Tag Archives: Un ballo in maschera

Episode 306. Oralia Domínguez Revisited

November 12, 2024Art Song, Bel canto, Canadian Singers, Forgotten Divas, French Opera, Full-Figured Baroque, Giuseppe Verdi, Great Contraltos, Great Tenors, Gustav Mahler, In Memoriam, Listeners' Favorites, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Orchestral Songs, Richard Wagner, Singers of Color, Twentieth Century Music, VerismoAchim von Arnim, Adriana Lecouvreur, Aida, Alberto Zedda, Antonietta Stella, Antonio Ghislanzoni, Antonio Somma, Antonio Vivaldi, Barry McDaniel, Bruno Maderna, Camille Saint-Saens, Cesare Sterbini, Clara Petrella, Claudio Monteverdi, Clemens Brentano, Das Rheingold, Des Knaben Wunderhorn, Don Carlo, Eugène Scribe, Ferdinand Lemaire, Fernando Obradors, Fernando Previtali, Francesco Cilea, Franco Capuana, Friedrich Schiller, Giacomo Cassetti, Gioacchino Rossini, Giuseppe Verdi, Gustav Mahler, Herbert von Karajan, Igor Markevitch, Il barbiere di Siviglia, Il Trovatore, Irène Aïtoff, Jean Fournet, Jon Vickers, L’Orfeo, Leonard Bernstein, Lili Boulanger, Luigi Ottolini, Nello Santi, Nicola Rescigno, Norman Scott, Oliviero de Fabritiis, Oralia Dominguez, Pierre Beaumarchais, Ramón Gaya, Renato Cellini, Richard Kraus, Richard Wagner, Salvador Moreno, Samson et Dalia, Un ballo in mascheracountermelody

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Today (for what I hope are obvious reasons) begins a short Countermelody series on a few of the greatest singers that Mexico, our neighbor to the south, has gifted to the world. Contralto Oralia Domínguez (25 October 1925 – 25 November 2013) 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 under-recorded, 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! This episode, an expansion of a bonus episode I published a few years ago, features Domínguez in extended operatic scenes by Cilea, Saint-Saëns, and Monteverdi and in religious works by Verdi and Lili Boulanger as well as Spanish and Mexican songs, capped with some stunning vocalism in baroque works by Handel and Vivaldi. Vocal guest stars include the late great Antonietta Stella, Jon Vickers, Barry McDaniel, Luigi Ottolini, and the blazing hot verismo soprano Clara Petrella; conductors include Jean Fournet, Igor Markevitch, Alberto Zedda, Oliviero de Fabritiis, Herbert von Karajan, Fernando Previtali, Nicola Rescigno, Renato Cellini, and Leonard Bernstein. In other words, the “big guns,” an indication of the enormity of the magisterial talent of Oralia Domínguez.

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 288. Teresa Żylis-Gara Revisited

September 10, 2024Behind the Iron Curtain, Forgotten Divas, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Tenors, In Memoriam, Music for a World in Crisis Series, Needle Drop, Richard Strauss, Richard Wagner, Twentieth Century Opera, Verismo, Wolfgang Amadeus MozartAbbé Prevost, Alexandre Dumas fils, Alfredo Kraus, Andrea Chénier, Antonio Somma, Ariadne auf Naxos, Auguste Barbier, Benvenuto Cellini, Berislav Klobučar, David Belasco, Die Zauberflöte, Emanuel Schikaneder, Eugène Scribe, Francesco Maria Piave, Franco Bonisolli, Giacomo Puccini, Gianfranco Masini, Gianluigi Gelmetti, Giuseppe Giacosa, Giuseppe Verdi, Hector Berlioz, Henri Meilhac, Henri Murger, Hugo von Hofmannsthal, Jacek Kaspszyk, James Levine, Jean Fournet, John Alexander, John Henry Long, José Carreras, Jules Massenet, La Boheme, La Traviata, Leif Segerstam, Léon de Wailly, Luciano Pavarotti, Luigi Illica, Manon, Peter Lindroos, Philippe Gille, Piero Visconti, Richard Strauss, Richard Wagner, Richard Woitach, Seiji Ozawa, Stanislaw Skrowaczewski, Tannhäuser, Teresa Żylis-Gara, Umberto Giordano, Un ballo in maschera, Wiesław Ochman, Wolfgang Amadeus Mozart, Wolfgang Brendelcountermelody

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Today I revisit the life, career, and sumptuous voice of the great Polish soprano Teresa Żylis-Gara, who died three years ago on 28 August 2021 at the age of 91. The soprano was for the most part shockingly under-recorded, so I have scoured the internet for examples of her live in performance, and unearthed examples of her singing Wagner, Massenet, Puccini, Verdi, Strauss, Giordano, Mozart, and Berlioz with some divine tenorial counterparts including Franco Bonisolli, José Carreras, Luciano Pavarotti, John Alexander, Alfredo Kraus, Wiesław Ochman, Peter Lindroos, and Piero Visconti. I know I am not the only one who revels in the rich velvety timbre of Mme. Żylis-Gara, and each of the tenors heard alongside her presents her versatile voice in a different facet of its beauty.

Episode 281. La Scottissima

August 19, 2024Bel canto, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Tenors, In Memoriam, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Renata Scotto, Singers in Old Age, Twentieth Century Opera, Verismo, Wolfgang Amadeus MozartAlfredo Kraus, Amilcare Ponchielli, Andrea Maffei, Angelo Campori, Antonio García Gutiérrez, Antonio Somma, Antonio Tonini, Arnold Schoenberg, Arrigo Boito, Charles Duveyrier, Claudio Abbado, David Belasco, Didier Gold, Don Giovanni, Emidio Mucci, Erwartung, Ettore Caimi, Eugène Scribe, Eve Queler, Felice Romani, Francesco Molinari-Pradelli, Francis Poulenc, Fulvio Vernizzi, Gaetano Donizetti, George Schick, Giacomo Puccini, Gioavacchino Forzano, Giuseppe Adami, Giuseppe Giacosa, Henri Meilhac, Henri Murger, I vespri siciliani, Il tabarro, Il Trovatore, James Levine, Jean Cocteau, Jesus Lopez-Cobos, John Alexander, John Luther Long, John Wustman, Jon Vickers, Josep Pons, Jules Massenet, Julius Rudel, L’elisir d’amore, La Boheme, La Gioconda, La voix humaine, Licinio Refice, Lodoletta, Lorenzo da Ponte, Lucia di Lammermoor, Luciano Pavarotti, Luigi Illica, Macbeth, Madama Butterfly, Manon, Marie Pappenheim, Mercedes Llopart, Nello Santi, Norma, Otello, Ouida, Philippe Gille, Pietro Mascagni, Renata Scotto, Riccardo Muti, Salvadore Cammarano, Sixten Ehrling, Spiris Argiris, Suor Angelica, Tatiana Troyanos, Un ballo in maschera, Vasile Moldoveanu, Victor Hugo, Vincenzo Bellini, Walter Scott, William Shakespeare, Wolfgang Amadeus Mozartcountermelody

