Podcast appearances and mentions of adriana lecouvreur

Järgmisel kolmapäeval toimub Pärnu Endla teatris kohtumisõhtu lavastaja Marta Aliide Jakovskiga, kelle käe all esietendub sügisesel Promfestil Francesco Cilea ooper "Adriana Lecouvreur", mille aluseks on Prantsuse teatriajaloos märgilise Comédie-Francaise'i näitlejanna elulugu.

A cura di Paolo PellegriniFrancesco Cilea, Adriana LecouvreurAdriana Lecouvreur, Montserrat CaballeMaurizio, Jose CarrerasPrincipessa di Bouillon, Fiorenza CossottoMichonnet, Attilio d'OraziPrincipe di Bouillon, Ivo VincoL'abate di Chazeuil, Piero De PalmaJouvenot, Scilly FortunatoQuinault, Paolo MazzottaDangeville, Nella VerriPoisson, Pietro di VietriUn maggiordomo, Keizo TakahashiThe NHK (Nippon Hoso Kyokai) Symphony OrchestraUnion of Japan Professional ChorusesGianfranco Masini, direttore

Adriana Lecouvreur es una ópera en cuatro actos con música de Francesco Cilea y libreto en italiano de Arturo Colautti, basado en la obra teatral de Eugène Scribe y Ernest Legouvé.

Esta semana el Criticón de La Cultureta Gran Reserva hace escala en la ópera y visita ‘Adriana Lecouvreur', la ópera de Francesco Cilea que ha desembarcado en el Teatro Real. De oídas nuestro experto sirve una crítica alrededor de esta trama entre Adriana, Maurizio y la princesa a través de una conversación guay con las dos sopranos, protagonistas rotativas de la función: María Agresta y Ermonela Jaho. En cine vamos a dejarnos de movidas ya con tantas ‘Megalópolis', ‘Joker2', ‘Tardes de soledad' y demás y nos centramos en lo que importa de verdad, o sea en ‘Los destellos' de Pilar Palomero, que lo más de lo más cultureta ahora mismo. ¿Por qué? Porque lo dice Boyero y punto. Para acabar, club de lectura. Escucharemos un fragmento original de la esperadisísisisima novela ‘Intermezzo' de Sally Rooney, en Random House. Variado, bueno, tierno para morder. 

Esta semana el Criticón de La Cultureta Gran Reserva hace escala en la ópera y visita ‘Adriana Lecouvreur', la ópera de Francesco Cilea que ha desembarcado en el Teatro Real. De oídas nuestro experto sirve una crítica alrededor de esta trama entre Adriana, Maurizio y la princesa a través de una conversación guay con las dos sopranos, protagonistas rotativas de la función: María Agresta y Ermonela Jaho. En cine vamos a dejarnos de movidas ya con tantas ‘Megalópolis', ‘Joker2', ‘Tardes de soledad' y demás y nos centramos en lo que importa de verdad, o sea en ‘Los destellos' de Pilar Palomero, que lo más de lo más cultureta ahora mismo. ¿Por qué? Porque lo dice Boyero y punto. Para acabar, club de lectura. Escucharemos un fragmento original de la esperadisísisisima novela ‘Intermezzo' de Sally Rooney, en Random House. Variado, bueno, tierno para morder. 

Esta semana el Criticón de La Cultureta Gran Reserva hace escala en la ópera y visita ‘Adriana Lecouvreur', la ópera de Francesco Cilea que ha desembarcado en el Teatro Real. De oídas nuestro experto sirve una crítica alrededor de esta trama entre Adriana, Maurizio y la princesa a través de una conversación guay con las dos sopranos, protagonistas rotativas de la función: María Agresta y Ermonela Jaho. En cine vamos a dejarnos de movidas ya con tantas ‘Megalópolis', ‘Joker2', ‘Tardes de soledad' y demás y nos centramos en lo que importa de verdad, o sea en ‘Los destellos' de Pilar Palomero, que lo más de lo más cultureta ahora mismo. ¿Por qué? Porque lo dice Boyero y punto. Para acabar, club de lectura. Escucharemos un fragmento original de la esperadisísisisima novela ‘Intermezzo' de Sally Rooney, en Random House. Variado, bueno, tierno para morder. 

D'aquesta manera, se suma a la Setmana de l'Òpera organitzada pel Teatro Real de Madrid.

Al igual que Madama Butterfly de Puccini cierra el lunes esta temporada del Teatro Real, Joan Matabosch es el responsable de despedir "Buena música para gañanes y gañanas" en nuestro cierre de temporada. En esta ocasión, nos presenta un adelanto de la programación 2024/2025 del Teatro Real que se centrará sobre todo en el s. XVIII. Estos son algunos de los títulos que podremos disfrutar: 1) Adriana Lecouvreur de Francesco Cilea (del 23 de septiembre al 11 de octubre, en la semana de la ópera). 2) Maria Stuarda de Gaetano Donizetti (del 14 al 30 diciembre, siendo el estreno de esta producción)3) Eugene Oneguin de Chaikovski (del 22 enero al 18 febrero, en honor a Aleksandr Pushkin)4) Mitridate, re di Ponto de Mozart (del 23 de marzo al 9 de abril, compuesta cuando tenía 14 años) 5) Les Indias Galantes de Jean-Phillipe Rameau (del 28 mayo al 1 de junio, un híbrido entre la ópera y la danza)6) I Lombardi Alla Prima Crociata de Verdi (del 6 y el 9 de julio, se presentarán otros dos títulos suyos)Escuchar audio

Reunimos otra vez, de nuevo con la colaboración de Ricardo de Cala, un ramillete de jóvenes voces españolas. Primero tres barítonos: Borja Quiza en El barberillo de Lavapiés; David Menéndez en la romanza de Vidal de Luisa Fernanda, y Juan Jesús Rodríguez en la salida de Juan de Los Gavilanes.Después, tres sopranos en páginas puccinianas: Raquel Lojendio interpretando Donde lieta uscì de La bohème; Vanessa Goicoechea matizando Vissi d’arte de Tosca y Carmen Romeu cantando la traviesa aria de Musetta de La bohème. Enseguida contrastamos con un timbre de bajo, el de Rubén Amoretti, que nos ofrece Ol’ Man River de Showboat de Kern. Dos tenores nos siguen amenizando la noche: Alejandro del Cerro, con su recreación del Ingemisco del Requiem de Verdi, y Alejandro Roy, en el aria de Maurizio L’anima ho stanca de Adriana Lecouvreur de Cilea. Cambiamos de cuerda y escuchamos la luminosa voz de Sonia de Munck en la romanza de Rosa de El rey que rabió de Chapí. Y cerramos con una voz hispanoamericana, la del tenor argentino Marcelo Álvarez, que nos canta la muy difícil aria de Raoul de Nangis de Los Hugonotes de Meyerbeer Plus blanche que la blanche hermine.Escuchar audio

