Tag Archives: Joseph Sonnleithner

Episode 285. Edda Moser Reappraised

August 31, 2024Art Song, Comic Relief, French Opera, Full-Figured Baroque, Great BaritonesAdelheid Wette, Bruno Weil, Christoph von Dohnányi, Christoph Willibald Gluck, Claudio Nicolai, Clemens von Brentano, Der fliegende Holländer, Die lustige Witwe, Die Zauberflöte, Edda Moser, Elektra, Emanuel Schikaneder, Engelbert Humperdinck, Ernst von Steigentesch, Eugen d’Albert, Euripedes, Franz Lehár, George Frideric Handel, Gerd Feldhoff, Hans Werner Henze, Hänsel und Gretel, Hedwig Lachmann, Heinrich Heine, Heinrich Hollreiser, Heinz Wallberg, Herbert Blomstedt, Hermann Hesse, Hermann Prey, Hugo von Hofmannsthal, Ingeborg Bachmann, Iphigénie en Tauride, Irwin Gage, Ivan Törzs, János Kulka, Jean Dupouy, Jean-Claude Malgoir, Jean-Nicolas Bouilly, Joseph Sonnleithner, Kent Nagano, Leo Stein, Leonore (Beethoven), Lovro von Matačić, Ludwig van Beethoven, Milan Horvat, Nicola Francesco Haym, Nicolas-François Guillard, Oscar Wilde, Pagliacci, Peter Maag, Peter Schneider, Riccardo Muti, Richard Strauss, Richard Wagner, Robert Hale, Ruggero Leoncavallo, Salome, Siegmund Nimsgern, Sophocles, Tannhäuser, Vier letzte Lieder, Viktor Léon, Wolfgang Amadeus Mozartcountermelody

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Lately I have been doing a series of episodes on artists that in my opinion deserve a reassessment, a second glance, if you will. Edda Moser is almost universally regarded as the “best” Queen of the Night that ever walked the earth. Certainly she is the most ominous and menacing, as well as the most monumental of voice and delivery. But there is a false narrative surrounding Frau Moser that over the course of her career, she lost control of her voice and pursued a repertoire that destroyed her voice. In this episode, I plead exactly the opposite: that Moser moved naturally and with dedicated assurance into the heavier roles of Strauss and Wagner, and that her voice from its origins displayed affinity for these more dramatic parts. Some of Edda Moser’s earliest successes were in the stratospheric vocal compositions of Hans Werner Henze, in which she displayed a fearless and limitless virtuosity. During her long career, her roles spanned nearly the entire range of the soprano repertoire, everything from her supreme Mozart characterizations to Hanna Glawari to Nedda to Iphigénie to Senta to Salome. Recently, some late-career live recordings of Edda Moser have appeared on the landscape, and instead of recycling one of my two previous Moser episodes, I have selected choice tidbits from these recordings, as well as more readily available material, that show Moser in all facets of her artistry, focusing on the epic, perhaps, but not overlooking her delicacy, sensitivity, pathos, charm, and delicious sense of humor. Guest singers heard on the episode include some of the finest baritones active during this period, including Siegmund Nimsgern, Hermann Prey, Gerd Feldhoff, Claudio Nicolai, and Robert Hale. Conductors include Heinrich Hollreiser, Riccardo Muti, Herbert Blomstedt, Lovro von Matačić, Christoph von Dohnányi, Kent Nagano, and many others. Give this episode a listen and may find yourself agreeing with me that she is one of the supreme classical vocalists of the twentieth century.

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 279. Ernst Kozub Reappraised

