Podcast appearances and mentions of Leontyne Price

1985-ös búcsúelőadásaként Leontyne Price Verdi Aidájának címszerepét formálta meg. Az O patria mia után a közönség négyperces tapsban tör ki. Stephanie Barber Oh My Homeland című rövidfilmje puritán: Leontyne Price mimikájának változása, ahogy Aidából az ovációt fogadó politikai aktorrá válik. Egy arc négy percben a művészet transzformatív erejéről. Alexander Horwath Henry Fonda for President című magisztrális esszéfilmje olyan színészről és képzeletbeli elnökről szól, aki házakat, közösséget, politikai képzelerőt épített, de tartózkodott ennek megvallásától, mindenre nemet mondott, semmit nem kívánt hátrahagyni, még sírja sincs, csak a szél fújja a hamvait. Mire vonatozik Horwath filmjében a „dream life of the nation”, és mit lát egy feminista-konzervatív háziasszony Henry Fondában?Erről a két filmről beszélgetnek a Partizán Filmklub műsorvezetői, Babos Anna és Petri-Lukács Simon.Támogasd te is a Partizán munkáját!https://cause.lundadonate.org/partizan/supportPéntek Reggel, a Partizán hírháttérpodcastja:https://pentekreggel.huA Partizán Podcast oldalait itt találod:YouTube: https://www.youtube.com/@PartizanPodcastFacebook: https://www.facebook.com/partizanpodcast/A Partizán videóit itt tudod megnézni:https://www.youtube.com/c/@PartizanmediaTovábbi támogatási lehetőségekről bővebben:https://www.partizanmedia.hu/tamogatas

On February 10th, our beloved diva Leontyne Price celebrated her 98th birthday. Of course she is recognized for her performances of the operas of Verdi, but in my opinion, she was even more suited, uniquely so, to the music of Richard Strauss. Sadly, she only sang one operatic role by Strauss, but we can be grateful that she consistently programmed his Lieder over the course of her long career. I offer you as complete a selection of Leontyne Price (assisted by her able collaborative pianist David Garvey) singing Strauss as you are likely to find anywhere, including live performances from Salzburg, St. Paul, and Carnegie Hall from between 1975 and 1991, as well as excerpts from two of her most beautifully-sung studio recordings, one from 1959, the other from 1979. The episode is capped with two of her earliest (and finest) performances of two songs from the Vier letzte Lieder, both from March 1971, one in Chicago with Carlo Maria Giulini, and the other from Carnegie Hall with Stanislaw Skrowaczewski. 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 or yearly support at whatever level you can afford.

durée : 00:23:02 - Disques de légende du mardi 31 décembre 2024 - Erich Leinsdorf, avec un mélange de précision et d'emportement, dirige en 1966 ce " Ballo in maschra", de Verdi, avec le ténor Carlo Bergonzi au sommet de son art, ainsi que les vedettes Leontyne Price et Shirley Verrett.

durée : 00:23:02 - Disques de légende du mardi 31 décembre 2024 - Erich Leinsdorf, avec un mélange de précision et d'emportement, dirige en 1966 ce " Ballo in maschra", de Verdi, avec le ténor Carlo Bergonzi au sommet de son art, ainsi que les vedettes Leontyne Price et Shirley Verrett.

A Christmas selection: songs old and newer, performed by Leontyne Price, Luciano Pavarotti, Heidi Grant Murphy, Odetta, Mel Tormé, et glorious al. Trad., “Angels We Have Heard on High” Bach, “Herr, wenn die stolzen Feinde schnauben,” from the Christmas Oratorio Trad., “Ríu ríu chíu” Trad., “Il est né, le divin Enfant” Schultz, “Ihr Kinderlein, kommet” Schubert-Melichar, “Mille cherubini in coro” Trad. (Moravian), “Long Ago in Bethlehem” Trad., “What Month Was Jesus Born In?” Martin & Blane, “Have Yourself a Merry Little Christmas” Tormé & Wells, “The Christmas Song”