Celebramos por todo lo alto los primeros 60 años de esta Asociación e iniciamos un pequeño repaso a su historia. Evocamos sus primeros pasos en 1964, lo que nos da la ocasión de escuchar a famosos cantantes participantes en aquellas heroicas jornadas interpretando fragmentos de las óperas en las que fueron protagonistas. Desfilan ante nosotros Alfredo Kraus, Werther de excepción, Magda Olivero, protagonista de la Tosca que abrió aquella temporada inicial, que canta, primero, Vissi d’arte y después Io son l’umille ancella de Adriana Lecouvreur de Cilea, Flaviano Labò, el Cavaradosi de aquellas funciones, que aquí se luce en Non piangere, Liù de Turandot de Puccini, Gian Giacomo Guelfi, que se ensimisma en Dio di Giuda de Nabucco de Verdi, de nuevo Kraus, ahora con la colaboración de Nicolai Ghiaurov, en el dúo de Fausto y Mefistófeles de Fausto de Gounod, Teresa Berganza, Cherubino de excepción en Non so più cosa son cosa faccio y, por fin, Pilar Lorengar en Dove sono de Las bodas de Fígaro, ópera en la que coincidieron las dos cantantes españolas.Escuchar audio

durée : 02:04:47 - Musique matin du lundi 29 janvier 2024 - par : Jean-Baptiste Urbain - A l'aube de ses 40 ans, Clémentine Margaine a déjà conquis les plus grandes scènes d'opéra. Après Barcelone et avant New York dans "Carmen" - son rôle fétiche, c'est à Paris que la mezzo brille ces jours-ci, dans le rôle de la Princesse de Bouillon du célèbre opéra de Cilea, "Adriana Lecouvreur". - réalisé par : Yassine Bouzar

Recorded September 19th, 2023. *Please note that this discussion contains topics of sexual violence and graphic descriptions of war. Please listen at your own discretion. ‘Women and War' is the theme of the 2023 Wexford Festival Opera (24 Oct-5 Nov). Developed by Wexford's Artistic Director, Rosetta Cucchi, this year's programme uses the medium of opera to explore how war is experienced, endured, and articulated by women. The three main stage operas at Wexford will be: Zoraida di Granata (1822) by Gaetano Donizetti; L'Aube Rouge (1911) by Camille Erlanger; and La Ciociara (Two Women) (2015) by Marco Tutino, based on the novel by Alberto Moravia. In anticipation of this innovative programme, the Trinity Long Room Hub is hosting a special discussion to explore the representation of ‘Women and War' in literature, theatre, music, and visual art. The Festival's acclaimed Artistic Director Rosetta Cucchi will join the celebrated Irish Times foreign correspondent Lara Marlowe and the Trinity Long Room Hub Director, Eve Patten, for a wide-ranging conversation on the themes and vision behind this year's Wexford Festival Opera. This unique collaboration event, which will include both film and music excerpts from the opera programme itself, is open to all and not to be missed. Speakers: Rosetta Cucchi is the Artistic Director of the Wexford Festival Opera and an experienced director in many of the world's greatest opera houses. She is also a pianist, and has a master's degree in Theatre Studies from the University of Bologna. From 2006 to 2018, she was the Artistic Director of Fondazione and Symphonic Orchestra Arturo Toscanini, Parma. Her most recent and future directing projects include Tutino's La Ciociara, Wexford Festival, Figaro and La Bohème, Boston Lyric Opera, Adriana Lecouvreur, Teatro Comunale di Bologna, Rossini's Otello, Rossini Festival Pesaro, Eugene Onegin, Opera Omaha, USA, and L'Amico Fritz, Teatro del Maggio Musical Fiorentino. Lara Marlowe became a foreign correspondent for The Irish Times in 1996. Since her official retirement in April 2023 she has continued to contribute regularly to the Irish Times and radio stations in France, Ireland and the UK. She has worked extensively in France, the Middle East and the US, and reported on the war in Ukraine in 2022. Before the Irish Times, she wrote for Time Magazine, the Financial Times and the International Herald Tribune, covering many major world events and conflicts. Lara has received four press awards for her work for The Irish Times and was also awarded a Chevalier de la Légion d'Honneur for her contribution to Franco-Irish relations. In 2020, she published the best-selling memoir Love in a Time of War, My Years with Robert Fisk. Eve Patten is Director of the Trinity Long Room Hub Arts and Humanities Research Institute and Professor of English at Trinity College, Dublin. She lectures and writes in the area of nineteenth and twentieth-century British and Irish literary history and has a special interest in the literature of war. Her most recent book is Ireland, Revolution, and the English Modernist Imagination (2022), and previous publications include Imperial Refugee: Olivia Manning's Fictions of War (2012), and, as co-editor with Richard Pine, Literatures of War (2008).

Pianist Martti Raide käis Läti Rahvusooperis vaatamas 9.

durée : 01:58:08 - Relax ! du vendredi 09 juin 2023 - par : Lionel Esparza - Dans le fourre-tout de Relax aujourd'hui, le disque de Guillaume Bellom & Yan Levionnois « Malinconia », un peu de Jean Cras, de Bartok, du Haendel, quelques concerts… Disque de légende : Adriana Lecouvreur de Francesco Cilea.

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La Adriana Lecouvreur non è solo un'opera lirica, ma anche una opportunità di parlare del ruolo della donna nel teatro e nella società dai secoli scorsi ai giorni nostri. È quello che la regista Rosetta Cucchi ha fatto con il capolavoro di Francesco Cilea che va in scena all'Opera House di Sydney dal 20 febbraio.