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I began work on this episode on the one-year anniversary of the death of Renata Scotto, perhaps the most beloved of my many dearly-loved divas. But I have been thinking about and planning it ever since August 16, 2023. Now I am collected my thoughts on what made Scotto, in my opinion, one of the greatest artists of the past century. I break down her main repertoire into three groups (bel canto, Verdi, and verismo [including, however incorrectly, Puccini]); I describe her artistic and vocal training and her development into a powerful singing actress; I play her in duet with some of her most significant colleagues (including a few surprises); I assess her greatest roles and some of her surprising late-career assumptions; and I consider some of her most daring career risks (and the resultant flops and triumphs, sometimes in the same role!) I draw on a deep pool of mostly live recordings that reveal Scotto’s musical and dramatic intelligence as I describe my own encounters with her live in performance, both in person and on the television screen. Throughout I have tried my best to capture the individuality and the fearlessness of the singer who most deeply influenced and affected me as my musical tastes were forming: La Scottissima, my diva.

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 258. (Frank) Lopardopalooza

April 18, 2024Bel canto, Forgotten Divas, Giacomo Puccini, Giuseppe Verdi, Great Tenors, Interview, Music for a World in Crisis Series, Needle Drop, Singers in Old Age, Wolfgang Amadeus MozartAlberto Zedda, Alexandre Dumas, Andrew Davis, Antonio García Gutiérrez, Antonio Somma, Arrigo Boito, Ascher Fisch, Bruno Campanella, Carl Orff, Carmina Burana, Cesare Sterbini, Cosi fan tutte, Cristina Gallardo-Domâs, Don Giovanni, Donald Runnicles, Eugène Scribe, Felice Romani, Francesco Maria Piave, Frank Lopardo, Gaetano Donizetti, Georg Solti, Giacomo Puccini, Gioacchino Rossini, Giuseppe Giacosa, Giuseppe Verdi, Henri Murger, Il barbiere di Siviglia, Il Turco in Italia, Ion Marin, Jean-François Bayard, John Fiore, Jules-Henri Vernoy de Saint-Georges, Kathleen Kim, La Boheme, La fille du regiment, La Traviata, Lorenzo da Ponte, Lucia di Lammermoor, Luigi Illica, Marco Armiliato, Messa da Requiem (Verdi), Michel Trempont, Pierre Beaumarchais, Riccardo Muti, Robert Spano, Robert White, Salvadore Cammarano, Seiji Ozawa, Semiramide, Simon Boccanegra, Sondra Radvanovsky, Un ballo in maschera, Verónica Villarroel, Walter Scott, Wolfgang Amadeus Mozartcountermelody

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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!

Episode 239. Gwendolyn Killebrew (BHM 2024)

February 8, 2024African American Singers, Bel canto, Black History Month, Black History Month 2024, Canadian Singers, Forgotten Divas, French Opera, Full-Figured Baroque, Giacomo Puccini, Giuseppe Verdi, Great Baritones, Great Tenors, Gustav Mahler, In Memoriam, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, NYCO Divas, Opera in Translation, Orchestral Songs, Richard Wagner, Singers of Color, Twentieth Century Music, Twentieth Century Opera, VerismoAgostino Manni, Agostino Piovene, Andrea Chénier, Antal Dorati, Anton de Ridder, Antonín Dvořák, Antonio Somma, Barbara Scherler, Béatrice et Bénédict, Berislav Klobučar, Bernd Alois Zimmermann, Bohumil Gregor, Božena Němcová, Carlo Bergonzi, Claudio Nicolai, Die Soldaten (Zimmermann), Die Walküre, Edgar (Puccini), Edith Kertész-Gabry, Emilio de’ Cavalieri, Eugène Scribe, Eve Queler, Ferdinando Fontana, Francis Poulenc, Friedrich Lenz, Friedrich Nietzsche, Gail Gilmore, Gary Bertini, George Darden, George Frideric Handel, George Gershwin, Giacomo Puccini, Giuseppe Verdi, Gustav Mahler, Gwendolyn Killebrew, Harald Stamm, Hector Berlioz, Heinrich von Kleist, Heinz Wallberg, Hermann Prey, Hiroshi Wagusaki, Ira Gershwin, James Levine, Jaromír Weinberger, Jaroslav Kvapil, Johann Sebastian Bach, John Moriarty, Joseph Haydn, Karel Jaromír Erben, La fraîcheur et le feu, Leonard Bernstein, Lodovico Ariosto, Luigi Illica, Magnificat (Bach), Maureen Forrester, Maurice Ravel, Max Brod, Miloš Kareš, Nicola Haym, Nicolas Pradon, Nunziano Porta, Oh Kay!, Orlando Paladino (Haydn), Othmar Schoeck, Otto-Werner Mueller, Paul Éluard, Penthesilea (Schoeck), Peter Erckens, Rappresentatione di Anima et di Corpo, Richard Wagner, Rusalka (Dvořák), Seiji Ozawa, Shéhérazade, Sherrill Milnes, Stuart Burrows, Tamerlano (Handel), Teresa Stratas, Thomas Muraco, Tristan Klingsor, Umberto Giordano, Un ballo in maschera, Wilhelmenia Fernandez, William Shakespearecountermelody