In this episode, I sit down with the incredible Bridget Bazile, a vocal powerhouse who has mastered both gospel and opera. From her beginnings in Louisiana to gracing the stage at Carnegie Hall, Bridget shares her inspiring story of discipline, faith, and vocal mastery. We delve into her experiences with the Moses Hogan Choir, her early start in classical music, and the importance of technique in sustaining a long-lasting career. Bridget's journey, filled with resilience and artistry, is a must-hear for aspiring singers and music lovers alike. Don't miss her insights on making music authentically your own. Be sure to check out the show notes to learn more about her performances and upcoming projects.Resources:Bridget's IG accountBridget's WebsiteA notable quote from Leontyne Price: "You should always know when you're shifting gears in life. You should leave your era; it should never leave you."❓Are you tired of feeling stuck, overlooked, or unsure how to stand out as a singer? Take this free 5-minute assessment to uncover what's holding you back and discover the steps to becoming an unforgettable, first-call artist with your own unique, signature style. Click here for the assessment

In this heartfelt episode of Hollywood Live, Tanya Hart honors the life and legacy of gospel icon Cissy Houston, the mother of the late Whitney Houston, who passed away at the age of 91 in her New Jersey home. Surrounded by family, Cissy had been in hospice care for Alzheimer's disease. Known not only as Whitney's mother but as a remarkable singer in her own right, Cissy Houston's career spanned decades. She was an aunt to Dionne and Dee Dee Warwick and a cousin of opera singer Leontyne Price. Tanya reflects on Cissy's incredible journey, from forming The Sweet Inspirations in 1963 with her niece Dee Dee Warwick to providing backup vocals for legends like Elvis Presley, Otis Redding, and Jimi Hendrix. Beyond her Grammy-winning career, Cissy was a loving mother, and Tanya recalls the emotional and candid memoir Remembering Whitney, where Cissy opened up about her daughter's struggles and tragic death in 2012. Despite the heartache, Cissy's legacy, filled with love, music, and resilience, remains a testament to the Houston family's impact on the world. Tanya offers her deepest condolences to the Warwick and Houston families. Learn more about your ad choices. Visit megaphone.fm/adchoices

Betty Allen has been featured on countless omnibus Countermelody episodes, but it's time for her to get her own episode! Born in Ohio on 17 March, 1927, she died at the age of 82 on 22 June 2009. Not only did Betty Allen possess a voice of significant power and amplitude, she was a superb musician who channeled her soul into her singing, using her superb technique to convey depth of meaning in all the music she sang. She also had a wide repertoire, excelling in opera, concert, and recital. Though her recorded legacy is relatively small, it is superb and significant. Today's episode samples a cross-section of her recordings, both live and studio, and includes collaborations with Leonard Bernstein, Nicolai Gedda, Eugene Ormandy, Carmen Balthrop, Horst Stein, Leontyne Price, Virgil Thomson, John DeMain, Hildegard Hillebrecht, Richard Bonynge, and Adele Addison. She was a powerful force for good in the musical world, as an educator and advocate as well, succeeding Dorothy Maynor in leading the Harlem School of the Arts, where she served as both executive director and president. Many currently active singers have been touched by the stringent generosity of this fine artist, and it is my honor to pay tribute to her today. 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.

Zadig porte un prénom qui nous rappelle des souvenirs d'école. Prénom prédestiné à se prendre un ticket pour l'ampleur du monde, l'amour du théâtre et de l'opéra. Dans la vie terrestre, Zadig aime Le lac des cygnes mais aussi la voix berbère de Taos Amrouche, les piments qui grésillent sur le feu mais aussi les Paris-Brest, le tiercé commenté par Léon Zitrone mais aussi la voix soprano de Leontyne Price. (Rediffusion) Âme d'enfant, âme d'artiste pour Lyazid Hamroune qui signe Zadig Hamroune lorsqu'il écrit, ou pour le dire autrement, lorsqu'il s'échappe en écrivant par exemple je suis une rime orpheline. Après Le pain de l'exil, Le miroir des princes, voici La nuit barbare qui sème les petits cailloux d'une enfance charmante et menaçante, enfance normande et kabyle où il semblerait qu'il y ait… un loup.Les choix musicaux de Zadig HamrouneAmel Brahim Djelloul Il Kheir InouRita Hayworth Put on the blame on nameVerdi La Trouvère air de Leonora D'amor sull'ali rosee, interprété par Leontyne Price. 

