Today I present to you the American lyric tenor Frank Lopardo, who from 1984 through 2014 appeared in all the major opera houses of the world, celebrated particularly for his Mozart and Rossini roles. Too often today these superb singers even from the recent past are forgotten by today’s audiences, and my listeners know that it is always a mission of mine to celebrate great artists who, for whatever reason, are not in the forefront of the public’s awareness. In Frank’s case, I suggest it has absolutely nothing to do with his stellar voice and astounding technique. Some singers are content to do their job and live their lives and serve the music and the art form to the best of their considerable abilities without engaging in antics or self-destructive behavior. A quick glance at Frank’s accomplishments and the musicians with whom he collaborated makes it immediately clear that his career unfolded naturally and organically at the highest levels. Today’s episode explores the infinite variety of Lopardo’s artistry and his impeccable musicianship and technique, which aided him in his pursuit of always discovering new aspects of the central roles in his career. Conductors with whom he collaborated (and as heard on the episode) include Georg Solti, Claudio Abbado, Ion Marin, Riccardo Muti, Robert Spano, and the late Seiji Ozawa. While Lopardo was never tempted to move outside the natural confines of his lyric voice, he did in the final years of his career, move into some of Verdi’s larger lyric tenor parts, in operas like Un ballo in maschera and Simon Boccanegra, both of which are sampled here. We also hear Frank in duet with some of his favorite colleagues, including memorable Chilean sopranos Verónica Villarroel and Cristina Gallardo-Domâs. It was all I could do not to entitle this episode Lopardopalooza, ‘cause that’s exactly what it is!
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.
What is there to say about today’s featured artist, Maria Callas, who was born 100 years ago today? So many of my esteemed colleagues are weighing in with their Callas tributes today (both encyclopedic and deeply perceptive and knowledgeable) and there are all varieties of reconstituted Callas material also suddenly appearing, from newly-colorized films of Callas in action to virtual concerts with Maria as hologram, to some new biopic (goddess forbid!), to audio remasterings both laudable and ridiculous. I have nothing comparably “new” or erudite to add to the mix, so can only offer an episode predicated on my encounters with the voice and artistry of Maria Callas. There is no singer in the history of opera more important to me (and, I daresay, to opera in general) than Callas, who revolutionized bel canto and set completely new standards for every type of role she sang. I have chosen from among my favorite (live) Callas material to supplement my musings, going as far back as her Norma and Macbeth in 1952 and as late as her 1974 comeback and her last recording, made the year before her untimely death. In these musical excerpts, La Divina is joined by tenor colleagues (and Countermelody favorites) Cesare Valletti, Jon Vickers, and Franco Corelli. As I listened to Callas this week, I remarked anew at her creative genius, which sprang primarily from faithfulness to the written score, and a burning need to make every phrase she intoned “say something.” May this episode be as cathartic a listening experience for you as it was for me in preparing it. Maria per sempre!
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.
The Italian-American lyric coloratura soprano Anna Moffo (1932-2006) is, for many, one of the great singers of the past century. My first exposure to this artist was one of two, frankly, disastrous recordings released in the mid-1970s, in which the voice was a mere shadow of its former self, and in which her vocal defects and mannerisms had overtaken the intrinsic beauty of her voice. But there are so many exceptional qualities to Moffo as an artist, musician, and media star, that I felt compelled to do a frank reappraisal of her contribution to the lyric art. And am I glad that I did! I discovered an artist of great integrity who, in her best work, attained a similar level to any of the other great singers performing during that period. Unlike any other opera singer that I can think of, she conquered three distinct markets with equal success: first in Italy (where she rose to overnight stardom in the late 1950s and went on in the 1960s to become the star of her own eponymous television series); then in the United States throughout the 1960s; and finally, in the late 1960s and 70s, in Germany. But hers is also a cautionary tale of “too much, too soon” and the potentially destructive power of the media which has significance also in today’s opera world. Throughout the episode, live and studio examples of Moffo’s work, both bad and (mostly) good over the course of more than twenty years, are offered to support my discussion of her importance and influence as an artist, one that continues to this day. Vocal guest stars include tenors Carlo Bergonzi, Rudolf Schock, Giuseppe di Stefano, and Sergio Franchi, and musical collaborators include Tullio Serafin, Gerald Moore, Lorin Maazel, Hans Rosbaud, Fernando Previtali, Lehman Engel, Oliviero de Fabritiis, René Leibowitz, Kurt Eichhorn, Berislav Klobučar, and Franco Ferrara. For those who love Moffo, for those who hate her, and for those who find themselves somewhere in between, this episode is (dare I say it?) required listening.
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.
