Tag Archives: L’incoronazione di Poppea

Episode 232. Janet Williams and Paul Padillo Introduce Maria Ewing (Listeners’ Favorites III)

January 7, 2024African American Singers, Bel canto, Black History Month, Crossover, Giacomo Puccini, Gustav Mahler, In Memoriam, Listeners' Favorites, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Operetta, Orchestral Songs, Richard Strauss, Singers of Color, Twentieth Century Opera, Verismo, Wolfgang Amadeus MozartAndrew Davis, Antonio de Almeida, Bernard Haitink, Bob Merrill, Carl Orff, Carmen, Carol Neblett, Christiane Eda-Pierre, Claude Debussy, Claudio Abbado, Claudio Monteverdi, Dale Duesing, Dennis Bailey, Dido and Aeneas, Dmitri Shostakovich, Don Giovanni, Elizabeth Collier, Eric Tappy, Francis Poulenc, François Le Roux, Funny Girl, George Bizet, Giacomo Puccini, Gioacchino Rossini, Gustav Mahler, Harold Arlen, Henri Meilhac, Henry Purcell, Horst Stein, Iain Sutherland, Idomeneo, Il barbiere di Siviglia, Jacques Offenbach, James Levine, Janet Williams, Jean Cocteau, Jean Rigby, Jerome Kern, John Pritchard, John Wilson, Jule Styne, Jules Massenet, Kurt Masur, L’incoronazione di Poppea, La Périchole, La voix humaine, Lady Macbeth of Mtsensk, Le nozze di Figaro, Leonard Slatkin, Lorenzo da Ponte, Ludovic Halévy, Marc Soustrot, Maria Ewing, Maurice Maeterlinck, Maurice Ravel, Myung-Whun Chung, Nahum Tate, Oscar Hammerstein II, Oscar Wilde, Patrick Devin, Paul Padillo, Pelleas et Melisande, Raymond Leppard, Richard Hickox, Richard Rodgers, Richard Rodney Bennett, Richard Strauss, Romano Gandolfi, Ruggero Raimondi, Salome, Shane Hill, Shéhérazade, Siegmund Nimsgern, Simon James, Simon Rattle, South Pacific, Sylvain Cambreling, Ted Koehler, Tosca, Tristan Klingsor, Werther, Wolfgang Amadeus Mozartcountermelody

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January 9 is already the second anniversary of the death of the iconoclastic (and iconic) Maria Ewing, who died of cancer in her home outside of her native Detroit on January 9, 2022. She was an artist both admired and derided during her lifetime, whose importance since her death has only become more apparent. It so happens that two of my most faithful listeners, Janet Williams and Paul Padillo, chose the episode that I published in her honor as their favorite episode. Paul is a passionate opera advocate who maintains a blog as well as a Facebook page in which he writes with extraordinary eloquence about the musical genre we all adore. Janet is celebrated throughout the world as one of the finest singers of her generation who has gone on to become one of the most important voice teachers in the world today, teaching, with compassion and common sense, a technique grounded in the essentials of bel canto. Their spoken introductions to the episode highlight different aspects of what made Ewing so special. For Paul, he became a lifelong fan after hearing her performance of Blanche de la Force in Poulenc’s operatic masterpiece, The Dialogues of the Carmelites. For Janet, it was a shared provenance (both were natives of Detroit) as well as a common mentor, the late David Di Chiera, who founded and ran Michigan Opera Theatre, the company featured both Maria and Janet in some of their first operatic appearances. Maria’s passing hit me particularly hard because at the time of her death, I was in the midst of creating a special episode in her honor and had been immersing myself in her fascinating performances, finding myself more and more in awe of her one-of-a-kind artistry. This tribute episode is simply not to be missed.

