Podcasts about dimitri mitropoulos

Nick is joined by Josh Goldberg & Dimitri Mitropoulos to discuss SquiggleConf, a new conference focused on web dev tooling. We explore the motivations behind creating a conference dedicated to developer tools, the challenges of organizing both conferences and local meetups, and strategies for building engaged tech communities. We also discuss the importance of developer tooling, the pandemic's impact on tech events, and share insights on encouraging new speakers and creating inclusive environments & more!

Nick is joined by Josh Goldberg & Dimitri Mitropoulos to discuss SquiggleConf, a new conference focused on web dev tooling. We explore the motivations behind creating a conference dedicated to developer tools, the challenges of organizing both conferences and local meetups, and strategies for building engaged tech communities. We also discuss the importance of developer tooling, the pandemic's impact on tech events, and share insights on encouraging new speakers and creating inclusive environments & more!

I sat in my apartment in Berlin on the Fourth of July wondering how, after the events of this past Monday, I can possibly pay tribute to our nation as it “celebrated” its birthday. Then it hit me: since I would never in a million years produce an episode of patriotic musical material, why not pay tribute to a great American singer instead? I had already been planning an upcoming bonus episode on ELEANOR STEBER, the singer I consider to be one of the greatest (if not the greatest) soprano that our country has ever produced! Nearly two years ago, with the help of my dear friend Michelle Oesterle, who was Eleanor's step-daughter, I produced an episode dedicated to her; today's episode will not delve so much into the (still-controversial) person that Eleanor was, but rather offer a cross-section, over the course of more than 40 years, of the wide variety of styles and repertoire in which Steber excelled. Who else could traverse a range of repertoire from Rodgers and Hammerstein to Mozart, Rameau to Wagner, Berlioz to Romberg with such ease and joyful authority? Not only do I explore her longevity, I explore her unparalleled prowess as a vocal technician; as well as her well-documented bad treatment by the Metropolitan Opera and its then-general manager, Rudolf Bing. I also look at the recordings that Steber and her then-husband, Michelle's father, produced on their own ST/AND label in the early sixties, and then hear Steber sing some quintessentially American music from classic musicals. Along the way, I consider some serious topics, including betrayal, alcoholism, and the power of embedded memory. Finally, I consider the possibility that Eleanor Steber's celebrated portrayal of Minnie in La fanciulla del West might just offer a possible solution for the divisiveness and political turmoil in which our country currently finds itself. Featured guest singers on the episode include Nelson Eddy, Brian Sullivan, Rosalind Elias, and Jussi Björling; musical collaborators include Dimitri Mitropoulos, Igor Kipnis, Allen Rogers, Fritz Stiedry, and her frequent concert and radio collaborators Howard Barlow and Edwin Biltcliffe. 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.

Benjamin Britten gooit hoge ogen met zijn operadebuut in Londen. Engeland bindt de strijd aan tegen queerpersonen. Onder meer John Gielgud en Alan Turing blijven niet gespaard. Ook Amerika opent de jacht op queerpersonen. Dimitri Mitropoulos, dirigent van de New York Philharmonic, wordt gedwongen ontslag te nemen. Leonard Bernstein neemt de functie over en moet de verwachting waarmaken een heteroseksuele man te zijn. Zijn huwelijk met Felicia leidt tot dramatische gebeurtenissen.

The Shirts [mm:ss] "Teenage Crutch" The Shirts Capitol Records SW-11791 1978 (US pressing) (see below) The Shirts [mm:ss] "Reduced to a Whisper" The Shirts Harvest 5C 062-06 717 1978 (Netherlands pressing) That's right, not one but 2 (two!) tracks from The Shirts' debut album. Normally, I am not one to buy 2 copies of the same album, but when I was in Amsterdam a couple of years ago, I came across the Netherlands pressing with a more stylized cover and couldn't resist. They were one of the original CBGB bands that saw more success in Europe. You can also spot lead singer Annie Golden in the film adaptation of Hair (Forman, 1979) (https://youtu.be/VN5zup3b7fw?si=859TcqBo5ArA0iD2). Philharmonic Symphony of New York, Dimitri Mitropoulos [mm:ss] "Second Movement: Allegretto" Shostakovich: Symphony No. 5 Op. 47 Columbia Masterworks ML 4739 1962 Composed by the Soviet Russian Shostakovich in 1937, this recording dates to 1953. Robyn Hitchcock [mm:ss] "Socrates in Thin Air" Shufflemania! Tiny Ghost Records TINY GHOST 07 2022 Great outing from Mr. Hitchcock from a couple of years ago. Joined here by Soft Boy cohort Kimberley Rew on guitar. Los Campesinos! [mm:ss] "5 Flucloxacillin" Sick Scenes Wichita WEBB500LP 2017 The wonderful 6th album from these Cardiff folks. Self-financed, no less! There is a supercute video for this song done in the style of the BBC show Flog It! (https://youtu.be/aoqs0PJ12zM?si=rIefWNr2Mwj3F3-d) Thompson Twins [mm:ss] "We Are Detective" Side Kicks Arista AL 6607 1983 So much floppy hair. The trio's third single from their third album. A suitably 80s video was also made for this track. (https://youtu.be/l2SMSoblH3Y?si=jw9yBHEFqSlCRxvH) Raspberries [mm:ss] "Tonight" Side 3 Capitol Records SMAS-11220 1973 Speaking of third albums. This song was the first of three singles from the album and reached number 69 on the Hot 100. Rush [mm:ss] "New World Man" Signals Mercury SRM-1-4063 1982 Rush's only Top 40 single, oddly enough. From the last album produced by Terry Brown. Sure, I could have chosen "Subdivisions" but if you were like me and were a suburban early-teenage male when this album came out, it was pretty inescapable and hence not really necessary to revisit. Boz Scaggs [mm:ss] "Lido Shuffle" Silk Degrees Columbia PC 33920 1976 Speaking of ubiquitous songs from my youth. With Mr. Scaggs himself on the Moog riffs. Sqürl [mm:ss] "John Ashbery Takes a Walk" Silver Haze Sacred Bones Records SBR-316 2023 Jim Jarmusch and Carter Logan, assisted here by Charlotte Gainsbourg in an homage to the poet John Ashbery. There's a nice moody video to accompany this song as well (https://youtu.be/EdlCG4aw7Q4?si=nQisL8r1JTM_vHrk). Klaus Nomi [mm:ss] "Falling in Love Again" Simple Man RCA Victor PL 37702 1982 A contemporary update of the Marlene Dietrich classic (https://youtu.be/8gAo2aR_tUw?si=jpfY2F2guahlnPea) from the iconic Klaus Nomi's second album. Kris Kristofferson [mm:ss] "The Pilgrim - Chapter 33" The Silver Tongued Devil and I Monument Z 30679 1971 If I were Donnie Fritts (which I can only aspire to), I would have definitely had my name legally changed to Funky Donnie Fritts. Nine Inch Nails [mm:ss] "Sin (Short)" Sin TVT Records TVT2617-1 1990 Why it seems like 33 1/3 years ago that this album was released. Frank Sinatra [mm:ss] "When Somebody Loves You" Sinatra '65 Reprise RS-6167 1965 That is some bizarre stereo separation. Frank Sinatra [mm:ss] "Witchcraft" Sinatra's Sinatra Reprise Records R9-1010 1963 Some of Frank's big hits, recompiled here for his own label. Dwight Twilley Band [mm:ss] "I'm on Fire" Sincerely Shelter Records SRL-52001 1976 Some primo power pop kicking off Dwight Twilley Band's debut outing on the already-doomed at the time Shelter Records. Music behind the DJ: "Diamonds Are Forever (Instrumental)" by John Barry

