Podcast appearances and mentions of Deborah Voigt

A year ago, I posted an episode entitled “The Haunted Opera House” that featured a wide range of spooky, witchy, Halloween-appropriate 20th century operas from Prokofiev to Penderecki. This year I focus in on one of the works from that episode, Ottorino Respighi's 1934 masterpiece La Fiamma, based on a 1908 play on witch hunts and witchcraft in 16th century Norway by the novelist and playwright Hans Wiers-Jenssen entitled Anna Pedersdotter, the Witch. This work also formed the basis for the Carl Dreyer film Day of Wrath. Respighi and his librettist Claudio Guastalla transferred the action to seventh-century Ravenna in the early days of Christianity. Musically the work combines Respighi's interest with Gregorian chant, modal scales and harmonies, and the work of Claudio Monteverdi with his penchant for stunning orchestrations. The dramatically potent result was his most famous operatic work, but after an initial succès d'estime, it has only retained the slightest hold on the operatic fringes. Nevertheless, the heroine Silvana in particular is a role that great sopranos have made their own over the years, including Claudia Muzio, Gina Cigna, Giuseppina Cobelli, and Rosa Raisa (none of whom sadly recorded any excerpts) through Montserrat Caballé, Nelly Miricioiu, Ilona Tokody, Stefka Evstatieva, and Mara Coleva. I tell the story of the opera while offering substantial excerpts, which, in addition to the sopranos mentioned above, also include such operatic heavyweights as James McCracken, Carlo Tagliabue, Deborah Voigt, Giacinto Prandelli, Delcina Stevenson, Felicity Palmer, Juan Pons, Anna Moffo, and Mignon Dunn, among others. Just the thing to scare you out of your skin this Halloween! 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.

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022.In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt.Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018. 

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022.In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt.Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018. 

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022. ​ In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt. ​ Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018.  ​ Dedicated to music education and outreach, Marlon is a jazz faculty member of CSArts San Gabriel Valley. He also serves as a double bass coach for the Capistrano Unified School District, and collaborates with the Inner City Youth Orchestra of Los Angeles. With the support of the Colburn School and Billy Strayhorn Songs Inc., Marlon will record educational lectures and performances on the music of Billy Strayhorn, with Marlonius Jazz Orchestra, for Colburn School's Amplify Series in 2022.

The Tabernacle Choir and Orchestra at Temple Square are featured in this merry episode about Christmas in our own backyard. We are local to Salt Lake City and enjoy a wide variety of Christmas culture. This includes the magnificent downtown venue of Temple Square, home to the Salt Lake Temple of the Church of Jesus Christ of Latter-day Saints. Temple Square is famously decorated for Christmas and features one of the largest Christmas light displays in the world. It also has stunning Nativity displays and art. The several buildings house crowds of all sizes to accommodate performances from local artists and groups. The most famous of these groups is the Tabernacle Choir, who has called Temple Square home since the 1860s. They first performed in the still-standing Tabernacle, for which the Choir is named. In their history of touring and regular concerts no other activity by the Choir is as well known as their annual Christmas concert, which is featured on PBS in a nationally aired broadcast every holiday season. The Christmas concerts by the Tabernacle Choir feature the Orchestra at Temple Square, a hand bell choir, dancers and actors from local companies. Nearly all local performers are volunteers. It is a Choir custom to invite renown guest artists to perform each year. Past performers include Broadway stars Audra McDonald, Kristin Chenoweth, Angela Lansbury, Kelli O'Hara, Santino Fontana and Laura Osnes; R&B singer Gladys Knight; the late jazz singer Natalie Cole; pop singer David Archuleta; legendary newscasters Walter Cronkite and Tom Brokaw; historian David McCullough; the Muppets from “Sesame Street”; actors Jane Seymour, Hugh Bonneville, Richard Thomas, the late Ed Herrmann, John Rhys-Davies, Roma Downey, the late Peter Graves, Claire Bloom, Michael York and Martin Jarvis; opera stars Renée Fleming, Deborah Voigt, Frederica von Stade, Bryn Terfel, Nathan Gunn, Alfie Boe, Sissel, Rolando Villazón and four Metropolitan Opera soloists and the London-based a cappella group, The King's Singers. Collectively, the featured guests have garnered 34 Grammy Awards, 19 Tony Awards, 14 Emmy Awards, 10 Golden Globe Awards, three BAFTA Awards, one Academy Award, a Screen Actors Guild Award and an Olivier Award. These concerts are a massive effort. In this merry episode we speak with Scott Barrick of the Tabernacle Choir about everything that goes into getting these concerts produced. This episode features a healthy dose of Tabernacle Choir music and information about a new two-hour holiday special airing on PBS before Christmas. But that's not all. In this episode we also hear from two other artists performing on Temple Square - Allie Gardner, who with Wade Farr performs a haunting version of O Come O Come Emmanuel. That song is the oldest Christmas carol on record and we tell its fascinating backstory. We also share the incredible version of The First Noel performed last Christmas by Bryson and Tierra Jones, a must-hear tear-jerking arrangement of the classic Christmas song by Jared Pierce. We invite you to see more images and videos of the Tabernacle Choir and Christmas on Temple Square on our website at MyMerryChristmas.com Notes: Tabernacle Choir DVD - 20 Years with the Tabernacle Choir CD - Christmas Best - #1 on Billboard Book - Keepsake Christmas Stories: Holiday Stories as Performed with the Tabernacle Choir

