Tag Archives: Pelleas et Melisande

Episode 253. Randall Scarlata Introduces Gérard Souzay (Listeners’ Favorites)

March 25, 2024Art Song, Full-Figured Baroque, Great Baritones, In Memoriam, Interview, Lieder, Listeners' Favorites, Music for a World in Crisis Series, Needle Drop, Schubert, Twentieth Century Music, Twentieth Century OperaAntoine Boësset, Arne Dorumsgaard, Arturo Basile, Benjamin C. S. Boyle, Cesar Franck, Charles Gounod, Claire Croiza, Claude Debussy, Dalton Baldwin, Désiré-Émile Inghelbrecht, Dinu Lipatti, Fetes galantes, Francis Poulenc, Franz Schubert, Franz von Schober, Genevieve Touraine, Gerard Philipe, Gerard Souzay, Golaud, Guillaume Apollinaire, Henry Purcell, Hermann Kletke, Irène Aïtoff, Jacqueline Bonneau, Jacqueline Robin, Jacqueline Robin-Bonneau, Jean-Michel Damase, Jules Barbier, Karl Friedrich Wilhelm Herrosee, Laura Ward, Lotte Lehmann, Louis de Fourcaud, Louise de Vilmorin, Manuel Bandeira, Maria Callas, Matthäus von Collin, Maurice Maeterlinck, Maurice Ravel, Nicole Robin, Paul Valéry, Paul Verlaine, Pelleas et Melisande, Pierre Bernac, Randall Scarlata, Robert Schumann, Vanni-Marcouxcountermelody

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The French baritone Gérard Souzay was born Gérard Tisserand on 8 December 1918 and died in Antibes on 17 August 2004. This episode was one of my first episodes, originally posted in honor of his then 101st birthday. It has been chosen by my friend Randall Scarlata as his Listeners’ Favorite episode in the last of this month’s Great Baritones series, and this is particularly appropriate and moving, because from the age of 19 until Souzay’s death, Randall had a close association with Souzay as both teacher and mentor. He tells some wonderful stories about their work together, shares some of Souzay’s bon mots and also presents with great compassion some of the personal challenges that Souzay faced. He also discusses some of Souzay’s other artistic pursuits, one in particular of which may surprise you! The episode itself explores Souzay’s recorded legacy, with particular emphasis on his earliest recordings. Repertoire ranges from Jaime Ovalle to César Franck, and Robert Schumann and Franz Schubert to Maurice Ravel, Henry Purcell, and Claude Debussy (including an excerpt from his 1955 radio performance of Golaud in Pelléas et Mélisande), many of them accompanied by Souzay’s musical and personal partner Dalton Baldwin. We also hear performances by his teachers and mentors Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Lotte Lehmann, as well as his sister, Geneviève Touraine. And Randall’s jewel of an introduction is a testimonial and tribute you’ll want to turn to again and again. I am proud to present again for your listening pleasure a singer who means as much to me as any other who has ever lived.

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 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.

Episode 167. Denise Duval

October 21, 2022Art Song, Comic Relief, French Opera, Great Baritones, Happy Birthday, In Memoriam, Needle Drop, Opera in Translation, Operetta, Queer Pride, Twentieth Century Music, Voiceless WondersAlain Vanzo, André Cluytens, André Messager, Camille Saint-Saens, Claude Debussy, Denise Duval, Emmerich Kálmán, Florent Schmitt, Franc-Nohain (Maurice Étienne Legrand), Francis Poulenc, Franz Lehár, Georges Pretre, Georges Tessier, Georges Tzipine, Guillaume Apollinaire, Hans Wilbrink, Hervé (Louis-Auguste-Florimond Ronger), Jacques Jansen, Jean Cocteau, Jean Fournet, Jean Giraudeau, Jean Pomarez, Joseph Peyron, Jules Gressier, L’heure espagnole, La voix humaine, Les dialogues des Carmélites, Les mamelles de Tirésias, Louis Durey, Louise de Vilmorin, Manuel Rosenthal, Marcel Cariven, Maurice Carême, Maurice Maeterlinck, Maurice Ravel, Michel Hamel, Pelleas et Melisande, Raymond Chevreux, Robert Massard, Robert Planquette, Suzanne Sarroca, Vittorio Guicountermelody