Zadig porte un prénom qui nous rappelle des souvenirs d'école. Prénom prédestiné à se prendre un ticket pour l'ampleur du monde, l'amour du théâtre et de l'opéra. Dans la vie terrestre, Zadig aime Le lac des cygnes mais aussi la voix berbère de Taos Amrouche, les piments qui grésillent sur le feu mais aussi les Paris-Brest, le tiercé commenté par Léon Zitrone mais aussi la voix soprano de Leontyne Price. (Rediffusion) Âme d'enfant, âme d'artiste pour Lyazid Hamroune qui signe Zadig Hamroune lorsqu'il écrit, ou pour le dire autrement, lorsqu'il s'échappe en écrivant par exemple je suis une rime orpheline. Après Le pain de l'exil, Le miroir des princes, voici La nuit barbare qui sème les petits cailloux d'une enfance charmante et menaçante, enfance normande et kabyle où il semblerait qu'il y ait… un loup.Les choix musicaux de Zadig HamrouneAmel Brahim Djelloul Il Kheir InouRita Hayworth Put on the blame on nameVerdi La Trouvère air de Leonora D'amor sull'ali rosee, interprété par Leontyne Price. 

La conductora presenta de una forma fresca y coloquial historias, anécdotas e interpretaciones de las y los mejores cantantes de ópera nacionales e internacionales. Sus roles, preparación,experiencias, personajes, , etc. Conducido por la Soprano Conny Palacios, Cantante de opera y jazz

1. Le nozze di Figaro: Dove sono 2. Aida: Ritorna Vincitor 3. R. Strauss: Vier Letzte Lieder 4. La forza del destino: Pace, pace mio Dio 5. Manon Lescaut: In quelle trine morbide 6. La Rondine: Chi il bel sogno di Doretta Leontyne Price Conductor: Seiji Ozawa San Francisco Symphony Orchestra 28 February 28 1970 Broadcast

Megan addresses the difficulty of learning to sit with and release negative emotions. She tells the story of how she learned to be alone without being lonely and how she healed her relationship with herself, making it easier to have healthy connections with others. Mentioned Resources: Philosopher Carl Jung, the opera star Leontyne Price, Poet Sean O'Faolain composer Samuel BarberAbout the Host: Megan Conner is the mother of 6 spectacular humans and a breaker of generational trauma cycles. She has spent the last 10 years overcoming the effects of child SA and other abusive relationships and cycles. She is the author of I Walked Through Fire to Get Here, which was written to give support and hope to other survivors. Megan is passionate about helping people make small changes that make their lives better every day. https://third-verse.com/https://www.facebook.com/profile.php?id=29623844https://www.youtube.com/channel/UCdTAwWoBlyiAEDIdahq5U6ghttps://www.instagram.com/third_verse/https://www.tiktok.com/@third_verseThanks for listening!Thanks so much for listening to our podcast! If you enjoyed this episode, please share with your friends! Buttons below.Do you have some feedback or questions about this episode? Leave a comment! Is there a topic you'd like to hear more about? Let us know!Subscribe to the podcastGet automatic updates of new podcast episodes and live alerts by subscribing on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.Leave us an Apple Podcasts reviewRatings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.

Once again we have reached the climax of the penitential season of Lent, the most theologically significant week in the Christian calendar, namely Holy Week. Even for those who are not observant Christians, this period, standing as it does on the threshold of spring, the season of rebirth, can be a time of meditation and remembrance. To help support this contemplative moment I have compiled selections from some of the larger oratorios and liturgical works composed during the Romantic era performed by some of the greatest classical vocalists of the last century. Composers include Brahms, Dvořák, Rossini, Schubert, Franck, Mendelssohn, Beethoven, and Elgar; singers include sopranos Margaret Marshall, Leontyne Price, Pilar Lorengar, Judith Raskin, and Elizabeth Harwood; mezzo-sopranos Betty Allen, Alfreda Hodgson, and Shirley Verrett; tenors David Rendall, Alejandro Ramírez, and Richard Lewis; and bass-baritones Tom Krause and Franz Crass led by conductors Andrew Davis, Eugene Ormandy, James Conlon, George Szell, Rafael Kubelik, Michel Corboz, and Herbert von Karajan. No matter what your faith or belief system, there is an outpouring of beautiful music and singing contained in this episode that will fully engage your mind and spirit. 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.  