SynopsisOn today's date in 1941, Greek-born conductor Dimitri Mitropoulos led the Minneapolis Symphony in the premiere performance of a new symphony by German composer Paul Hindemith, who came to Minnesota for the performance.Mitropoulos was an ardent promoter of new music, but few of the contemporary works he programmed were welcomed by audiences or the critics with much enthusiasm. Hindemith's reputation as an atonal composer had preceded him, but, surprisingly, his new piece for Minneapolis was billed as a “Symphony in E-flat Major” and, much to the delight of all concerned, featured recognizable tunes.By chance, another famous composer, Sergei Rachmaninoff, was in Minneapolis that day, and was invited by Mitropoulos to attend the Hindemith premiere backstage, where he wouldn't be annoyed by autograph seekers. Rachmaninoff had a pessimistic view of modern music, but Mitropoulos was sure the famously dour Russian would like Hindemith's resolutely tonal new symphony. Rachmaninoff was positioned just off stage, and after the end of the symphony, which was received with great applause, Mitropoulos passed him as he left the stage. “Well?” Mitropoulos asked. “No goooood,” was Rachmaninoff's lugubrious response.Music Played in Today's ProgramPaul Hindemith (1895-1963) Symphony in E-flat; BBC Philharmonic; Yan Pascal Tortelier, cond. Chandos 9060

Synopsis Alban Berg's Violin Concerto was first performed in Barcelona, Spain, on today's date in 1936, at the opening concert of the International Society for Contemporary Music Festival. Berg had died the previous winter, and the premiere was supposed to be conducted by Berg's close friend and fellow composer, Anton Webern, but Webern withdrew at the last minute, and so Hermann Scherchen conducted the first performance, with the violinist who had commissioned the work, Louis Krasner, as soloist. Krasner was born in the Ukraine but raised in America and served for a time as the concertmaster of the Minneapolis Symphony under Dimitri Mitropoulos. He later taught at Syracuse University and the New England Conservatory of Music. In the spring of 1976, Louis Krasner was cleaning out his attic, and discovered he still had private acetate discs he had made of the second performance of the Berg Violin Concerto, a May 1st, 1936 radio broadcast of the new work by the BBC Symphony, with Krasner once again the soloist. This time the conductor was Anton Webern. The 40-year old discs were transcribed to tape, and eventually were released on CD, allowing posterity a chance to listen in as music history was being made. Music Played in Today's Program Alban Berg (1885 – 1935) Violin Concerto Louis Krasner, violin; BBC Symphony; Anton Webern, conductor. Testament/Continuum 1004

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Synopsis In 1935 Aaron Copland finished a new orchestral work that was to be premiered by the Minneapolis Symphony and its young conductor Eugene Ormandy. The work was entitled Statements for Orchestra, and consisted of six short movements, each with a descriptive title, namely: Militant, Cryptic, Dogmatic, Subjective, Jingo, and Prophetic. The Jingo movement alludes to the popular tune Sidewalks of New York – where Copland completed the orchestration of his new score. The last two movements were premiered by the Minneapolis Symphony early in 1936, first on an NBC radio broadcast, then on one of the orchestra's subscription concerts. The conductor, however, was not Ormandy but rather Dimitri Mitropoulos, who would become the Music Director of the Minneapolis Symphony the following year. And it was Mitropoulos who would lead the first complete performance of all six of Copland's Statements on today's date in 1942 during a concert by the New York Philharmonic. The new piece got good reviews, and Copland quoted with pride one given by his friend and colleague Virgil Thomson, which called the music “succinct and stylish, cleverly written and very, very personal …“ Much to Copland's surprise this music never really caught on with orchestras or audiences. “To my disappointment,” wrote Copland, “Statements remains one of my lesser-known scores.” Music Played in Today's Program Aaron Copland (1900 –1990) Statements London Symphony; Aaron Copland, conductor. Sony 47232

Synopsis In all, the American composer David Diamond wrote 11 Symphonies, spanning some 50 years of his professional career. The last dates from 1991, and the first from 1940, completed after his return from studies in Paris shortly before the outbreak of World War II. Diamond's first Symphony was premiered on today's date in 1941 by the New York Philharmonic led by the famous Greek conductor Dimitri Mitropoulos. Despite winning awards and positive comments from fellow composers ranging from Virgil Thomson to Arnold Schoenberg, for years Diamond struggled to make ends meet by playing violin in various New York City theater pit bands. More than one fellowship grant, however, enabled him to live abroad for extended stays, where, he said: “I can make my income last and live extremely well with my own villa and garden at a cost that would provide a hole-in-the-wall, coldwater flat in America . . . There is a spiritual nourishment, too, in that cradle of serious music [and] quiet for concentration that could never be found in an American city.” Defending his more traditional approach, Diamond wrote: “It is my strong feeling that a romantically inspired contemporary music, tempered by reinvigorated classical technical formulas, is the way out of the present period of creativity chaos in music... To me, the romantic spirit in music is important because it is timeless.” Music Played in Today's Program David Diamond (1915-2005) Symphony No. 1 Seattle Symphony; Gerard Schwarz, conductor. Delos 3119

durée : 01:58:18 - Relax ! du jeudi 15 décembre 2022 - par : Lionel Esparza - Aujourd'hui dans Relax, encore quelques idées à glisser sous le sapin : un coffret de 69 CD, contenant l'intégrale des enregistrements de Dimitri Mitropoulos et le livre de Jean-Guilhem Queyras sorti en novembre dernier, Bach : les Suites en partage, une réflexion sur l'Everest des violoncellistes.