durée : 01:29:27 - James Conlon, chef d'orchestre (3/5) - par : François-Xavier Szymczak - Dans ce 3 volet nous entendrons le chef diriger Deborah Voigt dans Une tragédie florentine de Zemllinsky, Natalie Dessay dans Le Rossignol de Stravinsky, Soile Isokoski dans la Quatrième Symphonie de Mahler, et Frederica von Stade dans Vanessa de Barber. - réalisé par : Céline Parfenoff

durée : 01:28:17 - Happy birthday Antonio Pappano ! (2/5) - par : François-Xavier Szymczak - Antonio Pappano s'affirme comme chef lyrique. Il poursuit sa collaboration avec Angela Gheorghiu et Roberto Alagna, mais aussi avec Barbara Bonney, Placido Domingo, Deborah Voigt... - réalisé par : Romain Masson

Soprano Lisette Oropesa was recently named as the winner of the 2019 Richard Tucker Award. She stars in  major productions around the world and has garnered acclaim in several prestigious debuts including in the title role of Lucia di Lammermoor at the Teatro Real Madrid and Royal Opera House.  Past winners include such luminaries as Stephanie Blythe, Lawrence Brownlee, Joyce DiDonato, Renée Fleming, Christine Goerke, Matthew Polenzani, and Deborah Voigt. Oropesa was inducted into this who’s who of American opera at the foundation’s annual gala on Sunday, October 27, at Carnegie Hall.  She chats with host Patrick D. McCoy about her career, winning the award and her upcoming appearance in DC with Washington Concert Opera in their performance of "Hamlet" by Ambroise Thomas on Sunday, November 24 at George Washington University's Lisner Auditorium.

For his fourth full opera, The Flying Dutchman, Wagner chose a popular maritime legend as the basis for an eerie and evocative work. In it, we meet an archetypal character that appears time and again in art and literature: the eternal wanderer. Neither dead nor alive, the Flying Dutchman is cursed to sail the seas for all eternity, searching for true love to save him.  This week on He Sang/She Sang, William Berger, author of the book Wagner without Fear, discusses one of history's most controversial and visionary composers. He explores the hit tunes and earworms, the power of transformation and the unexpected parallels between Wagner and The Beatles.  Overture to The Flying Dutchman (Round Top Festival Institute):   "Die frist ist um" (James Morris, bass-baritone):   This episode features excerpts from the following album: Wagner: Der fliegende Holländer (Sony Classical, 1997)— James Morris, bass-baritone; Deborah Voigt, soprano; Ben Heppner, tenor; Jan-Hendrik Rootering, bass; the Metropolitan Opera Orchestra and Chorus conducted by James Levine

Revolutionary times call for revolutionary music, and Beethoven was living in revolutionary times. At the beginning of the 19th century, he quickly became disillusioned by Napoleon Bonaparte — a leader who initially seemed concerned with freedom but was ultimately obsessed with his own power. Beethoven's political anguish rang out in his music, as did his deeply-held beliefs about the heroic power of ordinary people.  Beethoven spent more than 10 years revising Fidelio, the only opera he ever wrote. This was about more than music for the great composer. It was about freedom, devotion and the triumph of human dignity over tyranny. In this episode, host Merrin Lazyan speaks with Jessica Phillips, second clarinetist in the Metropolitan Opera Orchestra, about Beethoven's revolutionary sound. We also hear from soprano Adrianne Pieczonka, who sings the lead role of Leonora, about the most moving musical moments in Fidelio. “O namelose Freude!” (Adrianne Pieczonka and Klaus Florian Vogt):  “Nur hurtig fort, nur frisch gegraben” (Adrianne Pieczonka and Falk Struckmann):  This episode features excerpts from the following album: Beethoven: Fidelio (Sony Classical, 1996)— Deborah Voigt, soprano; Ben Heppner, tenor; Matthias Hölle, bass; Elizabeth Norberg-Schulz, soprano; Michael Schade, tenor; Thomas Quasthoff, bass-baritone; the Bavarian Radio Symphony Orchestra and Chorus conducted by Sir Colin Davis. 