August 11, 2024French Opera, Giacomo Puccini, Giuseppe Verdi, Great Tenors, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Operetta, Richard Strauss, Richard Wagner, Twentieth Century Music, Twentieth Century Opera, Verismo, Wolfgang Amadeus MozartAida, Alan Bush, Albert Lortzing, Alfred Matschat, Antonio Ghislanzoni, Ariadne auf Naxos, Arlene Saunders, Arrigo Boito, Brigitte Fassbaender, Claire Watson, Der goldene Pierrot, Die Zauberflöte, Don Carlo, E.T.A. Hoffmann, Elisabeth Grümmer, Emanuel Schikaneder, Erich Börschel, Erich Leinsdorf, Ernst Kozub, Ferenc Fricsay, Fidelio, Francesco Maria Piave, Franz Bauer Theussl, Friedrich Schiller, Fritz Jöde, Georg Solti, Giacomo Puccini, Giuseppe Giacosa, Giuseppe Verdi, Gundula Janowitz, Günther Wich, Hans Freese, Hans Hermann Henning, Heinz Wallberg, Henri Murger, Hermann Löns, Hilde Zadek, Hoffmanns Erzählungen, Horst Stein, Hugo von Hofmannsthal, Jacques Offenbach, Jean-Nicolas Bouilly, Johann Christoph Grünbaum, Joseph Sonnleithner, Jules Barbier, La Boheme, Leonore, Leopold Ludwig, Les Contes d’Hoffmann, Lohengrin, Ludwig van Beethoven, Luigi Illica, Marie-Louise Girod, Matthias Kuntzsch, Melitta Muszely, Michel Carré, Nancy Bush, Oskar Felix, Otello, Otto Kleiner, Otto van Matzerath, Peter Schreier, Philipp Rumschinski, Richard Strauss, Richard Wagner, Rigoletto, Robert Wagner, Tannhäuser, Theo Adam, Walter Goetze, Walter Schartner, William Shakespeare, Wolfgang Amadeus Mozart, Wolfgang Sawallischcountermelody

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Have you heard of the remarkable German Heldentenor Ernst Kozub? If you haven’t, you’re in for a special treat. And if you have, you know doubt have preconceived notions about him, which I hope that you will be prepared to set aside as I present an episode that explores the many facets of an often unjustly-maligned artist. Throughout his short life (he died in December 1971 shortly before his 48th birthday), Ernst Kozub performed a wide range of roles and styles of music, but he was certainly most celebrated for his Wagner and Strauss roles, as well as for his Florestan in Fidelio. The musical selections I have chosen today surround him with some of the most impressive of the jugendlich dramatisch soprano voices of the era, including Hilde Zadek, Melitta Muszely, Elisabeth Grümmer, and Gundula Janowitz, with special emphasis placed on two American sopranos whose careers were primarily based in Europe: Arlene Saunders and Claire Watson. Kozub also performs Schlager, operetta, Jewish cantorial music, nostalgic quasi-folk music, and operas by Offenbach, and Puccini, as well as his particular favorite, Verdi, all sung in German translation.

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 222. Shirley Verrett, Falcon Sfogatissima

November 9, 2023African American Singers, Art Song, Bel canto, French Opera, Full-Figured Baroque, Giacomo Puccini, Giuseppe Verdi, Great Baritones, Great Tenors, In Memoriam, Lieder, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Protest Songs, Richard Wagner, Singers of Color, Twentieth Century Music, VerismoAchille de Lauzières, Aida, Alceste, Anton Guadagno, Antonio Ghislanzoni, Antonio Somma, Arrigo Boito, Bernard Haitink, Camille du Locle, Camille Saint-Saens, Christoph Willibald Gluck, Claudio Abbado, Don Carlo, Edward Downes, Eugène Scribe, Euripedes, Euripides, Eve Queler, Ferdinand Lemaire, Fidelio, Francesco Maria Piave, François-Benoît Hoffmann, François-Louis Gand le Bland du Roullet, Friedrich Schiller, George Frideric Handel, Georges Pretre, Giacomo Puccini, Giuseppe Giacosa, Giuseppe Verdi, Grace Bumbry, Iphigénie en Tauride, James McCracken, Jan Behr, Jean-Nicolas Bouilly, Johannes Brahms, Joseph Méry, Joseph Sonnleithner, Kenneth Montgomery, Leonard De Paur, Luciano Pavarotti, Ludovico Ariosti, Ludwig van Beethoven, Luigi Cherubini, Luigi Illica, Macbeth, Marius Nygaard, Medée, Messa da Requiem, Michael Schønwandt, Norma, Otello, Pete Seeger, Ranieri de’ Calzabigi, Richard Wagner, Robert Massard, Samson et Dalila, Sarah Caldwell, Seiji Ozawa, Sherrill Milnes, Shirley Verrett, Stefan Soltesz, Tristan und Isolde, Un ballo in maschera, Veriano Luchetti, Victorien Sardou, Vier ernste Gesänge, Vincenzo Bellini, Warren Wilson, William Shakespeare, Zubin Mehtacountermelody