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 211. Janet Baker @ 90

August 25, 2023UncategorizedAchim von Arnim, Anthony Lewis, Beverly Sills, Caterino Mazzolà, Christian Friedrich Henrici, Christopher Hassall, Claudio Monteverdi, Clemens Brentano, Des Knaben Wunderhorn, Dido and Aeneas, Ernest Lush, Felice Romani, Geoffrey Chaucer, Gioacchino Rossini, Giovanni Francesco Busanello, Giuseppe Patanè, Giuseppe Verdi, Gustav Mahler, Heinrich Heine, Henry Purcell, Hippolyte et Aricie, Hugo von Hofmannsthal, I Capuleti e i Montecchi, Janet Baker, Jean Baptiste Racine, Jean-Philippe Rameau, Johann Sebastian Bach, Johannes Brahms, John Pritchard, Klaus Growth, L’incoronazione di Poppea, La Cenerentola, La Clemenza di Tito, Martin Isepp, Maurice Delage, Melos Ensemble, Nahum Tate, Neville Marriner, Norman Del Mar, Norman Foster, Ottorino Respighi, Picander, Pietro Metastasio, Raymond Leppard, Renata Scotto, Richard Strauss, Robert Ferguson, Roberto Ascoli, Simon-Joseph Pellegrin, Thomas Dunhill, Troilus and Cressida, Vasil Stefanov, Vincenzo Bellini, William Shakespeare, William Walton, Wolfgang Amadeus Mozartcountermelody

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This past week the opera world was plunged into mourning over the sudden death of Renata Scotto. Originally I had intended this week’s episode to be devoted to her memory. But I can’t even speak her name without bursting into tears. In other words, I need more time as I try to come to terms with her demise. I have decided to feature the matchless singing actor in the first episode of Season Five. In the meantime, we have another momentous occasion (and artist) to acknowledge: the 90th birthday of the English Rose: the phenomenal Janet Baker. Given that I could probably devote an entire podcast to Dame Janet, and given the wealth of material in my personal collection featuring this artist, much of it rare and unusual, I have chosen to feature this beloved artist in her third full Countermelody episode. There are few vocal artists in the history of classical music who have exhibited greater versatility than Janet Baker; this episode features many rare performances across the entirety of her long career of repertoire in which she had virtually no equal, as well as music in which she also excels but which might prove surprising. Thus we hear the expected mélodie, Lied, British song and Bach aria alongside Purcell’s Dido and pants roles by both Mozart and Richard Strauss. But we also hear such surprises as Monteverdi’s Poppea (sinuously and surprisingly sexy), Bellini’s Romeo (opposite Beverly Sills), William Walton’s Cressida (in the 1976 version of his opera Troilus and Cressida refashioned expressly for Baker), and a sublime extended orchestral song by Respighi, as well as the ultimate jaw-dropper, Rossini’s Cenerentola! We wish long life and continued health and vitality to one of the greatest mezzo-sopranos of the twentieth century!

Episode 170. Oralia Domínguez

November 11, 2022Art Song, Bel canto, French Opera, Full-Figured Baroque, Giuseppe Verdi, Gustav Mahler, Happy Birthday, In Memoriam, Mezzo Madness, Mirella Freni, Music for a World in Crisis Series, Needle Drop, Singers of Color, Twentieth Century MusicAida, Albert de Klerk, Alberto Zedda, Alceste, Alcina, Antonio Ghislanzoni, Antonio Vivaldi, Arrigo Boito, Camille Saint-Saens, Christoph Willibald Gluck, Claudio Monteverdi, Das Lied von der Erde, Edmundo Baez, Eugène Scribe, Euripides, Falstaff, Federico García Lorca, Felix de Nobel, Ferdinand Lemaire, Ferenc Fricsay, Gaetano Donizetti, George Frideric Handel, George van Renesse, Georges Bizet, Geraint Evans, Gioacchino Rossini, Giovanni Francesco Busenello, Giuseppe Verdi, Guido Picco, Gustav Mahler, Hans Bethge, Henri Meilhac, Irène Aïtoff, Jean Fournet, Jean Martinon, Joan Sutherland, Johann Wolfgang von Goethe, József Simándy, Juditha triumphans, Jules Massenet, L’incoronazione di Poppea, La favorita, La favorite, La Gioconda, Lamberto Gardelli, Li-Tai-Po, Ludovic Halévy, Ludovico Ariosti, Maria Callas, Martina Arroyo, Mirella Freni, Monica Sinclair, Nelly Wagenaar, Nicola Rescigno, Oliviero de Fabritiis, Oralia Dominguez, Paul Kletzki, Petite messe solennelle, Prosper Mérimée, Ranieri de’ Calzabigi, Raymond Leppard, Richard Kraus, Salvador Moreno, Samson et Dalila, Silvestre Revueltas, Victor Hugo, Vittorio Gui, Werther, William Shakespearecountermelody