This week I present a Countermelody mini-series paying tribute to three great African American artists who were born in Baltimore. First up is the eclectic, versatile, and prodigiously talented Damon Evans, who introduces the latest Listeners' Favorites episode, a tribute to an idol we both treasure, the phenomenal and pathbreaking George Shirley, who on April 18 will celebrate his 90th birthday. Damon chose to do his introduction as an interview, so as a prelude to the main episode, my listeners get to hear one amazing tenor sing the praises of another one! George Shirley is one of the most versatile tenors of the second half of the twentieth century, and a pathbreaker as the first African American tenor to sing at the Metropolitan Opera. I first encountered him through his matchless portrayal of Pelléas in Debussy's Pelléas et Mélisande opposite Elisabeth Söderström. But his Mozart is equally celebrated: the podcast also features live and studio recordings of George Shirley as Tamino (opposite Judith Raskin), Don Ottavio, Ferrando (opposite Leontyne Price), as well as his extraordinary Idomeneo. Extant live performances of George Shirley including assumptions of roles as diverse as Don José (opposite Shirley Verrett), David in Die Meistersinger, Pinkerton (opposite the late Renata Scotto in an incandescent early performance of one of her greatest roles), Mephistopheles in Busoni's Doktor Faust, and even Bacchus in Ariadne auf Naxos. All of these are included in the episode, as are rare recordings of art songs and spirituals from throughout his career. Raise a glass to the great George Shirley and join me in thanking him for having shared so generously with us his extraordinary artistic gifts!

Last week we celebrated the 97th birthday of our Ur-Diva, Leontyne Price. And today, continuing my Black History Month 2024 theme of “Forgotten Divas,” I present to you a Verdi soprano of similar repertoire and voice to Miss Price, Annabelle Bernard (1935-2005), whose career, unlike Price's, was centered primarily in Europe, specifically at the Deutsche Oper in Berlin, where she was a member of the company for nearly forty years. Born in New Orleans, she received her early musical training from Earl Hogan (uncle of the famous composer and conductor Moses Hogan) and Sister Mary Elise Sisson, whom Bernard herself credited with being her formative and primary musical inspiration. With the patronage of Edith Rosenwald Stern, an heiress to the Sears-Roebuck fortune, Bernard found early success in Europe, winning second prize in the Munich ARD Competition in 1960, settling in Berlin in 1962. Annabelle Bernard was married to the German tenor Karl-Ernst Mercker (1933-2021), who in addition to appearing alongside her in many performances and productions, was also a fierce advocate for his wife during her tenure in Berlin, when she would encounter racism. The two of them retired to New Orleans in 1998, where Bernard became a voice teacher at Xavier University, her alma mater. This episode includes rare live clips of the soprano in works by Verdi, Mercadante, and Dallapiccola, as well as from her sole commercial recording, excerpts from Porgy and Bess in German alongside the iconic African American baritone Lawrence Winters, released in 1964, the year before Winters's untimely death. Mercker's strong lyric tenor is also featured in a few brief excerpts, but the main focus is on the radiant voice and artistry of Annabelle Bernard. Believe me when I tell you that I remain on the lookout for further recordings 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.” 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.