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Denise Duval, whose 101st birthday we posthumously commemorate on October 23, will forever be associated with the music of Francis Poulenc, and specifically his operas, in which the lead soprano roles were either created by her, or were written with her in mind. This episode not only presents Duval in excerpts, in live concert and stage performances, of all three roles: Thérèse in Les Mamelles de Tirésias, Blanche de la Force in Les Dialogues des Carmélites, and the unnamed heroine in his searing 1959 monodrama La voix humaine, alongside her performance in the world premiere of her final creation for Poulenc: the brief 1961 monologue La Dame de Monte-Carlo. But Duval was a versatile singer whose many and varied roles may surprise you. I present her also in both French and Viennese operettas by Lehár, Kálmán, Planquette, Messager, and Hervé, as well as operatic roles by Ravel, Debussy, and Saint-Saëns, concert works by Florent Schmitt and Louis Durey, and, from a joint recital with Poulenc, a breathtaking excerpt from Debussy’s Proses lyriques. Duval’s unusual voice and artistic profile defy classification, but this episode seeks to present as full a portrait as possible of this great singer and actor. Heard alongside Duval are tenors Jean Giraudeau, Alain Vanzo, Michel Hamel, and Jean Pomarez; baritones Jacques Jansen, Robert Massard, and Hans Wilbrink; and in an amusing turn, Francis Poulenc himself.

Episode 147. The Young Gabriel Bacquier

June 3, 2022Art Song, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Baritones, Happy Birthday, In Memoriam, Mirella Freni, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Operetta, Twentieth Century MusicAlain Vanzo, Alberto Erede, André Gide, André Rivoire, Ariettes oubliées (Debussy), Armand Silvestre, Arrigo Boito, Benjamin Godard, Christoph Willibald Gluck, Ciboulette (Hahn), Claude Debussy, Darius Milhaud, Don Giovanni, Don Quichotte à Dulcinée, Eugène Cools, Félix Nuvolone, Fernando Previtali, Francis Poulenc, Franz Lehár, Gabriel Bacquier, Gabriel Faure, Georges Bizet, Giuseppe Verdi, Henri Duparc, Jacques Houtmann, Janine Ervil, Jean Laforge, Jean Lahor, Jésus Etchéverry, Johann Strauss II, Johann Strauss Sr., Le nozze di Figaro, Les pecheurs de perles, Lorenzo da Ponte, Manuel Rosenthal, Maurice Maeterlinck, Maurice Ravel, Mirella Freni, Orphée et Eurydice, Otello (Verdi), Paganini (Lehár), Paul Morand, Paul Verlaine, Pelleas et Melisande, Renate Holm, Reynaldo Hahn, Robert de Flers, Robert Desnos, Serge Baudo, Sigmund Romberg, Silvio Varviso, The Desert Song (Romberg), Tosca (Puccini), Wolfgang Amadeus Mozart, Yvonne Gallcountermelody

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Two years ago last month, the great French (bass-)baritone Gabriel Bacquier died just four days short of his 96th birthday. At that time I offered a brief memorial tribute which opened my eyes to aspects of his artistry and voice with which I had been previously unfamiliar. Like his near-contemporary, the Italian baritone Tito Gobbi, Bacquier was one of the supreme actors of the operatic stage, whose voice coarsened somewhat over the course of his long career, even as his mastery as an actor and interpreter increased. By the time he retired, his repertoire consisted almost entirely of buffo parts. But in the earliest years of his career (and also like Gobbi), he possessed a baritone of velvety beauty that might surprise those who know only his later comic roles. This episode, which commemorates the second anniversary of Bacquier’s death as well as his (posthumous) 98th birthday, focuses on the three different musical genres in which, in those early years, from 1953 through 1968, he excelled in equal measure: opera, of course, but also mélodie and operetta. The operatic portrayals represented include the title roles in Don Giovanni and Orphée et Eurydice; Zurga in Les Pêcheurs de perles; the Count in Le nozze di Figaro; Iago in Otello; Golaud; and his incomparable Scarpia, which he sang opposite every great Tosca of the 1960s with the exception of Callas. Complementing these live and studio recordings are recordings of melodies by Duparc, Fauré, Debussy, Ravel, and Poulenc; and operetta arias by Sigmund Romberg, Franz Lehár, Johann Strauss II, and Reynaldo Hahn, all deliciously sung in French. Vocal guest stars include Mirella Freni; Alain Vanzo; Bernard Demigny; Janine Ervil; Yvonne Gall, with whom Bacquier studied at the Conservatoire de Paris; and the late Renate Holm, the renowned German soubrette who died in April at the age of 90. In all this repertoire, Bacquier, who insisted on the appellation “acting singer” rather than “singing actor,” displays his commitment to clear yet full projection of text, which serves as a mirror into the music and not the other way around.