Hace poco nos dejó esta insigne soprano española. Justo nos parece rendirle homenaje a través de esta semblanza que recogerá un análisis de su voz y la escucha de algunas de sus mejores interpretaciones de zarzuela y ópera extraídas en su mayoría de actuaciones en concierto. En este primer programa nos cantará Pace, pace, mio Dio de La forza del destino, Tu, che la vanità de Don Carlo y El sauce de Otello, todas ellas óperas de Verdi; Poveri fiori de Adriana Lecouvreur de Cilea y Vissi d’arte de Tosca de Puccini. Rematará con la romanza de El barquillero de Chapí. Escuchar audio

Culminamos el estudio que hemos dedicado a la eximia soprano a los cien años de su nacimiento. Comenzamos escuchando páginas verdianas: Oh patria mia de Aida, en donde la voz brilla refulgentemente, la maravillosa aria Tu, che le vanità de Don Carlo y tres números de Traviata, Ah fors’è lui, Sempre libera y el final de la ópera. Después admiramos a la cantante en Io son l’umille ancella de Adriana Lecouvreur de Cilea seguida de un fragmento del dúo entre Fausto y Margarita de Mefistofele de Boito, en donde Alfredo Kraus acompaña a la diva. Todo culmina en belleza con Deh vieni, non tardar de Las bodas de Fígaro de Mozart. Grabaciones en vivo en la mayoría de los casos. A lo largo de programa recogemos algunas de las afirmaciones y comentarios que la soprano nos hizo en entrevista de junio de 1991. Escuchar audio

The Two Gay Geeks

Francesco Cilea's opera "ADRIANA LECOUVREUR" is based on the life of an actress at the Comedie Francaise, a diva that all sopranos want to interpret.  This presentation will feature soprano Montserrat Caballe accompanied by tenor Jose Carreras in one of their most successful interpretations

La Voz Humana en la Música - Adriana Lecouvreur by Radiotelevisión de Veracruz

This time, Rebecca takes her turn as interviewer. She speaks to the exceptional Lauren McQuistin about her journey through alcoholism and into recovery, and how it has impacted her musical and personal life. Alcohol is such a mainstay of the music industry, classical and otherwise, and Lauren speaks with such honesty and eloquence on this historically taboo subject. The line between what can be seemingly 'harmless' social drinking and potentially devastating alcoholism is extremely fine, and hearing about Lauren's own struggles and subsequent determination to recover was inspirational to say the least. Scottish soprano, Lauren McQuistin, completed her undergraduate studies at the Royal Conservatoire of Scotland before moving to America to pursue a Master of Music at Indiana University. In Scotland she featured as a soloist with BBC Choir of the Year Les Sirenes, as well as performing as Donna Anna in scenes performances. A keen interpreter of Russian music, McQuistin made her Scottish Opera/McOpera Collective debut as Marfa in Shostakovich's Rotschild's Violin, as well as competing in and winning the Art Song class in the Sergei Leiferkus Competition for Voice in Moscow. Upon moving to America, she performed as Alice Ford and Adriana Lecouvreur in Vaness' Opera workshop, and she made her IU principal debut in 2016 as the title role of Florencia in the Jacob's School of Music production of Florencia en el Amazonas. She then went on to perform Countess Almaviva in Le nozze di Figaro with Bloomingvoce, in Bloomington. During this time she was awarded district winner in the Metropolitan Opera National Council auditions in St Louis and Nashville. Lauren was additionally the recipient of the Phyllis Curtin Career Entry Prize, whose purpose is to assist in launching the career of a graduating voice student who demonstrates exceptional talent as an artist and promise for professional success. Find out more about Lauren: https://www.laurenmcquistin.comOur website is: https://thingsmusiciansdonttalkabout.comInstagram: @tmdtapodcastTwitter:  https://twitter.com/tmdtapodcastEdited by Stuart Beard

We have a one-hit wonder from Cilea this week - Adriana Lecouvreur. It's "based on actual events", but it's very over-the-top in drama. And if you find the right production, you'll see Piotr Beczala's infamous pornstache!

In the final episode of the season, Keturah speaks with director, Crystal Manich, director and General Director of Opera Memphis, Ned Canty, and conductor, Joseph Mechavich, about three texts that move them in opera.  The conversation goes from the specific text to why sounds can be so moving, to how we approach text in our practice, and these three interviews sit beautifully as a trio in thought and structure.Texts discussed are Colautti’s Adriana LeCouvreur, Romani’s The Elixir of Love, and Maeterlinck’s Pelleas et Melisande.

Pour la sortie de l'album "Assoluta" chez Aparté SUR LE DISQUE Assoluta se réfère à ces voix de soprano qui firent les beaux jours des héroïnes tragiques du XIXe siècle : voix puissantes à la grande étendue de tessiture, au timbre chaud et riche, denses dans le grave, agiles et virtuoses dans l'aigu, et aujourd'hui presque disparues. Béatrice Uria Monzon en est l'une de ses rares représentantes : elle interprète les grands rôles de cette tessiture avec un programme traversant les monuments de l'opéra italien, dans ce premier enregistrement soliste. BIOGRAPHIE Béatrice Uria Monzon a profondément marqué le rôle de Carmen, dont elle a été l'une des plus grandes interprètes sur toutes les scènes nationales et internationales : l'Opéra de Paris, Chorégies d'Orange, Toulouse, Bordeaux, Venise, Vérone, Palerme, Turin, le Metropolitan Opéra de New York, Houston, Cleveland, Madrid, Barcelone, Buenos Aires, Staatsoper et Deutschoper de Berlin, Tokyo, Osaka, Moscou. Depuis plusieurs années, sa voix évoluant vers le répertoire de Soprano, Béatrice Uria Monzon interprète sa première Tosca en Avignon puis reprend ce rôle à l'Opéra de Paris, Berlin et la Scala de Milan. S'imposant d'emblée dans cette nouvelle tessiture, elle enchaine Lady Macbeth en 2016 au Théâtre Royal de la Monnaie et au Capitole de Toulouse, la Comtesse de Sérizy dans l'ouvrage de Luca Francesconi Trompe la Mort, création mondiale à l'Opéra de Paris en 2017, Adriana Lecouvreur à Saint-Etienne, Margherita et Elena dans Mefistofele de Boïto aux Chorégies d'Orange, La Gioconda au Théâtre Royal de Monnaie en 2019, Madeleine de Coigny dans Andréa Chénier.

