Tag Archives: John Pritchard

Episode 127. Maria Ewing in Memoriam (Black History Month 2022)



The exceptional, distinctive Maria Ewing died of cancer on January 9 at her home outside of her native Detroit at the age of 71. Even before her death, I had been planning an episode on Maria Ewing, who last fall received an enormous amount of press as the mother of actor and director Rebecca Hall, whose latest film, Passing, was hitting the screens in a big way. The film is about two light-skinned Black friends in the 1920s, one of whom makes the conscious decision to present as white. The implication in much of the press was that Maria Ewing had done the same and was being taken to task for having done so. In actuality, Maria Ewing spoke frequently about her father’s apparent African American roots, and never actively tried to hide her (at times murky) family history. But, I submit to you, this is not the real story. In this episode, the first of my Black History Month 2022 series, I attempt to present as full a musical portrait of the artist as possible, allowing listeners to experience the unique musical and dramatic genius (and I use the term advisedly) of this fascinating artist. Few singers can survive comparison with Maria Callas. Maria Ewing, for all her demonstrable flaws, was one of the few artists that merit such a comparison. In this episode we hear Ewing in a wide range of material, from Purcell’s Dido to Puccini’s Tosca, with a nod to her two most famous roles, Carmen and Salome; an emphasis on both her Mozart portrayals and a focus on her aplomb with French music; and a sampling of her flair for pop music and jazz. I also discuss her sometimes controversial vocalism and role assumptions which in turn led to her blanket dismissal by her detractors. But in the end, it is her fascinating combination of carnality and innocence which made her unique. I remain, as I always have been, a devoted member of Club Ewing. This is a long-overdue Countermelody tribute to a unique and irreplaceable singer.

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 108. Christiane Eda-Pierre



Today’s episode is a memorial tribute to the great Martinique-born French soprano Christiane Eda-Pierre on the first anniversary of her death. When this artist died on 6 September 2020 at the age of 88, I posted this episode as a bonus exclusively for my Patreon subscribers. Because a number of my listeners have inquired if I have ever devoted an episode to this artist, I have decided to release this episode to the general public. Researching Christiane Eda-Pierre was a journey of discovery for me, as I only knew the soprano’s commercial recordings and live performances from the Met. But believe me, there is so much more to this singer than this. From the French baroque repertoire through contemporary works dedicated specifically to her, Christiane Eda-Pierre brought extraordinary gifts: a voice of beauty and clarity, well-modulated from top to bottom, a near-perfect technique capped by a flawless trill, a profound musical sensibility, and a searing dramatic intensity that surprised me. I present excerpts from the full range of her repertoire, from Rameau and Handel in the Baroque period through the bel canto of Rossini and Bellini, to the glories of 19th century French opera, a genre that, in my opinion, represents her at her absolute best, to contemporary masterpieces written expressly for her by Charles Chaynes and Olivier Messiaen. It is my fervent wish that you find as much delight in this great artist as I have.

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 exclusively to Patreon supporters are currently available.


Episode 85. George Shirley @ 87



Today I finally get to pay tribute to one of the singers who was a formative influence on me as a budding opera and vocal aficionado. George Shirley, born on April 18, 1934 in Indianapolis, Indiana, was one of the most versatile tenors of the second half of the twentieth century, and a pathbreaker as the first African American tenor to sing at the Metropolitan Opera. I first encountered him through his matchless portrayal of Pelléas in Debussy’s Pelléas et Mélisande opposite Elisabeth Söderström. But his Mozart is equally celebrated: the podcast also features live and studio recordings of George Shirley as Tamino (opposite Judith Raskin), Don Ottavio, Ferrando (opposite Leontyne Price),  as well as his extraordinary Idomeneo. Extant live performances of George Shirley including assumptions of roles as diverse as Don José (opposite Shirley Verrett), David in Die Meistersinger, Pinkerton (opposite an incandescent young Renata Scotto), Mephistopheles in Busoni’s Doktor Faust, and even Bacchus in Ariadne auf Naxos. All of these are included in the episode, as are rare song recordings from throughout his career. Raise a glass to the great George Shirley, and join me in thanking him for having shared his extraordinary artistic gift with us for all these years!

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 61. Margaret Price I: The Voice of Consolation (Music for a World in Crisis V)



Our world seems to be falling apart, both in the personal and in the global sense. I sustained an enormous personal loss this week when my dear friend Fred Berndt, the great German stage director, died suddenly on Friday. But we are all feeling an enormous sense of despair, of hopelessness, even of rage. Even before Fred’s death, I recognized that this episode needed to offer a message of hope to those who are finding it difficult to negotiate the world right now. The voice that has spoken to me most in my sadness is the Welsh soprano Margaret Price (1941-2011), whose distinctively cool yet engaged timbre, scrupulous musicianship, and communicative gifts prove unfailingly capable of conveying comfort and consolation to those who are distressed or grieving. I offer a survey of the career of this exemplary singer, a personal favorite of mine, in a wide range of repertoire including opera, oratorio, and art song. Composers include her specialties Mozart and Verdi, as well as Brahms, Strauss, Schumann, Schubert, Weber, Elgar, and the undervalued British composer Phyllis Tate. Collaborators include Otto Klemperer, Claudio Abbado, John Pritchard, Alain Lombard, Adrian Boult, and her mentor, the pianist and conductor James Lockhart, among many others. I hope that Margaret Price and her voice of consolation bring you much solace.

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.


Episode 39. Pathos à la Cotrubas



Several weeks ago I began a series on particular vocal and artistic qualities that I find most important in a singer’s artistic profile. I had already done episodes on Charm and Glamour. Then the BLM protests intervened and I felt impelled to respond with two episodes examining Protest in Music. Today I resume my previous series with that all-important artistic trait Pathos. And who better exemplifies Pathos than the great Romanian soprano Ileana Cotrubas, who celebrated her 81st birthday this past week? Cotrubas was a deeply expressive and communicative artist who gained heights and plumbed depths that (in my estimation) no other artist of her generation was able to achieve. In this episode, I examine the earliest projects that brought her to international prominence, including the Glyndebourne production of Cavalli’s La Calisto, in which she sang the title role. I devote ample time to her traversals of Mozart operas, including her surprising (and surprisingly effective) assumption of Konstanze in Die Entführung aus dem Serail. Pausing briefly to acknowledge her work in the French repertoire and the bel canto soubrette parts, I then turn to her two greatest assumptions, Mimì in La bohème and Violetta in La Traviata. In relation to these I offer excerpts from live performances with Carlos Kleiber and Bruno Bartoletti. I conclude with a discussion of how her vocal flaws revealed her humanity in a way that an artist with a more perfect voice and technique might not have achieved, while never compromising musical values. The episode begins with a brief tribute to another singer of a different stripe who also exemplified Pathos: Judy Garland, who celebrated her 99th birthday this past week, and the 51st anniversary of whose death we commemorate next week.

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.