Episode 143. Pelléas Part Deux

May 6, 2022French Opera, Great Baritones, Music for a World in Crisis Series, Needle Drop, Singers of Color, Twentieth Century MusicAndré Vessières, Armin Jordan, Camille Maurane, Claude Debussy, Claude Dormoy, Désiré-Émile Inghelbrecht, Elisabeth Soderstrom, Erna Spoorenberg, Ernest Ansermet, François Loup, Françoise Ogéas, Gabriel Bacquier, George London, George Shirley, Gerard Souzay, Henri-Bertrand Etcheverry, Huw Montague Rendall, Irene Joachim, Jacques Jansen, Janine Micheau, Jean Fournet, Leïla ben Sedira, Mady Mesple, Maurice Maeterlinck, Michèle Command, Micheline Grancher, Pelleas et Melisande, Pierre Boulez, Roger Désormière, Roger Gosselin, Serge Baudocountermelody

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Today I conclude my examination of my favorite opera, Claude Debussy and Maurice Maeterlinck’s Pelléas et Mélisande, with an expanded roster of singers which includes return visits from some of last week’s interpreters (Camille Maurane, Gabriel Bacquier, Gérard Souzay, Françoise Ogéas, Jacques Jansen, and Michèle Command) alongside other, equally magnificent singers (George Shirley, Janine Micheau, George London, Elisabeth Söderström, Henri-Bertrand Etcheverry, Irène Joachim, André Vessières, and others) under the batons of Jean Fournet, Pierre Boulez, Armin Jordan, as well as last week’s master helmsmen Roger Désormière and Désiré-Émile Inghelbrecht. I also foreground the young lyric baritone Huw Montague Rendall, who just last season sang his first Pelléas and who has already earned a place for himself among these other great artists. My further discussion of the opera includes discussions of Wagner, Mussorgsky, Edgar Allan Poe, and toxic masculinity, as each pertains to this piece. So many listeners wrote to tell me how last week’s episode changed their mind about this opera. Evidently I’ve done my job well. We need fewer Pelléas haters out there, and more, many more, Pelléas lovers!

Episode 142. The Thrill of Pelléas

April 29, 2022African American Singers, French Opera, Great Baritones, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Singers of Color, Twentieth Century MusicAndré Messager, Ange Flégier, Armand Narçon, Camille Maurane, Charles Panzéra, Claire Croiza, Claude Debussy, Claudio Abbado, Désiré-Émile Inghelbrecht, Félix Vieuille, Françoise Ogéas, Gabriel Bacquier, Georges Thill, Georges Truc, Georgette Leblanc, Gerard Souzay, Germaine Cernay, Hector Dufranne, Jacques Jansen, Jean Périer, Jean-Paul Jeannotte, Jeanne Gerville-Réache, John Ranck, José Van Dam, Jules Massenet, Maggie Teyte, Maria Ewing, Mary Garden, Maurice Maeterlinck, Michèle Command, Paul Cabanel, Paul Verlaine, Pelleas et Melisande, Piero Coppola, Reynaldo Hahn, Roger Désormière, Sapho (Massenet), Serge Baudo, Suzanne Danco, Vanni-Marcoux, Véronique (Messager)countermelody

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In (relative) relief over the recent French election result, I kick off my miniseries devoted to French singers and French music. Today’s episode will be the first of two devoted to my favorite opera, Claude Debussy and Maurice Maeterlinck’s Pelléas et Mélisande, which has enchanted, fascinated, and, yes, thrilled me since I was ten years old. If, like me, you adore this opera, then this episode is obviously for you. If you are among the many naysayers out there who find Pelléas to be boring, this episode is even more for you, because it puts the lie to the old saw that this masterpiece is static and motionless. Going back to near the dawn of recorded sound, I offer extant examples of the creators of the principal roles, Mary Garden, Hector Dufranne, Jean Périer, Jeanne Gerville-Réache, and Félix Vieuille. I also feature performances by other figures associated with the opera in its first decades of performance: Maggie Teyte, Charles Panzéra, Germaine Cernay, Claire Croiza, Vanni-Marcoux, Jacques Jansen, Paul Cabanel, and Armand Narçon, most of whom are featured on early recordings of the opera from the 1920s, and from its first complete recording led by Roger Désormière in war-torn Paris in 1941. From the next generation of great Debussy interpreters, I also present Suzanne Danco, Camille Maurane, Françoise Ogéas, Gérard Souzay, and Jean-Paul Jeannotte in various live performances led by the legendary conductor Désiré-Émile Inghelbrecht, and from more recent decades, performances by José van Dam, Michèle Command and the late Maria Ewing and Gabriel Bacquier led by Claudio Abbado and Serge Baudo. These artists all are keenly connected to both the words and drama, and wring out the passion, playfulness, and despair to be found in this work, which represents to me the perfect fusion of words, music and drama. Prepare to have your preconceptions challenged as I step into the world of Pelléas, that dramatic fusion of sunlight and shadow, which will continue next week with recorded performances by even more great singers and conductors.