Pour la sortie de l'album "Assoluta" chez Aparté SUR LE DISQUE Assoluta se réfère à ces voix de soprano qui firent les beaux jours des héroïnes tragiques du XIXe siècle : voix puissantes à la grande étendue de tessiture, au timbre chaud et riche, denses dans le grave, agiles et virtuoses dans l'aigu, et aujourd'hui presque disparues. Béatrice Uria Monzon en est l'une de ses rares représentantes : elle interprète les grands rôles de cette tessiture avec un programme traversant les monuments de l'opéra italien, dans ce premier enregistrement soliste. BIOGRAPHIE Béatrice Uria Monzon a profondément marqué le rôle de Carmen, dont elle a été l'une des plus grandes interprètes sur toutes les scènes nationales et internationales : l'Opéra de Paris, Chorégies d'Orange, Toulouse, Bordeaux, Venise, Vérone, Palerme, Turin, le Metropolitan Opéra de New York, Houston, Cleveland, Madrid, Barcelone, Buenos Aires, Staatsoper et Deutschoper de Berlin, Tokyo, Osaka, Moscou. Depuis plusieurs années, sa voix évoluant vers le répertoire de Soprano, Béatrice Uria Monzon interprète sa première Tosca en Avignon puis reprend ce rôle à l'Opéra de Paris, Berlin et la Scala de Milan. S'imposant d'emblée dans cette nouvelle tessiture, elle enchaine Lady Macbeth en 2016 au Théâtre Royal de la Monnaie et au Capitole de Toulouse, la Comtesse de Sérizy dans l'ouvrage de Luca Francesconi Trompe la Mort, création mondiale à l'Opéra de Paris en 2017, Adriana Lecouvreur à Saint-Etienne, Margherita et Elena dans Mefistofele de Boïto aux Chorégies d'Orange, La Gioconda au Théâtre Royal de Monnaie en 2019, Madeleine de Coigny dans Andréa Chénier.

Pour la sortie de l'album "Assoluta" chez Aparté SUR LE DISQUE Assoluta se réfère à ces voix de soprano qui firent les beaux jours des héroïnes tragiques du XIXe siècle : voix puissantes à la grande étendue de tessiture, au timbre chaud et riche, denses dans le grave, agiles et virtuoses dans l'aigu, et aujourd'hui presque disparues. Béatrice Uria Monzon en est l'une de ses rares représentantes : elle interprète les grands rôles de cette tessiture avec un programme traversant les monuments de l'opéra italien, dans ce premier enregistrement soliste. BIOGRAPHIE Béatrice Uria Monzon a profondément marqué le rôle de Carmen, dont elle a été l'une des plus grandes interprètes sur toutes les scènes nationales et internationales : l'Opéra de Paris, Chorégies d'Orange, Toulouse, Bordeaux, Venise, Vérone, Palerme, Turin, le Metropolitan Opéra de New York, Houston, Cleveland, Madrid, Barcelone, Buenos Aires, Staatsoper et Deutschoper de Berlin, Tokyo, Osaka, Moscou. Depuis plusieurs années, sa voix évoluant vers le répertoire de Soprano, Béatrice Uria Monzon interprète sa première Tosca en Avignon puis reprend ce rôle à l'Opéra de Paris, Berlin et la Scala de Milan. S'imposant d'emblée dans cette nouvelle tessiture, elle enchaine Lady Macbeth en 2016 au Théâtre Royal de la Monnaie et au Capitole de Toulouse, la Comtesse de Sérizy dans l'ouvrage de Luca Francesconi Trompe la Mort, création mondiale à l'Opéra de Paris en 2017, Adriana Lecouvreur à Saint-Etienne, Margherita et Elena dans Mefistofele de Boïto aux Chorégies d'Orange, La Gioconda au Théâtre Royal de Monnaie en 2019, Madeleine de Coigny dans Andréa Chénier.

This week we celebrate the recent 111th birthday of the great Italian verista Magda Olivero. An extraordinary artist whose unusual career saw her taking a ten-year hiatus just as her career was gaining steam, to return in 1950 at the express request of the composer Francesco Cilea, who felt that her portrayal of the title role of his Adriana Lecouvreur was definitive (and of course he was right!) Olivero made a Metropolitan Opera debut as Tosca at the advanced age of 65; even after her official retirement, she continued to make occasional appearances in concert, including her final one at the age of 99! She began with a modest but capable voice and developed it into a finely-tuned instrument capable of taking on the most dramatic repertoire, including Cherubini’s Medea and Minnie in La fanciulla del West, but always capable of the finest pianissimo shadings. Her voice displays an extraordinary range of color and her dramatic acumen has never been matched. This week’s episode features a number of her live appearances in Amsterdam, including an extraordinary Adriana Lecouvreur from 1965 which features her at her artistic and vocal peak. The episode also features excerpts from an extraordinary live concert at the Church of San Jacopino in Firenze on 28 March 1969 which includes nearly superhuman displays of vocal skill and dramatic insight. Magda Olivero lived to the age of 104; though she is no longer with us on earth, her artistry continues to inspire and delight lovers of opera and singing. This episode was prepared with the kind assistance and input of Denis Robert, who maintains the Magda Olivero Archives page on YouTube. He was a personal friend of the artist and has done much to meticulously preserve her artistry and keep her legacy alive. He has provided me with high-quality masterings of many of the recordings featured on today's episode and also regaled me with wonderful personal anecdotes and reminiscences of this great artist. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.  