A Valentine's Day special—with music by the likes of Strauss, Poulenc, and Barber, sung by the likes of Jessye Norman, Arleen Auger, and Leontyne Price. A bouquet, a box of candies—a musical present for you. Trad., arr. Quilter, “Over the Mountains” Strauss, “Traum durch die Dämmerung” Strauss, “Amor” Poulenc, “Fleurs” Koechlin, “Si tu le veux” Prokofiev, Amoroso, from “Cinderella” Fusté, “Háblame de amores” Donaudy, “O del mio amato ben” Leoncavallo, “Mattinata” Barber, “Nocturne” Wild, Étude on Gershwin's “Embraceable You” Bridge, “Love Went A-Riding”

In the midst of our recent move, I came across a stash of old “mixtapes” (actually CDs and much other archival material. One such item which particularly moved me was one entitled “A Golden Age Christmas 2003” which I handed out to my colleagues and friends twenty years ago. Looking over the tracklist, I realized that this was a sort of early iteration of Countermelody: me sharing music that I particularly loved with people that I cared about. Today's podcast uses as its basis that same CD (slightly trimmed in length) and features performances by a glorious group of singers ranging from Olive Fremstad, Charles Gilibert, and Margarete Matzenauer from the early years of the twentieth century to such later favorites as Elly Ameling, Beverly Sills, and Leontyne Price. I can't guarantee that this episode will put you in the holiday spirit, but I sure hope it does! 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.

Today we talk about the importance of character-based story telling superseding social and political commentary, be it human trafficking, weight loss and police brutality. Albeit a fantasy story, there is an argument that a character's catharsis through such heavy and controversial topics can bring catharsis to the reader. Skip plot synopsis @ 3:37   Email: WeAppreciateManga@Gmail.com   132: Petshop of Horrors vol. 7 By Akino Matsuri Translation by Tomoharu Iwo and James Lucas Jones Lettering by Nunu Ngien   The first chapter, ‘Doom' has the detective Leon get involved with the killing of his partner and co-worker Max whilst apprehending his childhood friend who is also killed in the incident. To ease Leon's mind, D gives him a butterfly as a pet, however this butterfly can travel through Leon's dreams and show him his desires. This results in Leon experience time travel where upon dreaming of what things could be like, he then experiences the reality within a waking nightmare, thus experiencing the butterfly effect.   In ‘Donor' we see that Leon is assigned to find a missing donor heart whilst D is surprised by the arrival of his sister. A sister whom is willing to give her own organs so to donate to D, eventually the sister poses an existential threat that results in D killing the woman in his defence. When Leon finds a bloodied-up D, we see that D holds not the body of his sister but instead of an orangutan.   In ‘Duty' a child soldier, on the run from assassinating a mafioso, hides in the Pet shop and takes D and Christopher as his hostage.   Whilst in the final chapter, ‘Diet' shows us three characters. A catwalk model by the name of Irene who is given alternate medicine / diet pills from D. Plus two other patrons which include a boxer by the name of Nash and young girl by the name of Em (Emerelda). All three of them have issues with their weight and intend to make sure they lose a few pounds.       Context:   ·       Arguably the most famous of all Zhuangzi (Chuang Tsu) stories—"Zhuang Zhou Dreams of Being a Butterfly"—appears at the end of the second chapter of his work, named "On the Equality of Things". This is the main inspiration for the Petshop of Horrors chapter ‘Doom' although there is a sort of time travel aspect, the logic depicted however is that Leon is experiencing a dream of how things could be different. ·       ‘The Butterfly Effect' is a metaphor that has its roots in deterministic philosophy and chaos theory. It describes how small-scale disturbances can cause large-scale events. Attributed to mathematician and meteorologist  Edward Norton Lorenz. when describing the cause of Tornados. ·       Many diets and fads revolving around weight loss took place during the 80's and 90's as gyms and “super-models” grew in popularity. Most of this was influenced by the controversial 1972 book ‘Dr. Atkins' Diet Revolution: The High Calorie Way to Stay Thin Forever' which promotes a high cholesterol diet which results in heart disease. In Chris Van Tulleken's book ‘Ultra-Processed People' he explains how caloric restriction is not a long-term solution to weight loss as it is an evolutionary, survival and genetic advantage for weight loss to reduce when starved for long periods. Chris however does explain that an increase in obesity over the years after the 1950's is due to highly processed and chemically augmented foods. Specifically designed not to satiate hunger but sell for profit. Anyone who is willing to go a drastic change in diet should always consult their doctor beforehand. Sadly, many eating disorders exist due to such diets, the social mores, and the ever-changing landscape of nutritional research.   Historical, scientific, and cultural references:   ·       Xenotransplantation is the name of the procedure where animals are used for organ donor transplantation in humans. Currently pigs are being used in clinical trials as of the date of this podcast being uploaded. The idea of “transgenic pigs” first being used going as far back as 1995. ·       Naomi Campbell, a British supermodel most famous during the 1990's, considered a muse by designers like Jean Paul Gaultier with her contemporary Kate Moss. She is often mistaken to be the first black woman to appear on the front cover of Time magazine in September 16th 1991, in fact singers Marian Anderson, Leontyne Price and Aretha Franklin predate her by a few decades. With Marian Anderson appearing on the December 30th 1946 issue. ·       It is possible and dangerous to lose weight from a parasite. Often caused by eating raw meats and a lack of hygiene. Of course, parasites that take the identity of their host is still just the stuff of science-fiction.   Facebook Instagram Twitter/X Official Website   Email