Lesbiska sopraner? Kristin Norderval kritiserar traditionell opera och Stella Scott lämnar operascenen. Möt även den manlige traumatiske sopranen Ira Siff, La Gran Scena Opera Company i New York. Inom operavärlden finns en uppsjö homo- och bisexuella män. Men hur många lesbiska kvinnor känner vi till? Över hela världen lyser lesbiska sopraner med sin frånvaro. I alla fall de som är öppna med sin sexuella preferens. Till programmet idag har en svenska tackat nej hon är rädd för att få sin karriär spolierad och hennes hustru är orolig för sitt jobb inom den klassiska musikbranschen. I programmet medverkar dock två sopraner som älskar kvinnor: norskamerikanska tonsättaren och sångerskan Kristin Norderval som slutat sjunga traditionell opera och operasångerskan Stella Scott som har lämnat operascenerna.Professorn och teatervetaren Tiina Rosenberg berättar om byxroller och varför operakonsten är en kroppslig konstform - i likhet med porrfilm. Dramaturgen Göran Gademan, som skrev boken Operabögar, ger exempel på orgasmmusik i operorna och frilägger den navelsträng som finns mellan operabögars mammor och de stora operadivorna. Han avslöjar också vilken opera som ger homo- och bisexuella mod att skaffa barn.Vi möter den manlige traumatiske sopranen Ira Siff från La Gran Scena Opera Company i New York. Och vi hör musik med operadivorna Maria Callas, Anna Moffo, Joan Sutherland, Birgit Nilsson, Frederica Von Stade och Deborah Voigt.Låtlista: Ecstatic Plain, ur operan Mapping Venus Text: Hildergard von Bingen Tonsättare: Sorrel Hays Kristin Norderval, sopran. Tape. Radioinspelning, New York. Tosca, Act 2 - 1. Vissi DArte Giacomo Puccini Maria Callas, Tito Gobbi, Etc., Victor De Sabata; Orchestra Del Teatro Alla Scala Callas Forever EMI Records 7243 5 57389 2 9 Il re pastore: Act II - Lamerò sarò costante Wolfgang Amadeus Mozart Anna Moffo. Philharmonia-Orchester, Alceo Galliera. Mozart Arias EMI Records TESTAMENT SBT 1193 Dich, Teure Halle (Tannhäuser) Wagner, Richard (1813 - 1883) Birgit Nilsson, m fl. Ritorna Vincitor! DECCA 473 794-2 Tristan Und Isolde - Mild Und Leise Wagner, Richard Deborah Voigt; Bavarian Radio Symphony Orchestra. Sir Richard Armstrong, dirigent Obsessions Angel Records 7243 5 57681 2 4 Lucia di Lammermoor: Il dolce suono mi colpi di sua voce! Donizetti Joan Sutherland. Members of the Paris Chorus, Paris Conservatoire Orchestra / Nello Santi.   Ten Top Sopranos DECCA  436 461-2 Ein Handwerk verstehst du sicher nicht - Die Frau ohne Schatten Richard Strauss (1884 - 1949) Birgit Nilsson, m fl Ritorna vincitor! DECCA 473 794-2 Di tale amor che dirsi - Leonora in Act I, Scene 2. Verdi, Guiseppe Zinka Milanov, soprano, RCA Victor Orchestra. Renato Cellini, Conductor. VERDI: Trovatore (Il) (Bjorling, Milanov, Cellini) (1952) NAXOS Historical 8.110240-41 Voi che sapete (Le nozze di Figaro) Cherubinos aria Wolfgang Amadeus Mozart (1756-1791) Frederica Von Stade mfl Ten Top Mezzos DECCA 436 462-2 Regnava nel silenzio ur operan Lucias Cavatina Lucia di Lammermoor G Donizetti Stella Scott, sopran. The Hermiatge Orchestra. dir. Mats Liljefors Live i S:t Petersburg Liveinspelning Ecstatic Plain, ur operan Mapping Venus Text: Hildergard von Bingen Tonsättare: Sorrel Hays Kristin Norderval, sopran. Tape. Radioinspelning, New York.