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This week’s “Forgotten Diva” is the mezzo-soprano / contralto Gwendolyn Killebrew (26 August 1941 – 24 December 2021), who made an indelible contribution to opera in particular during the active years of her career (1965 – 2009). Though the majority of her career was centered at the Deutsche Oper am Rhein in Düsseldorf, she sang the world over with some of the most important opera companies (including the Metropolitan Opera, San Francisco Opera, the Salzburg Festival, Bayreuth, Washington Opera, Santa Fe Opera, La Monnaie, and the Bayerische Staatsoper), conductors (Pierre Boulez, Gary Bertini, Michael Gielen, Herbert von Karajan, Zubin Mehta, Georg Solti), and stage directors (Patrice Chéreau, Jean-Pierre Ponnelle, August Everding, Giancarlo del Monaco, Christof Loy, and John Dew). She had an enormous repertoire from Monteverdi and Handel to Henze and Fortner, excelling in particular in various Wagner roles. She was also a superb actor, who, through the use minimal gestures and stage business, made an enormous impact. This episode presents her in a wide range of material, including both live and commercial recordings ranging from Cavalieri to Zimmermann, alongside such fellow singers as Teresa Stratas, Carlo Bergonzi, Hermann Prey, Stuart Burrows, Sherrill Milnes, and Gail Gilmore led by conductors Leonard Bernstein, Gary Bertini, Bohumil Gregor, Berislav Klobučar, James Levine, Heinz Wallberg, and Eve Queler. Of special interest is a rare live recording of her prize-winning performance of “Asie” from Ravel’s Shéhérazade at the 1967 International Voice Competition in Montréal. The episode opens with brief memorial tributes to soprano Wilhelmenia Fernandez and pianist Thomas Muraco.

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 221. Robert Massard

November 1, 2023African American Singers, Bel canto, Canadian Singers, French Opera, Giuseppe Verdi, Great Baritones, Great Tenors, Happy Birthday, In Memoriam, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Operetta, Singers of Color, Twentieth Century Opera, VerismoAlbert Willemetz, Albert Wolff, Anatole France, André Messager, André Turp, Andréa Guiot, Andrée Esposito, Antonio Somma, Armand Bernard, Camille du Locle, Carlo Maria Giulini, Carmen, Cavalleria Rusticana, Charles Gounod, Christoph Willibald Gluck, Darius Milhaud, Denise Duval, Désiré-Émile Inghelbrecht, Édouard Blau, Édouard Lalo, Ernest Reyer, Eugène Diaz, Eugène Scribe, Franc-Nohain, Frédéric Mistral, Gabriel Faure, Gaetano Donizetti, Gaston Hirsch, Georg Solti, George Shirley, Georges Pretre, Georges Sébastian, Giovanni Targioni-Tozzetti, Giovanni Verga, Giuseppe Verdi, Guido Menasci, Gustave Flaubert, Hector Berlioz, Henri Grémont, Henri Meilhac, Henry Brougham Farnie, Hérodiade, Iphigénie en Tauride, Jane Rhodes, Jean Giraudeau, Jean Laforge, Jésus Etchéverry, Joseph Peyron, Jules Massenet, Jules Prével, L’heure espagnole, Léopold Marchand, Les Troyens, Louis Beydts, Louis Gallet, Louis Varney, Lucie de Lammermoor, Ludovic Halévy, Mady Mesple, Manuel Rosenthal, Marilyn Horne, Maurice Ravel, Michel Carré, Michel Hamel, Mireille, Nicolas-François Guillard, Nino Falzetti, Patricia Neway, Paul Claudel, Paul Ferrier, Paul Milliet, Philippe Gille, Pierre Dervaux, Pietro Mascagni, Prosper Mérimée, Regine Crespin, René Fauchois, Renée Doria, Reynald Giovaninetti, Rita Gorr, Robert Benedetti, Robert Massard, Robert Planquette, Shirley Verrett, Suzanne Sarroca, Thaïs, Un ballo in maschera, Walter Scottcountermelody

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This is an episode I have been planning for years now! This past August 15, the great French baritone Robert Massard turned 98 years old. As many of my listeners know, I have a thing for baritones in general, and I have devoted episodes to artists of the baritone persuasion from world-renowned to virtually unknown to somewhere in-between. Just think of it: Gérard Souzay, Jorma Hynninen, Eugene Holmes, Andrzej Hiolski, Gabriel Bacquier, Will Parker, Gilbert Price: these and many more have already been featured with more (Hugo Hasslo, Eric Sædén) on the horizon for next season. But I would be hard-pressed to think of a baritone who possessed a more beautiful natural voice, a more refined technique, or a more elegant artistry than did Robert Massard, who in his thirty-odd years of career chalked up approximately 2,500 performances, including 1,003 at the Paris Opéra alone (the same number, he himself points out, as Don Giovanni’s conquests)! Massard also sang an incredibly varied (though primarily operatic) repertoire, and this episode presents highlights from both the standard to the more obscure repertoire, from Gluck, Gounod, Verdi, and Massenet; to Reyer, Milhaud, Lalo, and Diaz (who?). These recordings are supplemented by a number of excerpts from French operetta (Planquette, Varney, Messager, and Beydts) which provide unalloyed melodic delight, the Massard voice heard at its absolute peak. And the colleagues who appear opposite Massard are like a Who’s Who of great opera singers (French and otherwise) of the era: Régine Crespin, Mady Mesplé, Denise Duval, Shirley Verrett (subject of next week’s episode!), Andréa Guiot, Jean Giraudeau, André Turp, Marilyn Horne, Renée Doria, Jane Rhodes, Andrée Esposito, Rita Gorr, and the falcon Suzanne Sarroca, who died last month at the age of 96. And if you listen very closely, you will also catch fleeting glimpses of favorites Patricia Neway and George Shirley. I know I say this too often, but if you only listen to one episode of Countermelody, make it this one!