Seguimos consumiendo etapas en la narración autobiográfica de Sir Rudolf Bing. En esta oportunidad habla de nuevas producciones de Maestros cantores y Ariana en Naxos, lo que nos da pie a escuchar el final de la primera ópera en la magna interpretación de Fritz Reiner en el foso del propio Met y de un fragmento de la última parte de la segunda dirigida por Karl Böhm, que fue el maestro que estuvo en el Teatro en esa ocasión. Bing recordaba más tarde a la insigne Joan Sutherland cantando La sonámbula. Evocando a la soprano australiana seguimos su maravillosa recreación de Care compagne de esa ópera belliniana. Se habla también de Renata Tebaldi, que nos ofrece Io son l’umille ancella de Adriana Lecouvreur. Bing nos cuenta luego sus sinsabores con la crítica neoyorkina, lo que abre la puerta para escuchar el coro Gli aranzi olezzano de Cavalleria rusticana. Tras unos compases del Nocturno op. 9 nº 1 de Chopin en las manos de Rubinstein, llegamos al final con la conclusión del tercer acto de Otello, también dirigida por Böhm. Escuchar audio

Il Comunale di Bologna come set cinematografico

Joan Carden was born in Melbourne in 1937 on the anniversary of the great composer Giuseppe Verdi’s birth. After understudying June Bronhill as ‘The Merry Widow’ in 1960, Joan Carden sought tuition in London studying with her major musical influence, London-trained and based, West Australian-born, multi-lingual, expatriate vocal coach, Vida Harford.Joan Carden appeared in opera and concerts in Europe before initially joining The Australian Opera in concerts in 1970. The following year marked her stage debut with the company as ‘Liu’ in Turandot and ‘Marguerite’ in Faust. After much acclaim in Australia as ‘Gilda’ in Rigoletto she was invited to repeat the role at Covent Garden. Engagements ensued throughout the United Kingdom and United States.Joan Carden has sung virtually all the Mozart heroines. Her performance of ‘Violetta’ in Verdi’s La Traviata has been noted for the moving interpretation. Her voice in ‘Violetta’s’ famous aria, is on the sound track of the film Priscilla, Queen of The Desert.She has sung more than 50 major roles from the 18th century through to contemporary works , including: ‘Desdemona’ (Otello); ‘Leonora’ in both Il Trovatore and La Forza del Destino; ‘Elisabetta’ (both Don Carlos and Maria Stuarda); ‘Rosalinde’ in Die Fledermaus, ‘Feldmarschallin’ (Der Rosenkavalier) and ‘Ellen Orford’ (Peter Grimes); ‘Tatyana’ (Yevgeny Onyegin)- in Russian and English. Other title roles include Alcina, Lakme, and Adriana Lecouvreur.She has embraced Musical Theatre performances as Mother Abbess in the Gordon/ Frost Organisation’s The Sound of Music and Ida Strauss in Titanic. In 2003, she took on a last role for Opera Australia - ‘Public Opinion’ based on controversial political figure, Pauline Hanson, in a satirical new version of Orpheus in the Underworld.Joan Carden is engaging grace and charm. She reflects warmly on a career that has not only brought audiences great joy but also rewarded her, in the ability to gift the art of song.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where all good podcasts are found.

Today’s episode, a celebration of the delicious and versatile Italian mezzo-soprano Giulietta Simionato (1910-2010), kicks off a miniseries in celebration of the mezzo-soprano voice. The centerpiece of the episode is a 10-inch London/Decca recording entitled Operatic Recital by Giulietta Simionato which features arias of Rossini, Bellini, and Verdi. The remainder of the episode features live and studio recordings, primarily from La Scala and Salzburg, by Simionato with distinguished partners, including Maria Callas, Franco Corelli, Jon Vickers, Ettore Bastianini, Gianadrea Gavazzeni, Antonino Votto, Carlo Maria Giulini, and Herbert von Karajan. Works include Il barbiere di Siviglia, Cavalleria rusticana, I Capuleti e i Montecchi, Don Carlo, Adriana Lecouvreur, Orfeo ed Euridice, Norma, La Cenerentola, Gli Ugonotti, L’Italiana in Algeri, and Aida, with one special Easter egg at the end. This episode, dedicated to my dear friend Gloria Parker, also features a tribute to the late German mezzo-soprano Hertha Töpper. A te la buona Pasqua! Countermelody is a 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 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 support at whatever level you can afford.

Escuchamos aquí las reflexiones de Sir Rudolf a la hora de planificar repartos, localizar cover, buscar directores musicales y de escena y demás obligaciones del director artístico de un Teatro como el Metropolitan. Salpimentamos la narración con fragmentos de Pagliacci de Leoncavallo (Prólogo por Leonard Warren, con Dimitri Mitropoulos en el foso), Adriana Lecouvreur de Cilea (Io son l’umile ancella por Renata Tebaldi), Norma de Bellini (Casta diva por Joan Sutherland), La walkiria de Wagner (Cabalgata por Marjorie Lawrence, con Eric Leinsdorff en el foso), La bohème de Puccini (aria de Musetta por Lucine Amara), La mujer sin sombra de Strauss (fragmento del tercer acto por Leonie Rysanek, con Böhm en el foso), Pelléas et Melisande de Debussy (comienzo, en la versión de Roger Désormière), Don Carlo (final Auto de fe con Fritz Stiedry en el foso) y Aida de Verdi (final Escena del Nilo por Franco Corelli, Gabriela Tucci y Cornell MacNeil), El Holandés errante de Wagner (Balada de Senta por Birgit Nilsson, con Leopold Ludwig a la batuta) y Ernani de Verdi (aria de Elvira por Leontyne Price, con Thomas Schippers en el foso). Escuchar audio

Erfahren Sie 3 witzige und interessante Fakten über Francesco Cilea’s Oper Adriana Lecouvreur   Wenn Sie mehr über Opern wissen wollen, dann bietet Ihnen Opera-Inside alles was Ihr Herz begehrt. Besuchen Sie den Opern-Blog www.opera-inside.com und sie erfahren interessante Fakten zu berühmten Opern. Mit wunderschönen YouTube Videos der besten Interpreten wie zum Beispiel Luciano Pavarotti, Placido Domingo oder Maria Callas.

Hear 3 funny and interesting facts about Francesco Cilea’s opera Adriana Lecouvreur If you want to know more about opera, opera-Inside offers you everything your heart desires. Visit the opera blog WWW.OPERA-INSIDE.COM and learn interesting facts about famous operas. With beautiful YouTube Videos with the best singers like Luciano Pavarotti, Placido Domingo or Maria Callas.