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Earlier this year, in an episode entitled “Women of Color Sing Mahler,” I provided many of my listeners to their first exposure to the Mexican contralto Oralia Domínguez (25 October 1925 – 25 November 2013). Domínguez is famed for her collaborations with such musical giants as Maria Callas and Herbert von Karajan, but on her own terms, she ranks alongside those monumental true contraltos like Marian Anderson and Kathleen Ferrier. Though there is no question that she was underrecorded, she left a handful of classic commercial recordings, and a plethora of recorded live performances which an artist both technically grounded and fearless in expression, one whose legato singing exuded repose just as her phenomenal coloratura singing generates genuine excitement. I cannot say enough about this artist, who has rapidly become one of my very favorites! The episode features Domínguez in a wide range of material, from Monteverdi, Handel, and Vivaldi to the meat and potatoes roles in the standard operatic repertoire (Verdi, Rossini, Donizetti, Ponchielli, Saint-Saëns, Massenet) as well as less familiar fare by Michael Tippett and Mexican composers Silvestre Revueltas and Salvador Moreno. Along the way our Earth Goddess is joined by fellow singers Joan Sutherland, Martina Arroyo, Mirella Freni, József Simándy, Monica Sinclair, and, of course, Maria Callas. A bonus episode published concurrently on Patreon presents Domínguez in extended operatic scenes and further rare song material.

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

February 4, 2022African American Singers, Bel canto, Black History Month, Broadway, Crossover, French Opera, Full-Figured Baroque, Giacomo Puccini, Gustav Mahler, In Memoriam, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Operetta, Richard Strauss, Singers of Color, Twentieth Century Music, VerismoAndrew Davis, Antonio de Almeida, Bernard Haitink, Bob Merrill, Carl Orff, Carmen, Carol Neblett, Christiane Eda-Pierre, Claude Debussy, Claudio Abbado, Claudio Monteverdi, Dale Duesing, Dennis Bailey, Dido and Aeneas, Dmitri Shostakovich, Don Giovanni, Elizabeth Collier, Eric Tappy, Francis Poulenc, François Le Roux, Funny Girl, George Bizet, Giacomo Puccini, Gioacchino Rossini, Gustav Mahler, Harold Arlen, Henri Meilhac, Henry Purcell, Horst Stein, Iain Sutherland, Idomeneo, Il barbiere di Siviglia, Jacques Offenbach, James Levine, Jean Cocteau, Jean Rigby, Jerome Kern, John Pritchard, John Wilson, Jule Styne, Jules Massenet, Kurt Masur, L’incoronazione di Poppea, La Périchole, La voix humaine, Lady Macbeth of Mtsensk, Le nozze di Figaro, Leonard Slatkin, Lorenzo da Ponte, Ludovic Halévy, Marc Soustrot, Maria Ewing, Maurice Maeterlinck, Maurice Ravel, Myung-Whun Chung, Nahum Tate, Oscar Hammerstein II, Oscar Wilde, Patrick Devin, Pelleas et Melisande, Raymond Leppard, Richard Hickox, Richard Rodgers, Richard Rodney Bennett, Richard Strauss, Romano Gandolfi, Ruggero Raimondi, Salome, Shane Hill, Shéhérazade, Siegmund Nimsgern, Simon James, Simon Rattle, South Pacific, Sylvain Cambreling, Ted Koehler, Tosca, Tristan Klingsor, Werther, Wolfgang Amadeus Mozartcountermelody

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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.