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 124. Dave’s Picks

January 14, 2022African American Singers, Art Song, Bel canto, Broadway, Comic Relief, Giacomo Puccini, Great Baritones, Happy Birthday, Lieder, Needle Drop, Pop Icons, Queer Pride, Schubert, Singers of Color, Twentieth Century MusicAlban Berg, Alfred Drake, Anneliese Rothenberger, Arnold Schoenberg, Arthur Winograd, Bette Midler, Beverly Wolff, Birgit Nilsson, Bobby Freeman, Burt Bacharach, Carl Orff, Carmina Burana, Carolyn Leigh, Cathy Berberian, Claude Debussy, Colette, Colin Davis, Cy Coleman, David Crosby, David Savran, Don Giovanni, Dusty Springfield, Eddie Fisher, Elisabeth Soderstrom, Erich Kleiber, Erwin Wohlfahrt, Eugene Ormandy, Fiddler on the Roof, First Choice, Franco Corelli, Françoise Ogéas, Frank Zappa, Friedrich Rückert, George Forrest, George Gershwin, George Schick, George Shirley, Giacomo Puccini, Giuseppe Verdi, Gustav Mahler, Hal David, Harve Presnell, Holland-Dozier-Holland, Il Trovatore, Ira Gershwin, Jane Berbié, Janis Ian, Jefferson Airplane, Jerry Bock, Joni Mitchell, Judith Raskin, Julia Migenes, Kismet, L’enfant et les sortilèges, Le nozze di Figaro, Leonard Bernstein, Leontyne Price, Leopold Ludwig, Lisa Della Casa, Little Me (Coleman and Leigh), Lorin Maazel, Luciano Berio, Lulu (Berg), Maria Callas, Maurice Maeterlinck, Maurice Ravel, Montserrat Caballé, Nina Hagen, Norma, Oscar Hammerstein II, Paul Burkhard, Pelleas et Melisande, Pierre Boulez, Porgy and Bess, Richard Rodgers, Rita Tritter, Robert Craft, Robert Wright, Sammy Davis Jr., Sandy Denny, Sheldon Harnick, South Pacific, Stevie Wonder, The Byrds, The Mothers of Invention, The Supremes, Tim Buckley, Trouble in Tahiti, Tullio Serafin, Turandot, Vincenzo Bellini, Wladimiro Ganzarolli, Wolfgang Amadeus Mozart, Yvonne Mintoncountermelody

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Today’s special episode is in honor of my best friend, partner-in-crime and Corona-lockdown buddy, the distinguished theater scholar and author David Savran, who this week once again celebrated another journey around the sun. I invited him to be the first guest in a new series I will be presenting on Countermelody featuring colleagues and friends speaking about the music (and the singers!) that have most deeply affected and inspired them. Perhaps it’s not surprising that in the nearly two decades that we have known each other, that David’s taste in music and singers often falls neatly in step with mine. But there are many other musical paths and byways that he has explored that have taken him in quite different directions. Our spirited dialogue is punctuated by music that spoke to him most deeply in the first 25 years of his life. We hear samples of everything and everyone from Sammy Davis, Jr. to Grace Slick, from Cathy Berberian to Joni Mitchell, from Lisa della Casa to Nina Hagen, from Alfred Drake to Frank Zappa. The episode also constitutes a fascinating exploration of the role that memory and nostalgia play in the creation of musical tastes and preferences. Happy Birthday, Davey, and thanks for being my guest!