Anna Netrebko in der Rolle der Diva, nämlich als Adriana Lecouvreur bei den Salzburger Festspielen. Eine Traumbesetzung? Könnte man meinen, wenn nicht einiges fehlte: Finesse, Zwischentöne, Innigkeit. Francesco Cileas Oper bietet viel Drama und Emotion.

Adriana Lecouvreur, by composer Francesco Cilea and librettist Arturo Colautti, is an opera that exquisitely dramatizes the life of the great French actress Adrienne Lecouvreur of the Comédie Française. Adriana Lecouvreur’s story is based on the play by Eugène Scribe, and as well as being the central character of Cilea’s soaring and heart-breaking opera, she has been portrayed on screen by such acting greats as Sarah Bernhardt and Joan Crawford. Join us for the twists and turns of this beloved, dramatic woman’s life. Hosted by Pat Wright and Keely Herron.

This past New Year’s Eve, the Met presented a glorious new production of Francesco Cilea's Adriana Lecouvreur. This production features the unparalleled trio of soprano superstar Anna Netrebko, tenor heartthrob Piotr Beczala, and electrifying mezzo Anita Rachellishvili. On this episode of The Metropolitan Opera Guild Podcast, we have a pre-performance lecture by composer and conductor Victoria Bond, exploring the history and lush musical writing of this rarely performed verismo masterpiece.

Fifty years ago, a teacher gave me two tickets to see Renata Tebaldi and Franco Corelli in Francesco Cilea's Adriana Lecouvreur.

A passionate, larger-than-life stage actress vies with a conniving princess for the love of the same dashing count. Learn more about Cilea's Adriana Lecouvreur with our In Focus podcast, hosted by Met radio commentator and staff writer William Berger.

Adriana Lecouvreur is popping up at more and more opera houses recently, perhaps because Queen Netrebko has taken on the role of the title character. The plot is so wonderfully operatic, with twists and schemes galore, it may surprise you to hear it's based on true events. We hope you enjoy this gem from composer Francesco Cilea!

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In my experience, Fedora Barbieri had one of the very greatest voices, like an "organ" as it poured from her. We met in her later years, and she was  a fun lady. Here are scenes from: Carmen,Falstaff (with Gobbi), Ballo, Samson et Delilah, Adriana Lecouvreur, Andrea Chenier, Gioconda, Trovatore (live 1951 with Warren and my beloved Kurt Baum),and songs "Nel cor piu non mi sento" and " Chi vuol la zingarella graziosa."

If you wish to hear some remarkable vocalism, listen to this 1976 Tokyo Adriana,under Gianfranco Masini, featuring prime Montserrat Cballe, Fiorenza Cossotto, Jose Carreras, and Attilio D'Orazi. Do not fail to pay special attention to the third act Phedre declamation, whish will make you almost "terrfified" in its intensity.  (73 min.)

Another of my compilations, derived from various files of the past. I am happy you enjoy this kind of post, because it allows you to play a guessing game and/or enjoy a wide variety of great singing. Here is the information: 1. Beniamino Gigli      Fedora         "Amor ti vieta"  (HONEY!!) 2. Maria Ivogun           Seraglio       "Martern aller artern" 3. Selma Kurz               Rigoletto      "Caro nome"    (Can she TRILL!) 4. Marjorie Lawrence/Lauritz Melchior   Gotterdamerung       Dawn Duet 5. Giannina Arangi-Lombardi      Aida    "O patria mia" 6. Leyla Gencer            Idomeneo           Electra's aria 7. Beverly Sills              Louise                "Depuis le jour" 8. Christa Ludwig/Sherril Milnes            Macbeth duet 9. Meta Seinemeyer     Andrea Chenier   "La mamma morta"  (Sadly,she died at 33.) 10. Nelly Melba/Enrico Caruso     La Boheme    "O soave fanciulla'  (Just her high C indicates what she was!) 11. Beverly Sills          Aida (her only one)  "Ritorna Vincitor" 12. Mark Reizen           Boris Coronation Scene  (See his Onegin aria at age 90 on Youtube.) 13.John O'Sullivan       William Tell       "O muto asil."  (He must have shaken the chandeliers.) 14. Rosetta Pampanini     Adriana Lecouvreur    "Poveri fiori" 15. Aureliano Pertile      Andrea Chenier         "Come un bel di di Maggio" 16. Ewa Podles                Rinaldo             "Or la tromba" 17. Diana Soviero/Dominic Cossa    Pearl Fishers Duet 18. Renata Tebaldi      Tristan und Isolde      "Liebestod" (In Italian) 19. Luisa Tetrazzini      La Sonnambula          "Ah non giunge" 20. Marcel Wittrisch      Paganini aria

 That warm,emotional voice of baritone Giuseppe Taddei is heard in arias and songs. The man was a special artist, one of the greats. Arias are from:  Favorita, Ballo, Don Carlo, Vespri, Andrea Chenier, Adriana Lecouvreur, L'Arlesiana. The songs are: Santa Lucia Luntana, Dicitincello vuie, Voce 'e notte, Senza nisciuno, Marechiare, Napule canta, Passione, I te vurria vasa', Pecche.     (66 min.)

 Presenting the great (age 63) Magda Olivero in an Adriana from Newark,New Jersey in 1973 under Alfredo Silipigni. She is joined by Placido Domingo,Maria Luisa Nave, and Enzo Sordello (71 min.) As we have always known by her recordings, Olivero is a miracle of style and emotion. I am so happy to have seen her live in Tosca and Fedora. She is now 104 and we hope she goes on forever, and she will always be "forever" in our hearts.

 Another example of the versatilty and artistry of Leyla Gencer, "Queen of the Pirates." This is an Adriana from Naples, 1966, Under Oliviero di Fabritiis. The cast also features Amadeo Zambon, Enzo Sordello, and Adriana Lazzarini.  (70 min.)