durée : 01:29:52 - En pistes ! du mercredi 09 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de ce mercredi : l'intégrale des enregistrements du chef d'orchestre Reinhard Goebel, le nouveau disque Schubert du pianiste Barry Douglas ou encore Verdi et Malher par Dimitri Mitropoulos.

Synopsis On today's date in 1944, a 29-year-old American composer named David Diamond had his Second Symphony premiered by the Boston Symphony under the famous Russian conductor Serge Koussevitzky. Diamond says he had written this music for the charismatic Greek maestro Dimitri Mitropoulos, then the music director of the Minneapolis Symphony. “Mitropoulos had given a fine performance of my First Symphony,” said Diamond. “When I showed him the score of the Second he said, ‘you must have the parts extracted at once!' As these were readied, I asked him whether he was planning to perform the work. He then told me he thought he would not stay on in Minneapolis, but said, ‘Why don't you send it to Koussevitzky?' I did so, and Koussevitzky [invited me to a] trial reading at Symphony Hall. When it was over, the orchestra applauded like crazy. Koussevitzky turned to me and said, ‘I will play!'” Successful as Diamond was back in 1944, for many decades thereafter his neo-Romantic symphonic scores were neglected until Gerard Schwartz's CD recordings of some of them with the Seattle Symphony sparked a revival.  By then, Diamond was in his 70s, and commented: “The romantic spirit in music is important because it is timeless.” Music Played in Today's Program David Diamond (1915-2005) — Symphony No. 2 (Seattle Symphony; Gerard Schwarz, cond.) Delos 3093

In this podcast, Dimitri Mitropoulos & James Gatz join us from Kong where they work on an API design tool called Insomnia. This is not an app to help you sleep, but you might get some after you use it to get a handle on your API development. Other topics include changelogs and the threat […] The post Episode 66: Insomnia, changelogs, and the immutability of podcasts appeared first on TalkScript.FM.

durée : 01:58:39 - Au coeur de l'orchestre - par : Christian Merlin - Portrait du flamboyant chef grec (1896-1960), figure tragique et inspirée, pour qui la musique était affaire de tripes mais aussi de transcendance, pour ne pas dire de mysticisme. - réalisé par : Marie Grout

Today's brain teaser: What do world-class singers Irmgard Seefried, Virginia Zeani, Piero Cappuccilli, birthday girl Gundula Janowitz, Galina Vishnevskaya, Giangiacomo Guelfi, Felicia Weathers, Elisabeth Grümmer, Wolfgang Windgassen, Pavel Lisitsian, and Arlene Saunders, have in common? If you need a hint, it's in the title of today's episode: each of them sang at least one and not more than ten performances at that venerable institution, the Metropolitan Opera. These and a number of other artists will be featured on this week's episode, to be followed by more world-class artists who, for one reason or another (though certainly not talent, skill, or ability) “barely sang at the Met.” We hear music of Mozart, Strauss, Verdi, Stravinsky, Wagner, Puccini, and Weber, led by conductors who either were fixtures at the Met (Thomas Schippers, Nello Santi, Dimitri Mitropoulos), appeared occasionally at the Met (Leopold Ludwig, Charles Mackerras), or never appeared there (Wolfgang Sawallisch, Ferdinand Leitner, Joseph Keilberth) or appeared there only once (John Barbirolli, who led a single gala concert there in 1940). 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 cotent including interviews and livestreams is planned for the upcoming season.

durée : 00:58:24 - Dimitri Mitropoulos, musicien au plus haut degré - par : Aurélie Moreau - Le chef d'orchestre Dimitri Mitropoulos, entre autres à la tête du New York Philharmonic de 1949 à 1958, « se considérait comme un « surinstrumentiste », jouant de l'orchestre comme d'autres du violon ou du hautbois » ainsi que l'a écrit M. Le Roux.

durée : 00:27:06 - Dimitri Mitropoulos (5/5) - A l'instar de la Callas, Dimitri Mitropoulos est devenu une légende chez les musiciens grecs. Pianiste, chef d'orchestre et compositeur, l'homme parfois tourmenté a marqué l'histoire de la musique. Cette semaine, retour sur sa discographie grâce au coffret paru chez Sony !

durée : 00:26:21 - Dimitri Mitropoulos (4/5) - A l'instar de la Callas, Dimitri Mitropoulos est devenu une légende chez les musiciens grecs. Pianiste, chef d'orchestre et compositeur, l'homme parfois tourmenté a marqué l'histoire de la musique. Cette semaine, retour sur sa discographie grâce au coffret paru chez Sony !

durée : 00:26:36 - Dimitri Mitropoulos (3/5) - A l'instar de la Callas, Dimitri Mitropoulos est devenu une légende chez les musiciens grecs. Pianiste, chef d'orchestre et compositeur, l'homme parfois tourmenté a marqué l'histoire de la musique. Cette semaine, retour sur sa discographie grâce au coffret paru chez Sony !

durée : 00:26:55 - Dimitri Mitropoulos (2/5) - A l'instar de la Callas, Dimitri Mitropoulos est devenu une légende chez les musiciens grecs. Pianiste, chef d'orchestre et compositeur, l'homme parfois tourmenté a marqué l'histoire de la musique. Cette semaine, retour sur sa discographie grâce au coffret paru chez Sony !

durée : 00:26:41 - Les grands interprètes de la musique classique - par : Emilie Munera, Rodolphe Bruneau-Boulmier - A l'instar de la Callas, Dimitri Mitropoulos est devenu une légende chez les musiciens grecs. Pianiste, chef d'orchestre et compositeur, l'homme parfois tourmenté a marqué l'histoire de la musique. Cette semaine, retour sur sa discographie grâce au coffret paru chez Sony !