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It is hard to believe that it’s already been 13 years since the death of Shirley Verrett on November 5, 2010. It has also already been four years since I did a pair of episodes on this extraordinary and beloved artist, and this anniversary gives me the perfect excuse to revisit the work of this mezzo-soprano turned soprano who more than any other singer in my experiences (even soon-to-be birthday girl Maria Callas) was capable of singing nearly anything. This type of singer is sometimes referred to as a soprano sfogato (or a falcon, after the 19th century French mezzo-cum-soprano Cornélie Falcon. Since Verrett, like Falcon, sang both mezzo and soprano, I instead coin the term falcon sfogatissima to describe her vocal magic. This episode is chock full of examples of Verrett’s impassioned yet technically-grounded vocalism, from art songs by Brahms and Pasatieri to operatic roles by Handel, Gluck, Cherubini, Bellini, Puccini, and Verdi (including both soprano and mezzo roles in Aida and the Messa da Requiem and soprano roles in Ballo in Maschera, Macbeth, Don Carlo, and Otello). I close the episodes with Verrett’s astonishing but limited forays into the German operatic repertoire. Her collaborators on this episode include conductors Seiji Ozawa, Claudio Abbado, Bernard Haitink, Zubin Mehta, Eve Queler, Georges Prêtre, Sarah Caldwell, and the late Kenneth Montgomery; and fellow operatic greats Sherrill Milnes, Luciano Pavarotti, James McCracken, Robert Massard (last week’s featured artist), and her frenemy the late Grace Bumbry.

Episode 200. Whole Lotta Lotte (Lehmann!)

June 9, 2023Art Song, Giacomo Puccini, Lieder, Music for a World in Crisis Series, Needle Drop, Operetta, Orchestral Songs, Richard Strauss, Richard Wagner, Schubert, Singers in Old Age, Twentieth Century Music, Twentieth Century Opera, VerismoAlfred Maria Willner, Amin Maalouf, Anne Sofie von Otter, Arabella, Arturo Toscanii, Astrud Gilberto, Ben Johnson, Bruno Seidler-Winkler, Christian Karlsen, Christian L’Egru, Das Wunder der Heliane, Der Rosenkavalier, Die tote Stadt, Eduard Mörike, Erich Wolfgang Korngold, Ernő Balogh, Fidelio, Franco Alfano, Franz Lehár, Franz Schubert, Franz von Schober, Georg Philipp Schmidt von Lübeck, Georg Szell, George Szell, Giacomo Puccini, Giovacchino Forzano, Giuseppe Adami, Hans Müller-Einigen, Hermann Weigert, Hugo von Hofmannsthal, Hugo Wolf, Johannes Brahms, Joseph Sonnleithner, Kaija Saariaho, Käte Heidersbach, Käthe Heidersbach, Klaus Growth, Kurt Robitschek, Lotte Lehmann, Ludwig van Beethoven, Manfred Gurlitt, Paul Ulanowsky, Rainer Maria Rilke, Renato Simoni, Richard Jäger, Richard Strauss Heinrich Hart, Richard Tauber, Richard Wagner, Robert Bodanzky, Robert Schumann, Robert Stolz, Suor Angelica, Turandot, Walter Wanderley, Wilhelm Müllercountermelody

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Today we observe a significant event in the history of Countermelody, namely, our 200th episode! I decided that there was no better way to celebrate than to devote a full episode to the great Lotte Lehmann (1888-1976), who vies with Claudia Muzio as one of my two favorite singers of all time. Lehmann was originally a conservatory flunkie, but somehow got her act together to become one of the most expressive and imaginative singers, both of opera and of art song, that ever lived. From the first time I heard this warm, enveloping voice allied to a theatrical, emotional style of delivery, I was in love. Though I have frequently featured her in individual cuts on the podcast, this is the first time she has been featured on her own episode. She is heard in live, studio, and radio recordings made between the years 1916 and 1958, all of which reveal her in all aspects of her sublime artistry and in the company of some of the greatest artists of her era, from Arturo Toscanini to Richard Tauber to George Szell, to her preferred accompanist, Paul Ulanowsky. Choosing the selections for this week’s program was like reencountering an old friend. The episode begins with a brief tribute to the late Finnish composer Kaija Saariaho, who died a week ago at the age of 70 and to the evocative singer Astrud Gilberto, who died this past week at the age of 83.