The beloved Magda Olivero, now 102 years young, sings first Poulenc's "La Voix Humaine" from 1970 in Venice under Nicola Rescigno. This will be followed by a series of Ave Marias from several years: Schubert( 1978), Bracesso ( 1979), Luzzi (1981), Saint-Saens (1985), and Leoncavallo ( 1987). The podcast concludes with a special arrangement,in 1994 (she was only 84), of an Ave Maria that is based on the Cavalleria Rusticana Intermezzo.  (72 min.)  Magda is one of the great miracles of opera and when I speak to her every birthday and when friends of mine visit her in Milan, she speaks that gorgeous "Verism0" Italian, and is even more lucid than I am. Magda Olivero (née Maria Maddalena Olivero, 25 March 1910) is a soprano of the verismo-school of singing. She was born in Saluzzo, Italy. Olivero made her operatic debut in 1932 on Turin radio in Nino Cattozzo's (1886–1961) oratorio I misteri dolorosi.[1] She performed widely and increasingly successfully until 1941, when she married and retired from performing. She returned to the stage ten years later, at the request of Francesco Cilea, who asked her to sing the title role in his opera Adriana Lecouvreur.[2][3] From 1951 until her final retirement, Olivero sang in opera houses around the world. Among her most renowned interpretations were the leading parts in Adriana Lecouvreur, Iris, Fedora, La bohème, La fanciulla del West, La traviata, La Wally, Madama Butterfly, Manon Lescaut, Mefistofele, and Turandot (as Liù.) She sang in Cherubini's Médée in Dallas in 1967 and in Kansas City in 1968.[4] In 1975, already an international star for four decades, she made her début at the Metropolitan Opera House in Tosca. Her last performances on stage were in March 1981 in the one-woman opera, La voix humaine by Poulenc.[5] Thus, her stage career ended at age 71 and spanned nearly 50 years. She continued to sing church music locally and, well into her eighties, made a recording of several arias. Recordings exist of many of her great performances of both full operas and arias and scenes. Among her studio recordings are Turandot (as Liù, with Gina Cigna, for Cetra, 1938), Fedora (with Mario Del Monaco and Tito Gobbi, conducted by Lamberto Gardelli, for Decca, 1969) and highlights from Francesca da Rimini (with Del Monaco, conducted by Nicola Rescigno, for Decca, 1969). In 1993, she recorded, with piano accompaniment, Adriana Lecouvreur (with Marta Moretto as the Princesse de Bouillon); excerpts from this recording were published on the Bongiovanni label. At age 86, she performed Adriana's monologue in Jan Schmidt-Garre's film Opera Fanatic. She made occasional singing appearances into her nineties. Olivero celebrated her 102nd birthday on 25 March 2012.

Here are the earliest reordings (1956-1959) by Franco Corelli.They originally were on the Cetra label. The arias are from: I Lombardi, Otello, Tosca, Turandot, Cavalleria, Fedora,Mme.Butterfly, Adriana Lecouvreur, Fanciulla, Andrea Chenier,  Lodoletta, Mefistofele, Pagliacci, and Werther.  (66 min.)   How we miss him!!!!!!!!

Happy birthday to my darling Virginia Zeani,one of the greatest divas in opera history. (No fooling.). In this tribute we present arias from Mefistofele, Turandot, Adriana Lecouvreur,Traviata, Lucia, Don Carlo, Maria di Rohan, Thais, Zelmira, La Boheme, and the Elisir duet with Nicola Rossi-Lemeni, her beloved husband.   (72 min.)

Mirella Freni, one of the great sopranos  in the world of opera, is presented in live performances. She sings the Strauss Four Last Songs, and arias from Gianni Schicchi,Adriana Lecouvreur, L'Amico Fritz, La Boheme, Turandot,Carmen, Vespri Siciliani, and the Eugen Onegin Letter Scene.  (70 min.)

 You want a fabulous cast?????? Listen to this Adriana Lecouvreur from Naples, 1959 under Mario Rossi. Magda Olivero (100 yrs.old on Mar.25),Franco,Corelli, Giulietta Simionato, Ettore Bastianini   (67 min.)

The happiest of birthdays (Jan.22) to the superb tenor (and lovable guy) Joseph Calleja. Mr.Calleja, who hails from Malta, is fast becoming one of opera's most renowned artists and here are some examples of his great voice:  The arias are from:  Mme.Butterfly, Adriana Lecouvreur, Don Sebastiano, La Belle Helene, Romeo et Juliette, I Lombardi, and La Traviata.    I also must mention that yesterday we celebrated (well, I did, anyway) the birthdays of two other great stars, Placido Domingo and Carlo Handelmaniac(Or is it EGOmaniac?) Now do not shoot me for the following:     "Were I the impresario of an opera house years ago, and heard boy soprano Calleja, I would cast him in "Die Frau Ohne Schatten" so we could therefore call him the "Maltese Falcon."                          With all my best to a great guy!     Charlie

The amazing Magda Olivero in an Amsterdam concert, 1962. She sings arias from Manon Lescaut,Mefistofele, Tosca, Iris, Adriana Lecouvreur, and Risurrezione.    (32 min.) Youtube Link: http://www.youtube.com/watch?v=HNniGHmTrNo  

 This live Adriana Lecouvreur from 1977, San Francisco might be one of the greatest performances of the opera, along with the 1959 Olivero,Corelli,Simionato,Bastianini cast.     Here we have Renata Scotto,Giacomo Aragall,Giuseppe Taddei, and Elena Obratsova conducted by Gianandrea Gavazzeni.   (72 min.)          I bet you do not even miss my voice!!!!!!!!!!!!!

A comparison of famous divas performing the Phedre Recitative and the "Poveri Fiori" from Cilea's "Adriana Lecouvreur." Who is your favorite? Magda Olivero,Renata Tebaldi, Aprile Millo, Diana Soviero, Montserrat Caballe,Mafalda Favero,Renata Scotto,Leyla Gencer(Phedre only), andNelly Miricioiu (Phedre only.).                                  70 min.)

   In the 1960's, New York opera lovers who attended the La Puma Opera Company "adopted" the diva Olive Middleton whose prime years (including singing at Covent Garden) were in the 1920's. Olive was around 80, and of course the notes were rather "approximate," but she had great feeling for the music, and the spoken material really sounds like a legitimate singer, even at her advanced age.     Unless you are a total "purist" you might have some fun with this podcast. We met her once at the Met and treated her like a real diva;she ate it up. She passed away in 1974 at age 93,so do the math!      At present she is coaching with Zinka Milanov, Adelina Patti, and Ethel Merman.                          Enjoy(maybe) !!!   Charlie

Magda Olivero (Adriana Lecouvreur), Giulietta Simionato (Principessa di Bouillon), Franco Corelli (Maurizio), Ettore Bastianini (Michonnet), Antonio Cassinelli (L'Abate di Chazeuil), Augusto Frati (Quinault), Renato Ercolani (Poisson), Rosanna Zerbini (Jouvenot), Anna di Stasio (Dangeville). Orchestra & Chorus del Teatro di San Carlo, Naples; Mario Rossi, conductor. 28 November 1959.