This week’s episode of the Metropolitan Opera Guild podcast features an engaging interview with Deborah Voigt that was presented and recorded here at the Guild on October 5th, 2015. In it, Ms. Voigt discusses some of the struggles and triumphs she experienced in her life and storied career,

Deborah Voigt bares all in new book...Conductor backs out of performance when they won't play Hatikva...The Hymens are back!...Flordia Grand Opera receives donation to save Ft. Lauderdale performances...Can you procreate and create?...Craigslist. Oliver says farewell Boheme with a broes before hoes dedication. Guess Who Died? This week features Michael, The OC, Doug Dodson, Jenny Rivera and Matt Boresi of the hit Podbean podcast, White Dad Problems. Check out Matt's upcoming show with Urban Arias here.

Many of us have posted things online that we wish we hadn’t. The question of how unfiltered classical musicians should be on Facebook and Twitter re-emerged recently with the controversy surrounding American bass-baritone Valerian Ruminski. His contract with Opera Lyra, a Canadian company, was cancelled after he posted a rant on Facebook about seeing a man on a bus with diamond-studded fingernails. The man turned out to be a drag queen and Ruminski's post – which was screen-grabbed by other social media users – attracted a barrage of criticism. Ruminski later apologized for his remarks but the damage was done. As he tells host Naomi Lewin in this podcast, "You are lulled into complacency after years and years of doing spur-of-the-moment posts. It's like you're in your living room talking to your friends. I thought these nails were worth commenting on. It turned into a conflagration." It's no secret that Facebook and Twitter can help classical musicians promote their work outside of traditional news media outlets. But when artists cross certain boundaries or get overly political, they can quickly find their careers at risk. Tamar Iveri, a Georgian soprano, was dropped from productions in Australia and Belgium earlier this year after she allegedly made homophobic remarks on Facebook about a gay rights parade. Another soprano, Deborah Voigt, received some angry responses after writing on Twitter and Facebook in July that she hoped a compromise could be reached in the Metropolitan Opera labor talks. In the second part of this podcast, guests Anne Midgette, classical music critic of the Washington Post, and Michelle Paul, a director of product development at Patron Technology, offer advice on social media dos and don't's for those in the public eye. Listen to the segment above and weigh in by clicking on the gray bar below: What classical musicians do you enjoy following on Facebook or Twitter?

With influenza reaching epidemic proportions in the United States — and the common cold not far behind — opera singers are dropping out of productions at an alarming rate. Of course, cancellations happen for all kinds of reasons. The voice can be a delicate instrument and various personal and professional issues arise. There are also cancellations of a cloudier, more debatable variety. Regardless, with the relative ease of modern air travel comes a more mobile generation of artists, exposed to germ-filled plane cabins and, in the case of foreign-born artists, visa difficulties. On this edition of Conducting Business, host Naomi Lewin talks with three opera professionals about how presenters and opera companies manage cancellations — and the kinds of actions and deals that happen behind the scenes to secure replacement musicians. Perryn Leech, the managing director of the Houston Grand Opera Bill Palant, a vice president and artist manager at IMG Artists who oversees the careers of many singers. Stephen Gaertner, a baritone who has worked as an understudy at the Metropolitan Opera. He recently stepped in during the middle of a performance to replace an ailing Dwayne Croft in Les Troyens at the Met. Weigh in: have you ever discovered a new singer because of a last-minute substitution? Leave your comments below. A few highlights from the segment: Bill Palant: "I do think that with the ease of transport, not only is it easier to pop people in but it also serves the opposite in that singers are spending more time on airplanes and picking up bugs. Flying at 30,000 feat, you’re getting dried up and showing up a day or two before a performance, and you are risking being sick. I think the ease of travel plays both for and against opera companies and not only singers who are engaged to perform but singers who are engaged to cover." Perryn Leech: "If you or I aren’t feeling 100 percent, we can go into the office and do a 70 percent day and probably no one really notices. If a performer goes on and does a 70 percent day, they have an army of critics out there and an army of audience who say ‘oh I saw her, isn’t she getting worse, isn’t he getting worse?" Stephen Gaertner: "Last season I had four assignments [as an understudy] and all were very interesting and challenging roles. And in neither case was I called to replace my colleague. It was frustrating... But a lot of times when you do go on you might be surprised who you end up on stage with. For instance, I went on stage in Les Troyens, and there I was singing a big duet with Deborah Voigt."

Part two of a tribute to the fine sopranos of today. Included are: Karita Mattila(in photo), Edita Gruberova, Hei-Kyung Hong,Krassimira Stoyanova, Olga Guryakova, Anna Netrebko,Sumi Jo, Deborah Voigt, Rene Fleming, Natalie Dessay,Angela Gheorghiu, and Rebecca Evans.                   (60 minutes)