durée : 01:58:08 - Dimitri Mitropoulos - par : Christian Merlin - Portrait du flamboyant chef grec (1896-1960), figure tragique et inspirée, pour qui la musique était affaire de tripes mais aussi de transcendance, pour ne pas dire de mysticisme. - réalisé par : Marie Grout

Synopsis The Swiss-born American composer Ernest Bloch was born in 1880 and was in his 30s when he first came to America, where he achieved remarkable success with both critics and audiences. His most famous work, “Schelomo,” subtitled a “Hebraic Rhapsody” for cello and orchestra, premiered in New York in 1917. Despite his popularity in America, Bloch returned to Europe for most of the 1930s. By the end of that decade, the rising tide of anti-Semitism in Germany and Italy led the Jewish composer, then approaching 60, to reconsider making America his permanent home. Bloch's Violin Concerto was premiered in America on today's date in 1938, a month after he arrived, with violinist Joseph Szigeti and the Cleveland Orchestra conducted by Dimitri Mitropoulos. The main theme of Bloch's Concerto was supposedly based on a Native American theme, but the tone of the whole work echoes the Hebrew themes in his other music. Bloch wrote: “Art for me is an expression, an experience of life, not a game or an icy demonstration of mathematical principles. In not one of my works have I tried to be "original" or "modern." My sole desire and single effort has been to remain faithful to my vision.” Music Played in Today's Program Ernest Bloch (1880–1959) — Violin Concerto (Oleh Krysa, violin; Malmo Symphony; Sakari Oramo, cond.) BIS 639

Synopsis In 1944, while the Second World War ground on in Europe and Asia, David Diamond's “Rounds for String Orchestra” received its premiere performance by the Minneapolis Symphony and its then conductor, Dimitri Mitropoulos.  “Write me a happy work,” Mitropoulos had asked Diamond. “These are distressing times, most of the difficult music I play is distressing. Make me happy.” To some in 1944, “Rounds” sounded as if Diamond had turned to traditional American folk music, but, as the composer put it, “the tunes are original. They sound like folk tunes, but they are really the essence of a style that must have been absorbed by osmosis.” Even the stodgy conservative music critic of the St. Paul Pioneer Press expressed her grudging admiration: “it reveals a good deal of talent and resourcefulness” was her verdict. Reviewing a subsequent Boston Symphony performance under Koussevitzky, New York Times critic Olin Downes was much more enthusiastic. He wrote: “It is admirably fashioned, joyous and vernal. There is laughter in the music.” “Rounds” has gone on to become one of Diamond's most frequently performed works. Perhaps joy and laughter in music remains as rare and precious a commodity now as it was back in those distressed days of 1944. Music Played in Today's Program David Diamond (1915-2005) — Rounds (Los Angeles Chamber Orchestra; Gerard Schwarz, cond.) Nonesuch 79002

Synopsis On today's date in 1944, a 29-year-old American composer named David Diamond had his Second Symphony premiered by the Boston Symphony under the famous Russian conductor Serge Koussevitzky. Diamond says he had written this music for the charismatic Greek maestro Dimitri Mitropoulos, then the music director of the Minneapolis Symphony. “Mitropoulos had given a fine performance of my First Symphony,” said Diamond. “When I showed him the score of the Second he said, ‘you must have the parts extracted at once!' As these were readied, I asked him whether he was planning to perform the work. He then told me he thought he would not stay on in Minneapolis, but said, ‘Why don't you send it to Koussevitzky?' I did so, and Koussevitzky [invited me to a] trial reading at Symphony Hall. When it was over, the orchestra applauded like crazy. Koussevitzky turned to me and said, ‘I will play!'” Successful as Diamond was back in 1944, for many decades thereafter his neo-Romantic symphonic scores were neglected until Gerard Schwartz's CD recordings of some of them with the Seattle Symphony sparked a revival.  By then, Diamond was in his 70s, and commented: “The romantic spirit in music is important because it is timeless.” Music Played in Today's Program David Diamond (1915-2005) — Symphony No. 2 (Seattle Symphony; Gerard Schwarz, cond.) Delos 3093

The great African American contralto Lucretia West, born on 13 November 1922, is one of the great singers of German Lieder in general and of the music of Gustav Mahler in particular. Though she occasionally appeared in her native country, the majority of her life and career was spent in Germany. She was a favorite of some of the greatest conductors of the 1950s and 1960s, including Hans Knappertsbusch, Dimitri Mitropoulos, Carl Schuricht, and Hermann Scherchen. Her collaborations with them are all featured in this episode. Her recorded legacy is not large, but it is impressive, and includes releases of Schubert Lieder and two albums of spirituals which are among the most significant contributions to that genre. Though she did not sing much opera, I did uncover a 1958 recording with Ferdinand Leitner of Carl Orff’s realization of Claudio Monteverdi’s Orpheus, in which she sings the role of La Messaggera (Die Botin in Orff’s German-language version). All of her work reveals a singer of enormous expressivity and makes an interesting contrast with that of her near-contemporary, Carol Brice. I had originally intended to post this extra episode as a bonus for my Patreon supporters, but I decided that all of my Black History Month episodes should be available to all interested listeners, whether they are Patreon subscribers or not. Please enjoy, and please pass on the word to all persons who might enjoy learning more about some of the lesser-known African American singers of past generations. And, if you are so inspired, please do consider becoming a monthly supporter on Patreon. I’m so happy that you are here to join in the celebration of this magnificent 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.

On today’s date in 1941, the famous Greek-born conductor Dimitri Mitropoulos led the Minneapolis Symphony in the premiere performance of a new symphony by German composer Paul Hindemith, who came to Minnesota for the performance. Mitropoulos was an ardent promoter of new music, but few of the contemporary works he programmed were welcomed by audiences or the critics with much enthusiasm. Hindemith’s reputation as an atonal composer had preceded him, but, surprisingly, his new piece for Minneapolis was billed as a “Symphony in Eb Major” and, much to the delight of all concerned, featured recognizable tunes. By chance, another famous composer, Sergei Rachmaninoff, was in Minneapolis that day, and was invited by Mitropoulos to attend the Hindemith premiere backstage, where he wouldn’t be annoyed by autograph seekers. Rachmaninoff had a very pessimistic view of modern music, but Mitropoulos was sure the famously dour Russian would like Hindemith’s resolutely tonal new symphony. Rachmaninoff was positioned just off stage, and after the end of the symphony, which was received with great applause, Mitropoulos passed him as he left the stage. “Well?” asked Mitropoulos. “No goooood,” was Rachmaninoff’s lugubrious response.