Magda Olivero (Adriana Lecouvreur), Giulietta Simionato (Principessa di Bouillon), Franco Corelli (Maurizio), Ettore Bastianini (Michonnet), Antonio Cassinelli (L'Abate di Chazeuil), Augusto Frati (Quinault), Renato Ercolani (Poisson), Rosanna Zerbini (Jouvenot), Anna di Stasio (Dangeville). Orchestra & Chorus del Teatro di San Carlo, Naples; Mario Rossi, conductor. 28 November 1959.

Magda Olivero (Adriana Lecouvreur), Giulietta Simionato (Principessa di Bouillon), Franco Corelli (Maurizio), Ettore Bastianini (Michonnet), Antonio Cassinelli (L'Abate di Chazeuil), Augusto Frati (Quinault), Renato Ercolani (Poisson), Rosanna Zerbini (Jouvenot), Anna di Stasio (Dangeville). Orchestra & Chorus del Teatro di San Carlo, Naples; Mario Rossi, conductor. 28 November 1959.

Magda Olivero (Adriana Lecouvreur), Giulietta Simionato (Principessa di Bouillon), Franco Corelli (Maurizio), Ettore Bastianini (Michonnet), Antonio Cassinelli (L'Abate di Chazeuil), Augusto Frati (Quinault), Renato Ercolani (Poisson), Rosanna Zerbini (Jouvenot), Anna di Stasio (Dangeville). Orchestra & Chorus del Teatro di San Carlo, Naples; Mario Rossi, conductor. 28 November 1959.

  A tribute to the remarkable Placido Domingo on the occasion of his 40th anniversary at the Met, as well as recognition for a career that has emerged as one of the greatest in music history. Selections are from:   Cavalleria Rusticana, Rienzi, Lohengrin,   Elijah, Samson et Delilah,Adriana Lecouvreur, Andrea Chenier,   Manon, Carmen (w.Resnik), Iris, Otello, Luisa Fernanda, El Trust ,     and a beautiful rendition of "Somewhere Over the Rainbow.        Our most sincere congratulations to Mr.Domingo for all he has        achieved in the music world.                                     (73.min.)

My tribute to Aprile Millo, one of the finest (and nicest) artists I havehad the pleasure of hearing. I present her in scenes from: Trovatore, Fanciulla, Rusalka, Andrea Chenier, Luisa Miller,La Gioconda, Adriana Lecouvreur,Tosca, and I Lombardi.     Also joining Mme.Millo in these scenes are Dolora Zajick,     Marcello Giordani, Vladimir Atlantov, Taro Ichihara,and     Vladimir Chernov.                                    (67 minutes)                          

Adriana Lecouvreur: Renata Scotto Il Principe di Bouillon: James Courtney La Principessa: Elena Obraztsova L'Abate: Joseph Frank Maiordomo: Winther Andersen Maurizio: Giacomo Aragall Michonnet: Giuseppe Taddei Mme. Dangeville: Mildred Tyree Mme. Jouvenot: Pamela South Poisson: Robert Johnson Quinault: John Davies Orchestra and Chorus of the San Francisco Opera; Gianandrea Gavazzeni. 9 September 1977.

Adriana Lecouvreur: Renata Scotto Il Principe di Bouillon: James Courtney La Principessa: Elena Obraztsova L'Abate: Joseph Frank Maiordomo: Winther Andersen Maurizio: Giacomo Aragall Michonnet: Giuseppe Taddei Mme. Dangeville: Mildred Tyree Mme. Jouvenot: Pamela South Poisson: Robert Johnson Quinault: John Davies Orchestra and Chorus of the San Francisco Opera; Gianandrea Gavazzeni. 9 September 1977.

Adriana Lecouvreur: Renata Scotto Il Principe di Bouillon: James Courtney La Principessa: Elena Obraztsova L'Abate: Joseph Frank Maiordomo: Winther Andersen Maurizio: Giacomo Aragall Michonnet: Giuseppe Taddei Mme. Dangeville: Mildred Tyree Mme. Jouvenot: Pamela South Poisson: Robert Johnson Quinault: John Davies Orchestra and Chorus of the San Francisco Opera; Gianandrea Gavazzeni. 9 September 1977.

Adriana Lecouvreur: Renata Scotto Il Principe di Bouillon: James Courtney La Principessa: Elena Obraztsova L'Abate: Joseph Frank Maiordomo: Winther Andersen Maurizio: Giacomo Aragall Michonnet: Giuseppe Taddei Mme. Dangeville: Mildred Tyree Mme. Jouvenot: Pamela South Poisson: Robert Johnson Quinault: John Davies Orchestra and Chorus of the San Francisco Opera; Gianandrea Gavazzeni. 9 September 1977.

An affectionate tribute to the very great Magda Olivero,whowill celebrate her 97th birthday on March 25. The selectionsincluded in this podcast range from 1940 to 1993!! Traviata, Tosca, Risurrezione, Adriana Lecouvreur,FedoraFanciulla, Gianni Schicchi, Lodoletta, Jenufa, Mme.Butterfly,La Rondine, Manon, Mefistofele,plus "O del mio amato ben."                                     (81 minutes)

  On occasion, even a jaded opera lover like me finds joy  in discovering a great voice. I find that Signor Giordani  is one of the great singers in my opera-going experience  and I am pleased to present live scenes from various operas  that feature him: Favorita, Manon, Romeo ,Huguenots, Gioconda, Ballo,William Tell(with a BIS!!), Adriana Lecouvreur.                              (85 minutes)

What true opera lover can resist our darling Olive Middleton,a cult figure at New York's (in)famous La Puma Opera in the 60's.( the 1960's).   So what if she sang about three tones flat and had no teeth? She was adored,as you will hear on this brief (Thank GOD) podcast   (15 glorious minutes)