Episode 210. The Mystery of Anita Cerquetti

August 14, 2023Bel canto, French Opera, Giacomo Puccini, Giuseppe Verdi, Great Baritones, Great Tenors, Music for a World in Crisis Series, Needle Drop, Opera in Translation, VerismoAlfredo Catalani, Amilcare Ponchielli, Anita Cerquetti, Arrigo Boito, Arturo Basile, Carl Maria von Weber, Carlo Maria Giulini, Emidio Tieri, Ernani, Ettore Bastianini, Felice Romani, Franco Corelli, Fulvio Vernizzi, Gabriele Santini, Gaspare Spontini, Giacomo Puccini, Gianandrea Gavazzeni, Giannella Borelli, Giuseppe Giacosa, Giuseppe Verdi, I vespri siciliani, Luigi Cherubini, Luigi Illica, Miriam Pirazzini, Nabucco, Norma, Ottavio Ziino, Un ballo in maschera, Victor Hugo, Victorien Sardou, Vincenzo Bellini, Vittorio Guicountermelody

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Anita Cerquetti (13 April 1931 – 11 October 2014), the subject of today’s episode, possessed a one in a million voice, enormous, but with prodigious flexibility, and of an immediately recognizable timbre and style of text projection. She skyrocketed to world fame when she replaced Maria Callas in the title role of Bellini’s Norma in Rome in January 1958. Before that, the young soprano, still in her twenties, had been steadily building a career, primarily in Italy but also internationally, working in Italy’s biggest houses and music festivals with the greatest maestri and fellow singers of the period (including Ettore Bastianini and Franco Corelli, both of whom are heard on the episode). Immediately after those Rome performances, however, Cerquetti canceled a series of subsequent performances of Bellini’s Il Pirata, and her live performances dwindled thereafter to a mere trickle. In the fall of 1960, not yet thirty years of age, she gave what proved to be the final performance of her career, a recording for Dutch radio of Abigaille in Verdi’s Nabucco. Cerquetti is considered to be one of the great operatic mysteries of the second half of the twentieth century. She made only two commercial recordings, so the majority of her recorded legacy stems from live and radio performances. In this episode, I share some of my favorites among those recordings, and discuss the personal issues that surrounded Cerquetti’s premature disappearance from the world’s opera stages as well as why her still unmatched accomplishments still captivate listeners to this day.

Episode 190. Make Your Own Kind of Music: Verdi Edition

March 31, 2023Bel canto, Comic Relief, Giuseppe Verdi, Mezzo Madness, Needle Drop, Queer Pride, Singers in Old Age, Voiceless WondersAida, Alberto Paoletti, Alternate Universe Bel Canto, Barry Mann, Cass Elliot, Cynthia Weil, Domingos Monteiro, Gino Sarri, Giuseppe Verdi, Grazi Barbosa, Howard Salat, Il Trovatore, Joe Raposo, Julie Andrews, La forza del destino, La Puma Opera Company, La Traviata, Luigi Ricci, Make Your Own Kind of Music, Mari Lyn, Natalia de Andrade, Olive Middleton, Sylvia Sawyer, The Golden Treasury of Song, The Howard Salat Quartet Local 802, Un ballo in maschera, Wingcountermelody

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It’s time for my fourth annual April Fools Day episode! The first one that I published exactly four years ago, entitled Alternate Universe Bel Canto, has proven to be one of my most popular, and one that was the gateway episode for many of my most devoted listeners. Furthermore, this one came specifically at the request of one of my newest Patreon supporters (hint, hint to those of you who are not yet supporting the podcast there!) Instead of an overview of all those “outsider music” opera singers out there, I have chosen to focus in on three sopranos in particular whom I find to be the most original, entertaining: Mari Lyn (AKA Marilyn Sussman), Olive Middleton (AKA Olive Townend), and Natália de Andrade. Each of these women created her own platform. Mari Lyn was the Singing Hostess of the 1980s New York-based cable network series The Golden Treasury of Song. After a career in the 1920s singing roles such as Musetta under Thomas Beecham at Covent Garden, British soprano Olive Middleton became, much later in life, the lead diva of New York’s La Puma Opera Company, giving quixotic performances with that company well into her seventies (and well past her vocal expiration date!), performances that gained her a fanbase that included lead singers of the Metropolitan Opera as well as the fussiest of opera queens. And the Portuguese soprano Natália de Andrade (my favorite!) gained fame and notoriety in her native country and beyond for her self-financed recordings, particularly the late-career ones published in the 1980s, which gained her the grudging respect given to those most deluded of holy fools. And lest one think that this episode deals only with sopranos, I also give a nod to the raucous-voiced American mezzo-soprano Sylvia Sawyer, who appeared in the 1950s on complete opera recordings issued on the Capitol Records label and produced, incredibly, under the auspices of the Rome Opera. To be clear: though I find each of these deluded divas to be, each in her own distinctive way, hilarious, in the end, each of them earns my respect for her enterprising undertakings, her firm belief in her own talent, and her unique approach to tuning, phrasing, and language, here perpetrated exclusively on the music of Giuseppe Verdi, who must surely be turning over in his grave right about now!

Episode 183. Martina Arroyo (Black History Month 2023)

February 10, 2023African American Singers, Art Song, Bel canto, BHM2023WK2, Black History Month, Comic Relief, French Opera, Full-Figured Baroque, Giacomo Puccini, Giuseppe Verdi, Happy Birthday, Lieder, Music for a World in Crisis Series, Needle Drop, Orchestral Songs, Pop Icons, Richard Strauss, Schubert, Singers of Color, Twentieth Century Music, VerismoAida, Andromache’s Farewell, Antonio Ghislanzoni, Antonio Somma, Arnold Schoenberg, Burt Bacharach, Charles Mackerras, Colin Davis, David Belasco, Don Giovanni, Donal Nold, Dorothy Maynor, DuBose Heyward, Dusty Springfield, Ermanno Mauro, Ernani, Fausto Cleva, Francesco Maria Piave, Francesco Molinari-Pradelli, Franz Schubert, George Gershwin, Gerd Albrecht, Giacomo Meyerbeer, Giacomo Puccini, Gioacchino Rossini, Giuseppe Giacosa, Giuseppe Verdi, Günter Wand, Gurre-Lieder, Harry T. Burleigh, Hermann Hesse, Ira Gershwin, János Ferencsik, Jens Peter Jacobsen, Joaquín Nin, Johann Sebastian Bach, Johann Wolfgang von Goethe, Johannes Brahms, Karlheinz Stockhausen, Kurt Eichhorn, L’Africaine, La forza del destino, Lamberto Gardelli, Leonard Hokanson, Lorenzo da Ponte, Luciano Pavarotti, Ludwig van Beethoven, Luigi Illica, Macbeth (Verdi), Madama Butterfly, Martina Arroyo, Max Rudolf, Nicola Rescigno, Porgy and Bess, Regine Crespin, Richard Strauss, Samuel Barber, Sixten Ehrling, Spirituals, Stuart Burrows, Thomas Schippers, Turandot, Un ballo in maschera, Victor Hugo, Vier letzte Lieder, Vittorio Gui, William Shakespeare, Wolfgang Amadeus Mozartcountermelody