On today’s date in 1941, the famous Greek-born conductor Dimitri Mitropoulos led the Minneapolis Symphony in the premiere performance of a new symphony by German composer Paul Hindemith, who came to Minnesota for the performance. Mitropoulos was an ardent promoter of new music, but few of the contemporary works he programmed were welcomed by audiences or the critics with much enthusiasm. Hindemith’s reputation as an atonal composer had preceded him, but, surprisingly, his new piece for Minneapolis was billed as a “Symphony in Eb Major” and, much to the delight of all concerned, featured recognizable tunes. By chance, another famous composer, Sergei Rachmaninoff, was in Minneapolis that day, and was invited by Mitropoulos to attend the Hindemith premiere backstage, where he wouldn’t be annoyed by autograph seekers. Rachmaninoff had a very pessimistic view of modern music, but Mitropoulos was sure the famously dour Russian would like Hindemith’s resolutely tonal new symphony. Rachmaninoff was positioned just off stage, and after the end of the symphony, which was received with great applause, Mitropoulos passed him as he left the stage. “Well?” asked Mitropoulos. “No goooood,” was Rachmaninoff’s lugubrious response.

Centramos el programa en la ópera Vanessa de Samuel Barber, estrenada en enero de 1958 bajo el mandato de Sir Rudolf. Escuchamos fragmentos de una grabación en vivo del Festival de Salzbugo de agosto del mismo año en la que, menos uno, participaban todos los cantantes que habían intervenido en el Met: Eleanor Steber, Rosalind Elias, Nicolai Gedda y Giorgio Tozzi. Ira Malaniuk sustituía a Regina Resnik. Los compases tan straussianos a veces, de la música de Barber, elegantes y de excelente factura, se dejarán oír a través de varios estratégicos fragmentos dirigidos, con la Filarmónica de Viena en el foso, por Dimitri Mitropoulos, presente asimismo en Nueva York. Suenan también momentos provenientes de La violación de Lucrecia de Britten, y The Rake’s Progress de Stravinski, grandes novedades igualmente de la programación del coliseo neoyorkino. A ellas se unió por entonces Wozzeck de Berg que cantara el gran y malogrado barítono alemán Hermann Uhde. Cerramos con su interpretación de la sección final del Monólogo de El Holandés errante de Wagner. Escuchar audio

10 augustus 1958. Wat een geluk dat er microfoons bij stonden… Glenn Gould heeft nooit in Nederland opgetreden, maar wel een keer met het Concertgebouworkest, in Salzburg. Het is een zeer gedreven uitvoering, waar zowel Gould als het orkest op het puntje van hun stoelen musiceren. Johann Sebastian Bach Concert voor klavecimbel en strijkorkest nr.1, BWV.1052 Glenn Gould, piano Koninklijk Concertgebouworkest olv Dimitri Mitropoulos (live, 10 aug.1958) RCO05001 20’03’’

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

durée : 00:22:49 - Disques de légende du mercredi 15 janvier 2020 - Créé le 15 janvier 1958 à New-York, l'opéra 'Vanessa' de Samuel Barber est enregistré dans la foulée par les mêmes interprètes : Eleanor Steber, Nicolai Gedda, Rosalind Elias notamment ; l'Orchestre du Metropolitan Opera est placé sous la direction de son chef principal, Dimitri Mitropoulos.

durée : 01:59:05 - Relax ! du mercredi 15 janvier 2020 - par : Lionel Esparza - Petit portrait de Tugan Sokhiev qui dirige l'orchestre de Paris cette semaine ; on écoute le pianiste Denis Matsuev dans un disque enregistré en concert au Carnegie Hall... Et notre légende discographique du jour est l'opéra 'Vanessa' de Barber, par le grand Dimitri Mitropoulos. - réalisé par : Antoine Courtin

I programmet diskuteras Méhuls opera Uthal, Jevgenij Kissin spelar Beethoven samt Franz Schmidts andra symfoni med Wiens filharmoniker ledd av Semyon Bychkov. Johan väljer Vaughan Williams. I panelen Bengt Forsberg, Evabritt Selén och Magnus Lindman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  ÉTIENNE-NICOLAS MÉHUL Uthal, opera i en akt Karine Deshayes, Yann Beuron m.fl. Namurs kammarkör Les Talens Lyriques Christophe Rousset, dirigent Ediciones Singulares ES 1026 LUDWIG VAN BEETHOVEN Pianosonater nr 3, 14, 23, 26 och 32, Variationer c-moll Jevgenij Kissin, piano DGG 479 7581 (2 CD) FRANZ SCHMIDT RICHARD STRAUSS Symfoni nr 2 Ess-dur Träumerei am Kamin Wiens filharmoniker Semyon Bychkov, dirigent Sony  88985355522 Referensen Franz Schmidts andra symfoni Johan refererar till och jämför med en inspelning med Chicagos symfoniorkester under ledning av Neeme Järvi, inspelad på Chandos.  Johans val Johan spelar valda delar ur ett nytt album med Ralph Vaughan Williams sjunde symfoni, Sinfonia Antartica (sopransolist: Mari Eriksmoen), Pianokonserten, (här med 2 pianon, solister:Louis Lortie och Hélène Mercier) samt Four Last Songs (med barytonen Roderick Williams). Andrew Davis leder Bergens filharmoniker. Inspelad på Chandos.  Andra i programmet nämnda eller rekommenderade inspelningar: Schmidts andra symfoni med Malmös symfoniorkester ledd av Vasilij Sinajskij på skivmärke Naxos; med Chicagos symfoniorkester under ledning av Neeme Järvi på Chandos (Referensen) samt en live-inspelning med Wiens filharmoniker dirigerad av Dimitri Mitropoulos på skivmärket Music & Arts. Beethovens pianosonater med Paul Lewis på skivmärke Harmonia Mundi, Alfred Brendel på Philips samt med Friedrich Gulda på märket Decca.  Svepet Johan sveper över två historiska album, båda inspelade på ICA Classics; den första där Herbert von Karajan leder Philharmonia Orchestra i musik av Mozart (bl a pianokonsert nr 23 med solisten Clara Haskil), Ravel och Tjajkovskij, inspelad 1955-56 i Royal Festival Hall i London samt den andra som även den är inspelad i Royal Festival Hall 1953 där Guido Cantelli leder Philharmonia Orchestra i musik av Rossini, Schumann och Brahms.

