwith, Daniel Behle, Daniel Gundlach, Dans le souffle du vent [Blowin’ in the Wind], Dave Stewart, Demain tu peux changer, Duparc Au pays où se fait la guerre, Duparc Chanson triste, Dusty Springfield, Dylan Aufray Dans le souffle du vent, Eartha Kitt, Édouard Lalo, Eleanor Steber, Elie Cohen, Elis Regina, Emile Paladilhe, Eurythmics, Eurythmics Tous les garçons et les filles, Frances Alda, Franco Corelli, François Adrien Boieldieu, Françoise Hardy, Franz Lehár, Frédéric Chopin, Free Again, Gabriel Faure, George Bizet, Georges Pretre, Georges Thill, Giacomo Puccini, Glamour, Gounod Roméo et Juliette, Hector Berlioz, Henri Duparc, Henri Salvador, Hugues Aufray, Hugues Aufray Chante Dylan, Jacques Demy, Jacques Offenbach, Jacques Prévert, Jean Fournet, Jo Basile, John Constable, Joseph Kosma, Joseph Rogatchewsky, Jules Massenet, La Marseillaise, Lalo Le Roi d’Ys, Le Postillon de Longjumeau, Le Roi d’Ys, Lehár Le Pays du Sourire, Leopold Simoneau, Les feuilles mortes, Les parapluies de Cherbourg, Lloyd Arriola, Marlene Dietrich, Marlene Dietrich Cherche la rose, Massenet Werther, Michel Jourdan, Michel Legrand, Miguel Villabella, Mirella Freni, Muriel Smith, Natalie Dessay, Nicolai Gedda, Non... c’est rien, Non... c’est rien [Free Again], Offenbach Tales of Hoffmann, Paladilhe Psyché, Petula Clark, Pierre Delanoë, Puccini in French, Raoul Jobin, Récit de Cassard (Les parapluies de Cherbourg), René Rouzaud, Reynaldo Hahn, Richard Verreau, Serge Gainsbourg, Stuart Burrows, The Umbrellas of Cherbourg, Thelonious Monk, Tony Poncet, Tous les garçons et les filles, Un jour mon prince viendracountermelody

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Aux armes, citoyens! We have received advance warning that an army of foreigners masking as French speakers are storming the artistic gates, so to speak, and attempting to usurp France’s national artistic identity. Strangely, many of the invaders are operatic tenors, though they are accompanied by a coterie of vivandières singing popular music, all in French, no matter what their native tongues. Last week’s celebration of French glamour is today compromised, sullied, and usurped by all manner of unwelcome albeit glamorous guests, led by the New Zealander Frances Alda and buttressed by the American Eleanor Steber, fresh from celebrating her birthday this past week. Some of these figures masquerade more convincingly as actual French persons, but make no mistake, whether they be deceptive Canadians (Léopold Simoneau, Raoul Jobin, Richard Verreau), interloping Belgians (André d’Arkor), unwelcome Italians (the shocking Franco Corelli, the mysterious Dalida, and the dreaded Mirella Freni), subsersive Spaniards (Miguel Villabella, Alfredo Kraus, Tony Poncet) bullying Brazilians (Elis Regina), sneaky Swedes (Nicolai Gedda), denizens of the dreaded United Kingdom (Stuart Burrows, Dusty Springfield, Petula Clark, Annie Lennox), Germans of nefarious intent (Marlene Dietrich, Daniel Behle), questionable Australians (Albert Lance, traveling incognito), suspicious Russians (Joseph Rogatchewsky), or worst of all, Americans intent on conquest (Barbara Hendricks, Eartha Kitt, Barbra Streisand, Muriel Smith, and even the spotlight-stealing Daniel Gundlach), these characters are all intent on destroying France’s language and music and must be thwarted at all costs, no matter how appealing their songs might appear to be. Finally, following the heroic actions of Georges Thill, France re-asserts her right to her own repertoire. But it seems that the damage has been done, for Natalie Dessay, Françoise Hardy, and even the formerly trustworthy Hugues Aufray, now seem only interested in singing American pop songs, albeit in French. All in all, an episode packed with intrigue, deception, and glorious singing!

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 classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. 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 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.

Episode 3: Creating Magic, Interview with Nicholas Tamagna, Part 2

October 6, 2019InterviewAkhnaten, Alpha Classics, Arrigo Boito, Arthur Johnston, As long as he needs me, Atlantic Starr, Au mont Ida, Backlash Blues, Bagdad Cafe, Benjamin Britten, Bidu Sayao, Billie Holiday, Calling You, Carnegie Hall, Cesare Siepi, Charles Gounod, Clori Tirsi e Fileno, Daniel Gundlach, Don Carlo, Edvard Grieg, Elisabeth Rethberg, Elisabeth Soderstrom, Emil Cooper, Faust, Franz Schubert, Frederick Schauwecker, Gabriela Benackova, George Frideric Handel, Georgia Brown, Giuseppe Verdi, Hector Berlioz, Hilde Güden, Hilde Gueden, Ich habe genug, Indianapolis Opera, Jacques Offenbach, Janet Baker, János Ferencsik, Jean Morel, Jean Sibelius, Johann Sebastian Bach, Johnny Burke, Judy Garland, Jukka-Pekka Saraste, Jussi Bjorling, La Belle Helene, Le Poeme Harmonique, Leather and Lace, Les Troyens, Lionel Bart, Lorraine Hunt Lieberson, Ludwig van Beethoven, Maria Vitale, Mefistofele, Nicholas McGegan, Nicholas Tamagna, Nina Simone, Oliver!, Pennies from Heaven, Peter Lieberson, Phaedra, Philharmonia Baroque, Philip Glass, Porter Carroll Jr., Reviewing the Situation, Richard Strauss, Rigoletto, Robert Merrill, Roger VIgnoles, Roméo et Juliette, Samuel Ramey, San Francisco Opera, Teddy Wilson, Thelma Votipka, Theodora, Un ballo in maschera, Vera Zorina, Verve Records, Vincent Dumestre, Who will buycountermelody

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Episode 3. Creating Magic (Interview with Nicholas Tamagna, Part 2)

In the second part of our interview Nicholas discusses his early experiences with music, names three of his favorite singers, and riffs further on the themes of language and communication. Musical excerpts include a performance by Leather and Lace, the rock group that featured Nicholas’s mother and aunts, and Nicholas’s youthful stage performances as Oliver and Fagin in the musical Oliver! Nicholas is also featured in recordings of Henry Purcell and Philip Glass and we also include performances by Maria Vitale, Lorraine Hunt Lieberson, Jussi Björling, and Nina Simone.

Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. 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 interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com