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Last week on Feburary 2, the beloved African American soprano Martina Arroyo turned 86 years old. Although the Countermelody birthday tribute to Ms. Arroyo is a week late, it is nonetheless profoundly heartfelt. I have always valued the artistry and voice of this artist who often referred to herself as “The Other One” (because she was so frequently confused with today’s birthday diva, Leontyne Price). In preparing this episode, however, I flipped over into fan girl mode: was there anything that Martina Arroyo could not do? Of course she was celebrated as one of the premiere Verdi sopranos of her day (or, indeed, of the twentieth century), and there are ample examples on the episode that give testament to her supremacy in that repertoire. But she was also an intrepid performer of contemporary music, creating important works by both Karlheinz Stockhausen and Samuel Barber. Her performances of baroque music, while very much following an earlier style of performance practice, are vivid and insightful. Her affinity with French grand opera style is off the charts, as evidenced by an excerpt from Meyerbeer’s L’Africaine. She also could have pursued a path as a Mozart and Strauss singer, and selections by both of these composers prove her mastery of this genre as well. She also had the power to be a full-fledged dramatic soprano, as shown by her live performances of Schoenberg’s Gurre-Lieder and the title role in Puccini’s Turandot. And yet her subtlety as a recitalist is shown in live and studio Lieder performances. And the fervor and vigor of her performance of spirituals is a thing of joy. This episode is full of surprises but one thing is not surprising at all: the degree of dedication and commitment of this artist, which continues to this day with the performance and education initiative of the Martina Arroyo Foundation. (The episode begins with a brief tribute to Burt Bacharach, who died yesterday at the age of 94.)

Episode 178. Andrzej Hiolski

January 6, 2023Art Song, Behind the Iron Curtain, Bel canto, Full-Figured Baroque, Giuseppe Verdi, Great Baritones, Gustav Mahler, Happy Birthday, Holiday Music, In Memoriam, Lieder, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Orchestral Songs, Queer Pride, Richard Wagner, Schubert, Singers in Old Age, Twentieth Century Music, VerismoAdam Mickiewicz, Adamo Didur, Aldous Huxley, Alexander Pushkin, Alina Bolechowska, Andrea Chénier, Andrzej Boruta, Andrzej Hiolski, Arnold Rezler, Augustyn Bloch, Bohdan Wodiczko, Consuelo Velazquez, Die Teufel von Loudun, Don Carlo, Don Giovanni, Eugenia Wnukowska, Franz Schubert, Frédéric Chopin, Friedrich Schiller, Gioacchino Rossini, Giuseppe Verdi, Gustav Mahler, Halka (Moniuszko), Heinrich Heine, Helena Christenko. Karol Szymanowski, Helmut Melchert, Henryk Czyz, Henryk Debich, Il barbiere di Siviglia, Jacek Urbaniak, Jan Chęciński, Jan Krenz, Jerzy Gert, Jerzy Kotyczka, Jerzy Maksymiuk, Jerzy Marchwiński, Johann Sebastian Bach, Johann Wolfgang von Goethe, John Whiting, Kazimierz Przerwa-Tetmajer, King Roger (Szymanowski), Konrad Bryzek, Krzysztof Penderecki, Lorenzo da Ponte, Luigi Illica, Marek Janowski, Mieczysław Karłowicz, Mieczysław Mierzejewski, Pagliacci, Paolo Tosti, Pyotr Il’yich Tchaikovsky, Richard Wagner, Ruggero Leoncavallo, St. Luke Passion (Penderecki), Stanisław Moniuszko, Straszny dwór (Moniuszko), Tadeusz Baird, Tadeusz Szeligowski, Tannhäuser, Tatiana Troyanos, The Devils of Loudun, Umberto Giordano, Un ballo in maschera, William Shakespeare, William Wordsworth, Włodzimierz Lwowicz, Włodzimierz Wolski, Wolfgang Amadeus Mozart, Yevgeny Onegin, Zygmunt Krasińskicountermelody

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This week I have been tantalizing my followers with the promise of a tall, dark, handsome singer who was born on January 1. I shall keep you in suspense no longer: he is the great Polish baritone Andrzej Hiolski, born in Lvov in New Year’s Day 1922 and died in Krakow on 26 February 2000. I have known of Hiolski for years because of his association with the works of the late Krzysztof Penderecki, but I began digging deeper into his legacy a few years ago and was absolutely stunned at what I found: a singer with a near-perfect technique with a powerful voice with a slightly burred timbre characterized by both beauty, range, and subtlety of expression. I have been collecting his recordings for a few years now and have featured him at every possible opportunity on the podcast, including twice already in the current season. But this episode is devoted entirely to him and it may well serve, strange as it may seem for an artist who is so revered and treasured in his native country, as an introduction for many of my listeners to one of the great baritone voices of the twentieth century. The episode features recordings and performances, many of them exceedingly rare, ranging over more than 50 years, and includes music by Verdi, Wagner, Schubert, Mahler, Bach, Leoncavallo, Mozart, Tosti, Rossini, Tchaikovsky, and Giordano, but also a generous helping of music by Hiolski’s compatriots, including Karol Szymanowski, Frédéric Chopin, Augustyn Bloch, Mieczysław Karłowicz, Stanisław Moniuszko, Tadeusz Baird, Tadeusz Szeligowski, as well as, of course, Penderecki. Guest vocalists include the supercharged Greek-American mezzo Tatiana Troyanos and the delectable Polish soprano Alina Bolechowska, as well as the venerable Polish bass Adamo Didur, an early mentor of Hiolski’s. who now joins company with Jorma Hynninen and Gérard Souzay in the triumvirate of my favorite baritones of all time!