Today’s episode is an interview I did with Ira Siff, artistic director of La Gran Scena Opera Company di New York, alter ego of the beloved “traumatic soprano” Vera Galupe-Borszkh, lecturer for the Metropolitan Opera Guild and Weekly Commentator on the Metropolitan Opera broadcasts. My association with Ira and Gran Scena goes back more than thirty years, when he provided me with my first employment as a singer when my alter ego Daniela della Scarpone sang for two years with the renowned travesty opera company. I sat down with Ira in his East Village apartment last this past January for a wide-ranging interview in which we discuss his early days as a standee at the old Met (where some of his opera-going experiences included Maria Callas’s final Tosca performances, Renata Scotto’s 1965 debut as Madama Butterfly, and Leonie Rysanek’s wild traversals of Verdi and Wagner). He discusses his first performing experiences in the early 1970s in association with Al Carmines and others, the genesis of La Gran Scena and their development into a worldwide phenomenon, and his subsequent “legitimate” career as lecturer, stage director, vocal coach and voice teacher and commentator all stemmed from in his words, “getting in a dress and singing soprano,” which he dubs “the strangest part.” This is a free-wheeling and extremely Opera Queeny interview, peppered with Ira’s unique anecdotes and snippets from Gran Scena (and other!) performances. There is no better way to celebrate Gay Pride in isolation than to listen to this episode!
Ira Siff is a native New Yorker, who grew up on the standing room line of the old Metropolitan Opera, worshiping the famous singers of the 60’s.
A graduate of the Cooper Union, with a degree in Fine Arts, Mr. Siff began to study voice, and made his debut as a tenor in 1970. For the next decade, he performed roles in opera, operetta and musicals in the New York, at The New York Shakespeare Festival, Circle in the Square, Playwrights Horizons, and many other venues. Turning to cabaret, Ira created an act using vocal parody of opera, jazz, and other styles of music, gaining critical acclaim, and a loyal following.
In 1981, he founded La Gran Scena Opera Co. di New York, the internationally acclaimed travesty troupe, whose gifted falsetto “divas” have spoofed opera with great affection for over two decades, in New York annually, and on tours to some of the great festivals, theatres and opera houses of the world.
For the past thirty years, Mr. Siff has been a voice teacher and interpretive coach, teaching in New York, Italy, Israel, Holland and China, giving Master Classes for the Metropolitan Opera Guild, and was on the faculty of the Renata Scotto Vocal Academy. Ira was a guest teacher of bel canto technique at The Royal Conservatory in Den Haag in 2008, and then at the Dutch National Opera Academy for five seasons, and at the Amsterdam Conservatory in The Netherlands where he returned annually, and was appointed Permanent Guest Teacher.
In 2000, he turned to stage directing, gaining critical acclaim for his productions of operas ranging from Tosca, Turandot, and La Fanciulla del West to Lakmé, Werther, and La Grande Duchesse de Gérolstein at venues such as Carnegie Hall, Sarasota Opera, The Caramoor Festival, and the Tanglewood Music Festival, where he directed productions of Così fan tutte, Don Giovanni, and Ariadne auf Naxos. All in all, he has directed operas for companies in New Jersey to New Zealand, with stops along the way in Puerto Rico, Lima, Peru and Utah. Singers whom he has directed include Sumi Jo, Dolora Zajick, Aprile Millo, Eglise Gutierrez, Krassimira Stoyanova, and the late Marcello Giordani. Conductors with whom he has collaborated as a stage director have included Richard Bonynge, Christoph von Dohnányi, and James Levine.
He has also given master classes in bel canto and verismo for the Metropolitan Opera Guild every season since 2008 and has presented sold-out lectures for the Met Guild as well on a variety of operatic topics. These lectures can be heard on the podcast of the Metropolitan Opera Guild. Ira also lectures on opera twenty times a season for two private classes, has been a contributor of reviews and features to Opera News since 1997 and has been Weekly Commentator on the Met Broadcasts since 2007.
La Gran Scena Opera Company was conceived and launched in 1981 by its Artistic Director Ira Siff and performed extensively in New York and around the world for the next twenty years, including seasons and tours in Berlin, London, Amsterdam, Frankfurt, and The Kennedy Center and at some of the world’s most prestigious opera houses and festivals. In New York, the company’s performances at Town Hall, Symphony Space, and (finally in 1998 at Lincoln Center’s Alice Tully Hall) were enormously popular and earned them a legion of fans, including Renata Scotto, Joan Sutherland, Leontyne Price, Beverly Sills, Sherrill Milnes, James Levine, and Anna Moffo, among many others, whose appearances at live performances of the company were a thrill and delight for all who were in attendance.
The company wound down its activities with a New York Farewell in October 2001 and a week of performances at the Teatro del Liceu in Barcelona in November 2002, but the company’s prima donna, “traumatic soprano” Vera Galupe-Borzkh, (as embodied by Ira Siff), continued to alternately present comeback performances and annual farewell recitals until 2009, when Ira and Madame Vera finally bid farewell to the stage for real. Fortunately, for the joy and amusement of opera lovers everywhere, many of the performances of Vera and other favorite company members, including Philene Wannelle, Sylvia Bills, Fodor Szedan, Alfredo Sorta-Pudgi, and the legendary 105-year-old diva Gabriella Tonnoziti-Casseruola, under the various batons of the company’s various music directors, including Francesco Folinari-Soave-Coglioni, Sergio Zawa, Helmut Maria Dorf, and Lorenzo Costellata-Denaro are available for viewing on Madame Vera’s YouTube channel as well as on DVD’s published by VAI, including the delicious biographical show, Vera: Life of a Diva and The Annual Farewell Recital.
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.