I programmet diskuteras bl.a. blåsmusik av Beethoven med Il Gardellino och Nicola Benedetti som solist i Sjostakovitjs och Glazunovs violinkonserter. Johan Korssell möter också Nicola Benedetti. I panelen Camilla Lundberg, David Björkman och Evert van Berkel som tillsammans med programledaren Johan Korssell betygsätter följande skivor: LUDWIG VAN BEETHOVEN Oktett Rondino Kvintett Il Gardellino Arthur Schoonderwoerd m.fl. Passacaille 1016GUSTAV MAHLER Symfoni nr 1 D-dur Bayerska radions symfoniorkester Yannick Nézet-Séguin, dirigent BR Klassik 900143 G F HÄNDEL Imeneo Ann Hallenberg m.fl Europa Galante Fabio Biondi, violin och dirigent Glossa GCD 923405SJOSTAKOVITJ GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 478 8758 Johan möter Nicola Benedetti Johan Korssell träffade den skotska violinisten i samband med hennes gästspel i Stockholms konserthus i augusti då hon framträdde som solist i Szymanowskis andra violinkonsert tillsammans med Kungliga filharmonikerna och dirigenten Lahav Shani. Andra i programmet nämnda eller rekommenderade inspelningar: Sjostakovitjs första violinkonsert med solisten Maxim Vengerov tillsammans med Londons symfoniorkester under Mstislav Rostropovich inspelad på Teldec samt med David Ojstrach och New Yorks filharmoniker ledda av Dimitri Mitropoulos på Sony.  Glazunovs violinkonsert med violinisten Esther Yoo som spelar tillsammans med Philharmonia Orchestra ledd av Vladimir Ashkenazy på skivmärket DG. Mahlers första symfoni med Concertgebouw-orkestern dirigerad av Bernard Haitink på Philips; Concertgebouw-orkestern ledd av Leonard Bernstein på DG; Berlins filharmoniker under Bernard Haitink på Philips; San Fransiscos symfoniorkester dirigerad av Michael Tilson Thomas på SFS Media samt med Concertgebouw-orkestern under ledning av Mariss Jansons på RCO Live. Inget svep denna vecka      

I programmet diskuteras bl. a. Franz Schmidts Das Buch mit sieben Siegeln, Händels Water Music med Akademin för tidig musik i Berlin samt ny Suk- Dvorak-skiva med Tetzlaff. Johan möter Yuja Wang. I panelen Bengt Forsberg, Camilla Lundberg och Niklas Lindblad som tillsammans med programledaren Johan Korssell betygsätter följande skivor:ALBERTO GINASTERA Modern Times Maria Isabel Segarra, sopran Tyska statsfilharmonin, Rheinland-Pfalz Karl-Heinz Steffens, dirigent Capriccio C 5244 FRANZ SCHMIDT Das Buch mit sieben Siegeln Klaus Florian Vogt m.fl. Hamburgs filharmoniker Simone Young, dirigent Oehms Classics OC 1840G F HÄNDEL Water Music Akademin för tidig musik, Berlin Harmonia Mundi HMC 902216 SUK - DVORÁK Fantasi g-moll Violinkonsert a-moll, Romans f-moll Christian Tetzlaff, violin Helsingfors filharmoniker John Storgårds, dirigent Ondine ODE-1279-5Johan möter Yuja Wang Johan Korssell träffade pianisten i samband med hennes framträdande tillsammans med Sveriges Radios Symfoniorkester och dirigenten Esa-Pekka Salonen i Berwaldhallen i Stockholm under Östersjöfestivalen. Wang var solist i Bartóks Pianokonsert samt i Messiaens Turangalila-symfonin.Andra i programmet nämnda eller rekommenderade inspelningar: Händels Water Music med orkestern Concert Spirituel ledd av Hervé Niquet på skivmärke Glossa. Ginasteras orkestermusik med Londons symfoniorkester dirigerad av Gisele Ben-Dor. Dvoráks Violinkonsert med Anne-Sophie Mutter och Berlins filharmoniker ledd av Manfred Honeck på DG; Isabelle Faust och Prags filharmoniker under Jirí Belohlávek på märket Harmonia Mundi; Itzhak Perlman och Londons filharmoniker ledda av Daniel Barenboim på Warner Classics samt med David Ojstrach och Ryska statliga symfoniorkestern dirigerad av Kirill Kondrasjin på Omega. Schmidts Das Buch mit sieben Siegeln med bl.a. Wiens filharmoniker ledd av Dimitri Mitropoulos på Sony;  Bayerska radions symfoniorkester under ledning av Franz Welser-Möst på EMI; Wiens filharmoniker ledd av Nicolaus Harnoncourt på Teldec samt med bl.a. Tonkünstler-orchester dirigerad av Kristjan Järvi på Chandos. Svepet Johan sveper över en CD med titel Arias for Luigi Marchesi utgiven på Glossa. Mezzosopranen Ann Hallenberg sjunger arior som den italienske kastraten Luigi Marchesi sjöng. Hon ackompanjeras av Stile Galante, dirigent Stefano Aresi. Vi serveras ett smakprov ur Giuseppe Sartis opera Armida och Rinaldo. 