Episode 177. Great Singers at Twilight

December 30, 2022African American Singers, Art Song, Behind the Iron Curtain, Bel canto, Black History Month, Broadway, Crossover, French Opera, Giuseppe Verdi, Great Baritones, Happy Birthday, Holiday Music, In Memoriam, Lieder, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Pop Icons, Queer Pride, Schubert, Singers in Old Age, Singers of Color, Twentieth Century Music, Verismo, Voiceless WondersA Little Night Music, Adelaide Hall, Adelina Patti, Alan Jay Lerner, Alban Berg, Alberta Hunter, Alexander Pushkin, Armand Silvestre, Benjamin Britten, Billy Budd, Brandi Carlile, Burt Bacharach, Cesar Franck, Cole Porter, David Atherton, Duke Ellington, Eileen Farrell, Elisabeth Welch, Frank Wedekind, Franz Schubert, Freda Payne, Gabriel Faure, George Gershwin, Giuseppe Verdi, Grace Bumbry, Günter Neuhold, Hans Altmann, Hans Hotter, Harold Arlen, Harry Plunket Greene, Helen Donath, Herman Melville, Hugues Cuenod, Ira Gershwin, Irving Berlin, Jeffrey Tate, Johnny Mathis, Johnny Mercer, Joni Mitchell, Jules Massenet, Karl Erb, Klaus Donath, Kurt Weill, La sonnambula, Leonard Bernstein, Leontyne Price, Lotte Lenya, Love Life (Weill), Lulu (Berg), Magda Olivero, Marco Montanari, Mark Reizen, Marlene Dietrich, Patricia Wise, Paul Gemignani, Pique-Dame, Pyotr Il’yich Tchaikovsky, Regina Resnik, Richard Lewis, Rita Gorr, Robert McFerrin, Rose Dobos, Stephen Sondheim, Sylvia Olden Lee, Ted Koehler, Un ballo in maschera, Vincenzo Bellini, Wilhelm Müller, Winterreise, Yevgeny Onegin, Yip Harburg, Yuri Simonovcountermelody

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For the last episode of 2022, I begin a series of episodes which was one of the reasons I began Countermelody in the fall of 2019: a celebration of great singing from great singers in the late years of their lives and careers. In the early years of the recording industry, a long-retired artist such as Adelina Patti would consent to leave recorded documents of their voices for future generations to experience. Oftentimes a cherished artist will make a guest cameo appearance at an important event (think of Leontyne Price coming out of retirement at age 74 and singing “God Bless America” at the September 30, 2001 memorial concert at Carnegie Hall). Other times, artists like Johnny Mathis, Regina Resnik, or Helen Donath, simply never retire, but continue to bestow their artistry upon us decade after decade. Sometimes, as is the case of Lotte Lenya, a performer finds herself later in her life on a mission which demands that she resume performing, in Lenya’s case, as a means of securing the musical legacy of her late husband Kurt Weill. There is also, in the case of someone like Alberta Hunter or Elisabeth Welch, the thrill of a jazz or pop artist at the end of her life experiencing a career resurgence at the end of a long life. In the classical world, artists late in their lives can still give extraordinary performances of art song, which makes fewer demands on their voices than taxing operatic roles, while allowing full display of their deepened artistry and experience. There are also operatic roles specifically designed for the more mature artist: roles like Schigolch in Lulu, or the Countess in Pique-Dame, among many others, which are sampled here in performances by Hans Hotter and Rita Gorr, respectively. There are also those rare and exceptional artists who are able to perform movingly even into their nineties, like the Ukrainian bass Mark Reizen, or the verismo soprano Magda Olivero; or after having suffered catastrophic physical setbacks, like the German tenor Karl Erb, the African American baritone Robert McFerrin, or the pop icon Joni Mitchell. These artists (along with many others) and this topic seems deeply appropriate as 2022 draws to a close and we look forward to the inevitable challenges, the blank slate, the looming horizon, of the year to come.

Episode 165. Giuseppe Verdi: A Libran Birthday Tribute

October 7, 2022African American Singers, Art Song, Behind the Iron Curtain, Bel canto, Canadian Singers, Giuseppe Verdi, Great Baritones, Happy Birthday, Mezzo Madness, Needle Drop, NYCO Divas, Singers of ColorAchille de Lauzières, Aida, Alan Titus, Alberto Erede, Alexandre Dumas, Alfredo Simonetto, Alzira, Andrea Maffei, Antonino Tonini, Antonio Ghislanzoni, Antonio Sommo, Arrigo Boito, Attila, Bruno Reibold, Bryan Balkwill, Camilla Williams, Camille du Locle, Carlo Felice Cillario, Christoph von Dohnányi, Claramae Turner, Colin Davis, Delia Rigal, Dmitri Hvorostovsky, Don Carlo, Edda Moser, Elizabeth Connell, Eugène Scribe, Falstaff, Francesco Maria Piave, Francisco Araiza, Francisco Casanova, František Jílek, Friedrich Schiller, Galina Vishnevskaya, Georg Singer, Giovanna d’Arco, Giulietta Simionato, Giuseppe Verdi, Guido Cantelli, Hana Janků, Igor Gorin, Ion Buzea, Irene Dalis, Irmgard Seefried, Jean Bobescu, John Alexander, Jon Vickers, Josef Dünnwald, Joseph Méry, Juan Emilio Martini, Julius Rudel, Karl Böhm, La forza del destino, La Traviata, Lamberto Gardelli, Laszlo Halasz, Luciano Pavarotti, Nabucco, New York City Opera, Nino Verchi, Otello, Requiem (Verdi), Rigoletto, Rolando Panerai, Sena Jurinac, Speranza Scappucci, Temistocle Solera, Tito Gobbi, Un ballo in maschera, Vasile Moldoveanu, Victor Hugo, Virginia Zeani, Voltaire, William Shakespearecountermelody

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The great Giuseppe Verdi was born this week in 1813. Since his birthday occurs in the same week as mine, and since I firmly believe that I was a Verdi soprano in a former life, I am paying tribute to him this week with a series of excerpts from his works performed by exceptional singers whose birthdays also occur in the month of October. It’s astounding how many great Verdi singers were born at the time of the harvest moon: Luciano Pavarotti, Tito Gobbi, Camilla Williams, Jon Vickers, Rolando Panerai, Dmitri Hvorostovsky, Sena Jurinac, and many, many more. I have assembled a setlist featuring more than 20 such singers, including more than a few surprises (the young Irmgard Seefried singing the soprano solo in the Requiem; and a few choice artists that you may have forgotten about, among them Irene Dalis, Delia Rigal, and John Alexander). This whole month will be a birthday extravaganza and this is a marvelous way to start off the celebration, if I do say so myself!