Episode 64. Jorma Hynninen in Opera (Great Baritones I)

December 6, 2020Finnish Opera, Giuseppe Verdi, Mirella Freni, Needle Drop, Richard Strauss, Richard Wagner, VerismoAarre Merikanto, Aleksis Kivi (Rautavaara), Antonio Ros Marbá, Aulis Sallinen, Claude Debussy, Don Giovanni, Eeva-Liisa Saarinen, Einojuhani Rautavaara, Elektra, Eri Klas, Esa-Pekka Salonen, Eugene Onegin, Fuat Manchurov, Gabriel Suovanen, Giuseppe Verdi, Hildegard Behrens, Il Prigioniero (Dallapiccola), Il Trovatore, Ilkka Kuusisto, Jean Sibelius, Jorma Hynninen, Juha (Madetoja), Juha (Merikanto), Jukka-Pekka Saraste, Jussi Jalas, Kalevi Kiviniemi, Kullervo (Sallinen), Le nozze di Figaro, Leevi Madetoja, Luigi Dallapiccola, Markus Lehtinen, Mathis der Maler, Matti Salminen, Mirella Freni, Okko Kamu, Pagliacci, Paul Hindemith, Pekka Haapasalo, Pekka Nuotio, Pelleas et Melisande, Pohjalaisia (Madetoja), Pyotr Il’yich Tchaikovsky, Riccardo Muti, Richard Strauss, Richard Wagner, Ruggero Leoncavallo, Savonlinna Opera Festival, The Ostrobothnians (Madetoja), The Red Line (Sallinen), Thomas (Rautavaara), Tristan und Isolde, Ulf Söderblom, Un ballo in maschera, Victoria de los Angeles, Vincent (Rautavaara), Wolfgang Amadeus Mozart, Yevgeny Onegincountermelody

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This is the first of two episodes I have planned in honor of the great Finnish baritone Jorma Hynninen, who turns 80 in 2021. The focus today is on his work in opera. His stylistic range was unusually large: during the years in which he appeared internationally he triumphed in roles ranging from Mozart to Verdi to the title role in Eugene Onegin in opera houses around the world. What is perhaps less well-remembered is that he also was a phenomenal Pelléas and also a distinguished Wagnerian, singing Wolfram, Amfortas, and Kurwenal, among other parts. All of these are featured in today’s episode, as well as arias and scenes from operas by Strauss, Dallapiccola, and Hindemith. Jorma Hynninen made his greatest contribution to the field, however, in his legendary creations in the world of Finnish opera. The second portion of the program features excerpts of his performances in works by pioneers Leevi Madetoja and Aarre Merikanto and continues with roles he created in operas by Aulis Sallinen and Einojuhani Rautavaara. Though he retired from opera in 2012, he continues to concertize in Finland; in the fall of 2019 he embarked on a brief concert tour with a voice nearly untouched by the years. Mirella Freni, Hildegard Behrens, and Victoria de los Ángeles are also featured in the episode. Join me in an exploration of the operatic career of this extraordinary 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.” 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 12. Gérard Souzay @ 101: A modern-day troubadour

December 8, 2019MusicAntoine Boësset, Arne Dorumsgaard, Cesar Franck, Charles Gounod, Claire Croiza, Claude Debussy, Colloque sentimental, Dalton Baldwin, Daniel Gundlach, Der Sandmann, Désiré-Émile Inghelbrecht, Dinu Lipatti, Fetes galantes, Francis Poulenc, Franz Schubert, Genevieve Touraine, Gerard Philipe, Gerard Souzay, Golaud, Irène Aïtoff, Jacqueline Bonneau, Jacqueline Robin, Jacqueline Robin-Bonneau, Jean-Michel Damase, Lotte Lehmann, Louis de Fourcaud, Maria Callas, Maria Casares, Maria Cecilia Sophia Anna Kalogeropoulos, Mark Ainley, Maurice Ravel, Paul Verlaine, Pelleas et Melisande, Pierre Bernac, Robert Schumann, Vanni-Marcouxcountermelody

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The French baritone Gérard Souzay was born Gérard Tisserand on 8 December 1918 and died in Antibes on 17 August 2004. This episode celebrates his 101st birthday by exploring his recorded legacy, with particular emphasis on his earliest recordings. Repertoire by Jaime Ovalle, César Franck, Robert Schumann, Franz Schubert, Maurice Ravel, Henry Purcell, and Claude Debussy (including an excerpt from his 1955 radio performance of Golaud in Pelléas et Mélisande). We also hear performances by his teachers and mentors Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Lotte Lehmann, as well as his sister, Geneviève Touraine. I make my best effort to argue the case of Souzay’s artistic importance, his continuing significance, and the unique qualities of his artistry.

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