Vi reder ut erotiska och musikaliska trådar mellan manliga tonsättare och deras musik i 1900-talets USA: Aaron Copland, Leonard Bernstein, David Diamond och grekiske dirigenten Dimitri Mitropoulos. I USA finns det antihomosex-lagar ända fram till 1975. Henry Cowell kallas Kaliforniens Oscar Wilde och sitter fem år i San Quentin-fängelset dömd för sodomi, vilket fortfarande är olagligt i ett tiotal amerikanska stater. Mellan 1947 och 1957 jagar senator McCarthy kommunister och homosexuella. Tonsättaren och accordeonisten Pauline Oliveros är 15 år när McCarthys jakt på icke önskvärda amerikaner inleds. Ur hennes rädsla för hatbrott utvecklar hon det djupa lyssnandet, Deep Listening. Det är på liv och död. - Det gäller att överleva när man tillhör en utrotningsshotad art, säger Oliveros i programmet Det osynligas piano.   Vi reder ut hur erotiska och musikaliska trådar löper samman bland manliga tonsättare och deras musik i 1900-talets USA. De inblandade är tonsättarna Aaron Copland, Leonard Bernstein, David Diamond och grekiske dirigenten Dimitri Mitropoulos. Bl a hade tonsättarna Leonard Bernstein och Aaron Copland en kärleksrelation.  Dimitri Mitropoulos hade erotiska relationer med Leonard Bernstein och David Diamond. Geniet och innovatören Harry Partch är en outsider. Här finns ingen gemensam gay estetik utan musiken spänner över neoklassisism, nyromantik, folkton, elektonmusik, abstrakt musik, modernism, minimalism, musical, operett, opera och kabaret. Den vänsterradikale judiske bögen Aaron Copland skapar en musikalisk symbol för den amerikanska myten. Tre judiska homo- och bisexuella män skapar en helamerikansk musical om heterosexuell, kristen romans.   Hur låter musiken kring det långa äktenskapet mellan tonsättarna Samuel Barber och Gian Carlo Menotti? Varför tar pianisten Vladimir Horowitz elchocker och antidepressiva medel? Och vem är den homosexuella skuggan bakom Duke Ellingtons musik?Låtlista: The Beauty of Sorrow Pauline Oliveros Pauline Oliveros, accordeon Taras Room Deep Listening DL 22-2004 CD Reason in Madness mixed Pauline Oliveros Pauline Oliveros, solo accordeon. Panaiotis, processing and mixing. CD-titel: Crone Music LOVELY MUSIC LTD CD 1903 Take The A Train Billy Strayhorn Duke Ellington Ellington Uptown COLUMBIA 512917 2 Chelsea Bridge Billy Strayhorn Billy Strayhorn, piano Piano Passion Storyville 101 8404 Le Tombeau De Couperin I Maurice Ravel/Marc H.Bonilla Gary Burton, vibrafon. Makoto Ozone, piano Virtuosi Concord Records CCD-2105-2 And On The Seventh Day, Petals Fell In Petaluma Harry Partch Harry Partch Gravikords, Whirlies & Pyrophones ellipsis arts CD3530 Aeolian Harp Henry Cowell Alan Feinberg The American Innovator argo 436 925-2 Fanfare for the Common Man Aaron Copland Slovak Radio Symphony Orchestra  Stephen Gunzenhauser, Conductor COPLAND: Appalachian Spring/Rodeo/Billy the Kid NAXOS 8.550282 America (West Side Story) Leonard Bernstein Leonard Bernstein, dir. Orch & Chorus. Kiri Te Kanawa, José Carreras,Tatiana Troyanos, Kurt Ollman. Bernstein on Broadway DG 447 898-2 Appalachian Spring Copland, Aaron Slovak Radio Symphony Orchestra  Stephen Gunzenhauser, Conductor COPLAND: Appalachian Spring/Rodeo/Billy the Kid NAXOS 8.550282 Concerto For Clarinet: II. Rather Fast Copland, Aaron (1900-1990) Dornbusch, Karin Barber, Copland, Ginastera Musica Vita CAPRICE CAP 21591 Barber: Adagio For Strings, Op. 11 Samuel Barber (1910-1981) Marin Alsop, dirigent; Wendy Warner, cello. Royal Scottish National Orchestra Barber: Cello Concerto, Medea Suite, Adagio For Strings NAXOS 8.559088 Cello Concerto - Molto Allegro E Appassionato Samuel Barber (1910-1981) Wendy Warner, cello. Marin Alsop, dirigent; Royal Scottish National Orchestra Barber: Cello Concerto, Medea Suite, Adagio For Strings NAXOS 8.559088 Suite from Sebastian I. Introduction Gian Carlo Menotti 1911 Spoleto Fest Orch; R. Hickox, Raphael Wallfisch, cello Apocalisse 1952; Fantasia Cello, Orch 1976 Sebasatian Ballet Suite 1944 Chandos Records CHAN 9900 III. Street fight Gian Carlo Menotti 1911 Spoleto Fest Orch; R. Hickox, Raphael Wallfisch, cello Apocalisse 1952; Fantasia Cello, Orch 1976 Sebasatian Ballet Suite 1944 Chandos Records CHAN 9900 Glitter and Be Gay (Candide) Leonard Bernstein Leonard Bernstein, dir. London symph orch, London Symph Chorus. Christa Ludwig, Nicolai Gedda, Della Jones  m fl. Bernstein on Broadway DG 447 898-2 Elegy In Memory Of Maurice Ravel David Diamond (b. 1915) Diamond, David John Adams, dirigent. Orchestra of St. Lukes American Elegies Albany Records TROY 082 Psalm Diamond, David (1915-2005) Janos Starker, Gerard Schwarz; Seattle Symphony Orchestra Diamond: Symphony #3, Psalm, Kaddish NAXOS 8.559155 Schumann-Traumerei Robert Schumann Vladimir Horowitz, piano The Magic of Vladimir Horowitz CD 1 DG 474 334-2