Episode 131. Happy Birthday, Reri Grist! (Black History Month 2022)

February 18, 2022African American Singers, Art Song, Bel canto, BHM2023WK4, Black History Month, Broadway, Comic Relief, French Opera, Full-Figured Baroque, Giuseppe Verdi, Gustav Mahler, Happy Birthday, Lieder, Needle Drop, Opera in Translation, Richard Strauss, Singers of Color, Twentieth Century MusicAchim von Arnim, Alessandro Scarlatti, Andre Previn, Ariadne auf Naxos, Bernhard Paumgartner, Claude Debussy, Clemens Brentano, Cosi fan tutte, Denis Vaughan, Der Rosenkavalier, Des Knaben Wunderhorn, Die Entführung aus dem Serail, Die schweigsame Frau, Don Pasquale, Donald Grobe, Dory Langdon Previn, Francesco Molinari-Pradelli, Gaetano Donizetti, Giacomo Antonio Perti, Gioacchino Rossini, Giuseppe Patanè, Giuseppe Verdi, Gustav Mahler, Hilde Güden, Hugo von Hofmannsthal, Igor Stravinsky, Il barbiere di Siviglia, Il re pastore, Judith Raskin, Karl Böhm, Kurt Böhme, L’elisir d’amore, Lakmé, Le nozze di Figaro, Léo Delibes, Leonard Bernstein, Luciano Pavarotti, Luigi Alva, Mathieu Lange, Max Goberman, Nicolai Gedda, Paul Verlaine, Pierre Thibaud, Reri Grist, Richard Lewis, Richard Strauss, Rigoletto, Robert Craft, Sena Jurinac, Silvio Varviso, Stefan Zweig, Stephen Sondheim, Un ballo in maschera, West Side Story, Wolfgang Amadeus Mozart, Wolfgang Sawallisch, Zubin Mehtacountermelody

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The great African American coloratura Reri Grist was born on leap year 1932. We celebrate her upcoming 90th birthday with a tribute featuring many of her greatest roles and recordings. After appearing as Consuelo in the 1957 Broadway premiere of West Side Story, and encouraged by Leonard Bernstein, Grist began a career in opera that took her around the world to all of the greatest opera houses. Reri Grist was the perfect exemplar of the so-called “-ina” roles: soubrette parts in Mozart and Strauss operas (Blondchen, Susanna, Despina, Zerlina, Zerbinetta, and Sophie), as well as the comic operas of Donizetti and Rossini (including Adina, Norina, and Rosina). This episode features her in most of these roles and concludes with the glorious finale of the second act of Richard Strauss’s 1935 comedy Die schweigsame Frau, one of her most notable successes. Vocal guest stars today include Christa Ludwig, Luciano Pavarotti, Sena Jurinac, Nicolai Gedda, Gwyneth Jones, Luigi Alva, Judith Raskin, Donald Grobe, and Richard Lewis. Whether you are celebrating 90 years or 22-and-a-half leap years, we celebrate you, Frau Grist, and offer heartfelt thanks for the joys that you have offered us.

Episode 111. Verdi auf Deutsch I

October 17, 2021African American Singers, Behind the Iron Curtain, Giuseppe Verdi, Great Baritones, Mezzo Madness, Music for a World in Crisis Series, Needle Drop, Opera in Translation, Singers of ColorAida, Annelies Kupper, Anneliese Rothenberger, Anton de Ridder, Betty Allen, Bruno Bartoletti, Bruno Seidler-Winkler, Carl Besi, Clemens Krauss, Don Carlo, Elisabeth Grümmer, Erich Orthmann, Ferdinand Leitner, Friedel Beckmann, Frieder Weissmann, Friedrich Schiller, Fritz Wunderlich, Georg Hann, Georgina von Milinkovic, Giuseppe Patanè, Giuseppe Verdi, Gloria Davy, Gottlob Frick, Grace Bumbry, Hans Schmidt-Isserstedt, Helge Rosvaenge, Hilde Güden, Hildegard Hillebrecht, Horst Stein, Il Trovatore, Inge Borkh, James King, János Kulka, Jess Thomas, Josef Gostic, Josef Greindl, Karl Elmendorff, La forza del destino, La Traviata, Lawrence Winters, Leonora Lafayette, Luisa Miller, Margarete Teschemacher, Maria Cebotari, Maria Stader, Meta Seinemeyer, Nicolai Gedda, Otello, Otto Gerdes, Pilar Lorengar, Raymond Wolansky, Richard Kraus, Richard Tauber, Robert Burg, Rudolf Schock, Sabine Kalter, Sándor Kónya, Teresa Stratas, Un ballo in maschera, Willi Domgraf-Fassbaender, Wolfgang Sawallisch, Wolfgang Windgassencountermelody

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Today’s is a mammoth episode on a mammoth topic: historical performances of Verdi’s operas in German translation. I trace the historical and ongoing popularity of Verdi’s works in Germany, and include discussions of the works of Friedrich Schiller as Verdian subject matter; the co-opting of Verdi’s genius by the Third Reich; and the numerous African American Verdi singers, including Gloria Davy, Lawrence Winters, Lenora Lafayette, Betty Allen, and Grace Bumbry, who based their careers (or significant portions thereof) in German-speaking European countries. I include duets and trios from eight different Verdi operas; recordings featured were made between the years 1923 and 1973 and feature such native German-speaking singers as Richard Tauber, Margarete Teschemacher, Maria Cebotari, Josef Greindl, Meta Seinemeyer, Inge Borkh, Fritz Wunderlich, Annelies Kupper, Elisabeth Grümmer, Wolfgang Windgassen, Gottlob Frick, and Hilde Güden, among many others. Non-German singers such as Teresa Stratas, Sándor Kónya, Pilar Lorengar, Jess Thomas, Raymond Wolansky, and James King are also highlighted. This episode is an exploration of the greatest operatic composer of all time, but in unexpected garb.