Episode 107. Norman Bailey and Friends

September 19, 2021African American Singers, Art Song, Broadway, Giuseppe Verdi, Great Baritones, In Memoriam, Lieder, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Pop Icons, Richard Strauss, Richard Wagner, Twentieth Century MusicAlan Curtis, Alan Jay Lerner, Alban Berg, Alexander Gibson, Allegro (Rodgers & Hammerstein), Buddy Bregman, Burton Lane, Carlo Gaifa, Carmen Balthrop, Claudio Monteverdi, Cora Johnson, David Atherton, Die Liebe der Danae, Eduard Mörike, Friedrich Rückert, Geoffrey Parsons, Georges Pretre, Giuseppe Verdi, Jane Powell, Jeanette MacDonald, Johannes Brahms, John Constable, John DeMain, José Cáceres, Joseph Gregor, King Priam (Tippett), Kristine Ciesinski, L’incoronazione di Poppea, La sonnambula, La Traviata, Lulu (Berg), Maria Callas, Michael Tippett, Norman Bailey, Olivier Messiaen, Oscar Hammerstein II, Peter Warlock, Philip Langridge, Pink Martini, Reginald Goodall, Richard Rodgers, Richard Strauss, Richard Wagner, Robert Schumann, Royal Wedding, Scott Joplin, Thomas Lauderdale, Treemonisha, Vier ernste Gesänge, Vincenzo Bellinicountermelody

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Death has had a busy month in the music world, especially this past week, when we lost the great British Heldenbariton Norman Bailey and the delectable Hollywood star Jane Powell. This past week was also the memorial service for the soprano Carmen Balthrop, who died of pancreatic cancer on September 5. My original intent was to devote the episode to Norman Bailey, but when Jane (with whom I had a personal relationship, having been her late husband Dick Moore’s personal assistant from 2009-2012) also died, I realized I had to do an omnibus episode of sorts. I begin with several selections each from both of the recently departed divas and then plunge headlong into an appreciation of the voice, technique and artistry of the great Norman Bailey, featuring him in opera excerpts not just by Wagner, in whose music he excelled, but also by Verdi, Richard Strauss, and Michael Tippett. He is also featured in recordings from the 1970s of songs by Schumann, Brahms, Hugo Wolf, and Peter Warlock. The episode concludes with a tribute to Maria Callas on the 44th anniversary of her death on September 16, 1977.

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 105. Teresa Żylis-Gara In Memoriam

September 5, 2021Art Song, Behind the Iron Curtain, Bel canto, Full-Figured Baroque, Giacomo Puccini, Giuseppe Verdi, In Memoriam, Music for a World in Crisis Series, Needle Drop, Richard Strauss, Twentieth Century MusicAntonín Dvořák, Charles Gounod, Claudio Monteverdi, Don Giovanni, Erik Werba, Faust, Frédéric Chopin, Fritz Lehan, George Frideric Handel, Giacomo Puccini, Gianluigi Gelmetti, Giuseppe Verdi, Guglielmo Tell, Günther Wich, Halina Czerny-Stefańska, I vespri siciliani, Jacek Kaspszyk, Jacques Delacôte, Jerzy Marchwiński, Johann Sebastian Bach, Karol Szymanowski, Kazimierz Kord, L’incoronazione di Poppea, La Boheme, Lorin Maazel, Otello, Pyotr Il’yich Tchaikovsky, Richard Strauss, Rusalka, Teresa Żylis-Gara, Turandot, Ulrich Weder, Un ballo in maschera, Waldemar Malicki, Wilhelm Ernst, Wolfgang Amadeus Mozart, Wolfgang Gönnenwein, Yevgeny Onegin, Zubin Mehtacountermelody

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One of my very favorite singers, the Polish soprano Teresa Żylis-Gara, died on Saturday 28 August at the age of 91. I had been planning a birthday episode dedicated to her next January, but instead I present a heartfelt tribute in memoriam. Over a long career and as her voice developed, Żylis-Gara moved deftly and skillfully from performances of Baroque music through French, Russian, Verdi, and Puccini and even verismo heroines, always with her trademark vocal glamour, technical acuity and musical refinement. I offer live and studio examples of this under-recorded artist, a favorite at the Metropolitan Opera between 1968 and 1984, including early Monteverdi, Bach, and Handel, moving through her career-making assumption of Donna Elvira in Don Giovanni and touching also on her recital work, and concluding with her definitive performances of Desdemona in Otello and Richard Strauss’s Vier letzte Lieder.