I veckans program hör vi bl a Londons symfoniorkester och John Eliot Gardiner framföra Mendelssohns Symfoni nr 5. Och så berättar den estniska dirigenten Anu Tali om mentorn Eric Ericson. Veckans panel består av Alexander Freudenthal, Aurélie Ferriere, Edward Klingspor och programledaren Johan Korssell som betygsätter följande skivor: THÉODORE DUBOIS Portraits, vol.2 Chantal Santon, sopran, m.fl. Giardini-kvartetten, Les Siècles Francois-Xavier Roth, dirigent Ediciones Singulares 8461723651 Betyg: 4 radioapparater  PURE HANDEL Water Music, Kantater, Concerto Grosso F-dur op 6:2 m.m Maria Keohane, sopran, EU:s barockorkester Lars Ulrik Mortensen, dirigent och cembalo Estonian Record Productions ERP 6212 Betyg: 4 radioapparater FELIX MENDELSSOHN Symfoni nr 5, uvertyren till Ruy Blas, m.m Londons symfoniorkester,  John Eliot Gardiner, dirigent LSO LSO 0775 Betyg: 4 radioapparater  PHILIP GLASS The complete Piano Etudes Maki Namekawa, piano Orange Mountain OMM 0098 Betyg: 2 radioapparater  Sofia möter Anu Tali Anu Tali är sedan ett par år musikchef för Sarasota Orchestra i Florida, debuterade nyligen med Houstons Symfoniorkester och är chefsdirigent för Nordiska Symfoniorkestern. CD-revyn porträtterar henne i ett samtal om mentorn Eric Ericson och om vikten av att musiker är politiskt medvetna.  Johans svep Johan sveper över valda delar ur första satsen ur Sjostakovitjs tionde symfoni med Bostons symfoniorkester ledd av Andris Nelsons. Inspelad live i Symphony Hall i Boston, april 2015. Skivmärke DG. Andra i programmet nämnda eller rekommenderade inspelningar Mendelssohns femte symfoni med Wiens filharmoniker under ledning av John Eliot Gardiner på DG; Gewandhausorkestern dirigerad av Kurt Masur på Wea; New Yorks filharmoniker ledd av Dimitri Mitropoulos på Urania; Bostons symfoniorkester under Charles Münch på RCA samt med Londons symfoniorkester dirigerad av Claudio Abbado (alla symfonier) på DG. Théodore Dubois andra pianokonsert med solisten Cédric Tiberghien, BBC:s skotska symfoniorkester och dirigenten Andrew Manze på Hyperion.    

Anita Cerquetti had to retire very soon. She had a magnificent voice,as you will hear, in arias from Ernani, Agnese di Hofenstaufen (Spontini), Oberon, Vespri Siciliani, Forza del Destinmo.William Tell, Aida,and Ernani. (63 min.) Anita Cerquetti (April 13, 1931) is an Italian dramatic soprano who had a short career in the 1950s. Cerquetti was born in Montecosaro, near Macerata, Italy. She was originally a student of the violin and trained eight years with Luigi Mori. After a mere one year of vocal study at the Conservatory of Perugia she made her operatic debut in Spoleto in 1951 as Aida. She sang all over Italy, notably in Florence as Noraime in Les Abencérages, under Carlo Maria Giulini in 1956, and as Elvira in Ernani, under Dimitri Mitropoulos in 1957. Her Teatro alla Scala debut was in 1958 as Abigail in Nabucco. She also sang on RAI in a wide variety of roles such as Elcia in Mosè in Egitto, Mathilde in Guglielmo Tell, Elena in I vespri siciliani, etc. Cerquetti made headlines in January 1958, when she replaced "in extremis" the ailing Maria Callas in Norma, at the Rome Opera House. She was already singing the role at the San Carlo in Naples. She commuted between the two cities to honor both engagements for several weeks. This "tour de force" won her great acclaim but had serious effects on her health. Shortly after she started withdrawing little by little from the stage until her complete retirement in 1961, aged only 30. Cerquetti sang relatively little in America. Her debut there was at the Lyric Opera of Chicago in 1955, as Amelia in Un ballo in maschera, opposite Jussi Björling, with Tullio Serafin conducting. Cerquetti made only two commercial recordings, both for Decca in 1957, a recital of Italian opera arias and a complete La Gioconda with Mario del Monaco, Ettore Bastianini, Giulietta Simionato, Cesare Siepi. Among her "pirated" recordings is a 1958 Aida, from Mexico City, with Flaviano Labò, Nell Rankin, Cornell MacNeil, Fernando Corena and Norman Treigle. The Rome Norma of 1958 with Franco Corelli is also available. In 1996 she sang and talked in Jan Schmidt-Garre's film Opera Fanatic. A recording of Don Carlo from Florence 1956 featuring Cerquetti as Elizabetta is available from Melodram.

Ernani: Mario Del Monaco Elvira: Anita Cerquetti Don Carlo: Ettore Bastanini Silva: Boris Christoff Giovanna: Luciana Boni Don Riccardo: Athos Cesarini Orchestra e Coro del Maggio Musicale Fiorentino; Dimitri Mitropoulos. June 23, 1957.

Ernani: Mario Del Monaco Elvira: Anita Cerquetti Don Carlo: Ettore Bastanini Silva: Boris Christoff Giovanna: Luciana Boni Don Riccardo: Athos Cesarini Orchestra e Coro del Maggio Musicale Fiorentino; Dimitri Mitropoulos. June 23, 1957.

Ernani: Mario Del Monaco Elvira: Anita Cerquetti Don Carlo: Ettore Bastanini Silva: Boris Christoff Giovanna: Luciana Boni Don Riccardo: Athos Cesarini Orchestra e Coro del Maggio Musicale Fiorentino; Dimitri Mitropoulos. June 23, 1957.

Renata Tebaldi (Leonora), Fedora Barbieri (Preziosilla), Mario del Monaco (Alvaro), Aldo Protti (Carlo), Renato Capecchi (Melitone), Cesare Siepi (Guardiano), Teatro Communale di Firenze, Dimitri Mitropoulos. June 3, 1953.

Renata Tebaldi (Leonora), Fedora Barbieri (Preziosilla), Mario del Monaco (Alvaro), Aldo Protti (Carlo), Renato Capecchi (Melitone), Cesare Siepi (Guardiano), Teatro Communale di Firenze, Dimitri Mitropoulos. June 3, 1953.

Renata Tebaldi (Leonora), Fedora Barbieri (Preziosilla), Mario del Monaco (Alvaro), Aldo Protti (Carlo), Renato Capecchi (Melitone), Cesare Siepi (Guardiano), Teatro Communale di Firenze, Dimitri Mitropoulos. June 3, 1953.

The hand of fate gives little JJ his big chance, when he gets to introduce this podcast. Renata Tebaldi (Leonora), Fedora Barbieri (Preziosilla), Mario del Monaco (Alvaro), Aldo Protti (Carlo), Renato Capecchi (Melitone), Cesare Siepi (Guardiano), Teatro Communale di Firenze, Dimitri Mitropoulos. Ju...