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 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 26. Calling You (Music for a World in Crisis)

March 15, 2020Art Song, Crossover, Eileen Farrell, Giuseppe Verdi, In Memoriam, Lieder, Music for a World in Crisis Series, Needle Drop, Pop IconsAida, Alfredo Catalani, Andre Previn, Anne Roselle, Anytime Any Place Anywhere, Bagdad Cafe, Blow the Wind Southerly, Calling You, Chi Coltrane, Claudia Muzio, Danny Boy, Don Shirley, Dusty Springfield, Ebben ne andro lontana, Edvard Grieg, Eide Norena, Eileen Farrell, Elinor Ross, Frieder Weissmann, Giuseppe Verdi, Hina Spani, I Will Come to You, Il Trovatore, Its Not Easy, Janis Ian, La forza del destino, La Wally, Lee Wiley, Licinio Refice, Linden Lea, Lorraine Hunt Lieberson, Ma dall arido stelo divulsa, Martha Flowers, Meta Seinemeyer, Ned Washington, O patria mia, Ombra di nube, Peter Serkin, Rosa Ponselle, Spring Is Here, Un ballo in maschera, Våren, Victor Youngcountermelody

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The world is in chaos. We don’t know from one day to the next, or one hour to the next, what is going to happen. I am currently halfway around the world from home and wondering what the coming weeks will bring. This week I have decided to feature music that addresses reaching out to loved ones across enormous gaps of time and space, the yearning for a home lost and the ambivalence with which we face the changing seasons. But all is not hopelessness: at the end of the episode, I offer several pop songs by some of my favorite singers that address the promise of healing and reunion, no matter how difficult the process. In this episode, marking the six-month anniversary of Countermelody, I’m featuring Lorraine Hunt Lieberson, Hina Spani, Rosa Ponselle, Meta Seinemeyer, Anne Roselle, Claudia Muzio, Eidé Noréna, Eileen Farrell, Kathleen Ferrier, Martha Flowers, Janis Ian, Chi Coltrane, and Dusty Springfield. I also offer a recording I made in 2006 of “Danny Boy,” and I explain the song’s significance to me.

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

Episode 5: Shirley Verrett I. La Nera Callas

October 20, 2019African American Singers, Bel canto, Giuseppe Verdi, Mezzo Madness, Needle Drop, Singers of ColorAnna Caterina Antonacci, Camille Saint-Saens, Carmen, Christa Ludwig, Christoph Willibald Gluck, Claudio Abbado, Cornelie Falcon, Covent Garden, Don Carlo, Eugene Ormandy, Eve Queler, Fritz Reiner, Georges Bizet, Giacomo Meyerbeer, Giuseppe Verdi, Grace Bumbry, Il Trovatore, Imre Pallo, Jon Vickers, Julius Rudel, Justino Diaz, La Scala, Luciano Pavarotti, Marian Anderson, Maurizio Arena, Michelangelo Veltri, Philadelphia Orchestra, Richard Cassilly, Richard Lewis, Samson et Dalila, Shirley Verrett, Tom Krause, Un ballo in maschera, Zwischenfachcountermelody

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This episode is the first of two on one of my favorite singers, the Zwischenfachsängerin Shirley Verrett. Renowned in the United States for her performances of Verdi mezzo-soprano parts, particularly Azucena in Il Trovatore and Eboli in Don Carlo, the late singer commanded an enormous repertoire, comprising bel canto and French roles, on which she left her indelible stamp. I focus in particular on the French roles she performed at the Opéra de Paris from the mid-1980s through the early 1990s, as well as her Verdi soprano roles, including Amelia in Un ballo in maschera and the title role in Aida. Known in the Italian press as La Nera Callas [The Black Callas], Verrett is heard in this episode singing Brahms, Gluck, Saint-Saëns, and Verdi roles for both soprano and mezzo-soprano. Special attention is paid to her newsworthy appearances with fellow African American mezzo-cum-soprano, Grace Bumbry, the first of which, a joint Carnegie Hall concert in 1982, honored the iconic contralto Marian Anderson on the occasion of her 80th birthday.

Episode 3. Creating Magic, Interview with Nicholas Tamagna, Part 2

October 6, 2019InterviewAkhnaten, Alpha Classics, Arrigo Boito, Arthur Johnston, As long as he needs me, Atlantic Starr, Au mont Ida, Backlash Blues, Bagdad Cafe, Benjamin Britten, Bidu Sayao, Billie Holiday, Calling You, Carnegie Hall, Cesare Siepi, Charles Gounod, Clori Tirsi e Fileno, Daniel Gundlach, Don Carlo, Edvard Grieg, Elisabeth Rethberg, Elisabeth Soderstrom, Emil Cooper, Faust, Franz Schubert, Frederick Schauwecker, Gabriela Benackova, George Frideric Handel, Georgia Brown, Giuseppe Verdi, Hector Berlioz, Hilde Güden, Hilde Gueden, Ich habe genug, Indianapolis Opera, Jacques Offenbach, Janet Baker, János Ferencsik, Jean Morel, Jean Sibelius, Johann Sebastian Bach, Johnny Burke, Judy Garland, Jukka-Pekka Saraste, Jussi Bjorling, La Belle Helene, Le Poeme Harmonique, Leather and Lace, Les Troyens, Lionel Bart, Lorraine Hunt Lieberson, Ludwig van Beethoven, Maria Vitale, Mefistofele, Nicholas McGegan, Nicholas Tamagna, Nina Simone, Oliver!, Pennies from Heaven, Peter Lieberson, Phaedra, Philharmonia Baroque, Philip Glass, Porter Carroll Jr., Reviewing the Situation, Richard Strauss, Rigoletto, Robert Merrill, Roger VIgnoles, Roméo et Juliette, Samuel Ramey, San Francisco Opera, Teddy Wilson, Thelma Votipka, Theodora, Un ballo in maschera, Vera Zorina, Verve Records, Vincent Dumestre, Who will buycountermelody

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In the second part of our interview Nicholas discusses his early experiences with music, names three of his favorite singers, and riffs further on the themes of language and communication. Musical excerpts include a performance by Leather and Lace, the rock group that featured Nicholas’s mother and aunts, and Nicholas’s youthful stage performances as Oliver and Fagin in the musical Oliver! Nicholas is also featured in recordings of Henry Purcell and Philip Glass and we also include performances by Maria Vitale, Lorraine Hunt Lieberson, Jussi Björling, and Nina Simone.