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. Twenty-five exclusive bonus episodes are currently available to Patreon supporters.

Episode 80. Sad Songs (with a twist)

March 14, 2021Art Song, Comic Relief, Full-Figured Baroque, Great Baritones, Gustav Mahler, In Memoriam, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Schubert, Twentieth Century Music, Voiceless WondersAlexander Young, Alfredo Simonetto, Andréa Guiot, Ariettes oubliées, Banalités (Poulenc), Bernard Kruysen, Bethany Beardslee, Brigitte Fassbaender, Castor et Pollux (Rameau), Cathy Berberian, Charles Griffes, Charles Panzéra, Christoph Willibald Gluck, Claude Debussy, Claudio Monteverdi, Das Lied von der Erde, Dido and Aeneas, Die schöne Müllerin, Dylan Thomas, Eduard Mörike: Mörike-Lieder (Wolf). Irmgard Seefried, Felix de Nobel, Fiona MacLeod, Francis Poulenc, Franz Schubert, Gabriel Faure, George Szell, Georges Pretre, Gérard Souzay; Dalton Baldwin, Giacomo Puccini, Giovanni Francesco Busenello, Guillaume Apollinaire, Gustav Mahler, Heinrich Heine, Henry Purcell, Hugo Wolf, Igor Stravinsky, Irwin Gage, Jacques Leguerney, James Joyce, Janet Baker, Jayme Ovalle, Jean Fournet, Jean-Baptiste Rameau, Jean-Paul-Égide Martini, Jeanette Scovotti, Johannes Brahms, John Dowland, Jorma Hynninen, Julian Bream, Kurt Ollmann, L’incoronazione di Poppea, Les dialogues des Carmélites, Lois Marshall, Madeleine Panzéra-Baillot, Magda Olivero, Manuel Bandeira, Maria Callas, Mary Dibbern, Nan Merriman, Nikolaus Harnoncourt, Noël Lee, Orphée et Eurydice, Paul Verlaine, Peter Pears, Phyllis Bryn-Julson, Pierre Bernac, Ralf Gothoni, Renée Doria, Reynaldo Hahn, Robert Helps, Robert Schumann, Seiji Ozawa, Suor Angelica, Victor Graef, Vier ernste Gesänge, Wilhelm Müller, William Sharp (Fiona MacLeod)countermelody

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It’s been a year since the pandemic sent us all into various degrees of lockdown, panic, and depression. In certain parts of the world there is no end in sight, while in other parts, medical expertise is being blatantly defied as lockdown measures are carelessly lifted. I did a survey of my friends and listeners this week regarding their favorite sad songs, and I got hit with an avalanche of a wide range of not-happy music. In this episode I am limiting myself to so-called “classical” music. Because the music itself is so heavy, I impersonate (at the top of the episode) a radio announcer for WOKE-FM, a fictional Milwaukee “Top 40 Classical Radio Station,” who is taking calls from all over the world from listeners requesting their favorite sad music. These spurious callers have invariably good taste, and request some glorious music, albeit very sad indeed, by some transcendent performers, including Irmgard Seefried, Maria Callas, Janet Baker, Pierre Bernac, Nan Merriman, Lois Marshall, Peter Pears, and two beautiful French sopranos, Renée Doria and Andréa Guiot, who, at extremely advanced ages, each recently departed this earth. Composers from Dowland, Rameau, and Monteverdi are represented, alongside Poulenc, Schubert, Mahler, Debussy, and Stravinsky. The episode also includes guest vocal appearances by singers, including Cathy Berberian, Magda Olivero, Charles Panzéra, Jorma Hynninen, and Bethany Beardslee, who will receive full-episode treatment in the near future. Ultimately, we return to the atmosphere of a normal Countermelody episode, and are deeply moved by the singers, composers, and music represented.

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.