Greetings Glocal Citizens! This week I have the pleasure getting to know a longtime friend even better from insights into his professional world. An internationally recognized recording artist, vocal coach, songwriter/writer, style influencer, and entrepreneur, Ghanaian-Cuban-American, Jeremiah Abiah inspires artists around the world to learn, love, and live their voice. His creative talents and expertise have made him a sought-after coach for national and international singers, actors, rappers, and public speakers. His influence and involvement have launched the careers of many musicians currently on the charts. As a singer, producer and writer, his recording contributions have been nominated for Grammy Awards, the Latin Grammys, the NAACP Image Awards and the 2020 Oscar Awards with Cynthia Erivo. He works with an array of celebrated artists such as Common, Brandy, Robert Glasper, Ro James and others. He launched TheABIAHway (https://www.jeremiahabiah.com), an artist development platform, to enlighten, inspire, and empower music artists globally and expanding his influence in the music industry. His work has launched the careers of many current music artists on the charts and on Broadway. Clients include Sony, RCA, Atlantic, Columbia Records as well as numerous Broadway and Opera Stars. This former Professor of Voice at Berklee College of Music (https://www.berklee.edu) can be seen on the stage at music festivals, concert halls and teaching Masterclasses worldwide. In 2020, he debuted his popular new Facebook Live talk show, Inside the Singer's Voice (https://www.youtube.com/@insidethesingersvoice/featured) where each episode is an intimate conversation between great singers about great singing. As you'll hear, there's much, much more to Jeremiah's own voice and story. Where to find Jeremiah? On LinkedIn (https://www.linkedin.com/in/jeremiah-abiah-7868369) On Instagram (https://www.instagram.com/jeremiahabiah/) On Facebook (https://web.facebook.com/jeremiahabiahmusic/?_rdc=1&_rdr) On X (https://twitter.com/jeremiahabiah?lang=en) On YouTube (https://www.youtube.com/channel/UCeJKglJcZEtIoR-RgZM5vvA) Topics of interest: About George Michael (https://en.wikipedia.org/wiki/George_Michael) Opera Greats William Warfield (https://www.thehistorymakers.org/biography/william-warfield-39) and Leontyne Price (https://en.wikipedia.org/wiki/Leontyne_Price) Rochester School of the Arts (https://www.rcsdk12.org/SOTA) About Patricia Seymour Alexander (https://www.copelandfuneralhomes.com/obituary/Patricia-Alexander) About the Art Song Repertoire (http://www.tesorochoir.com/Classical%20Repertoire.html) NAACP ACT-SO Acheivement Program (https://naacp.org/our-work/youth-programs/act-so-achievement-program) Eastman School of Music (https://www.esm.rochester.edu) New England Conservatory (https://necmusic.edu) About The Chi's Ntare Mwine (https://en.wikipedia.org/wiki/Ntare_Mwine) Otter.ai (https://otter.ai) Ain't Too Proud, The Musical (https://ainttooproudmusical.com) About Michael Swanson (https://www.faithfilmworks.com/michael-swanson) Ron Simon's SimonSays Entertainment (https://simonsaysentertainment.com) About Pamela Cooper's, The Cooper Company (https://www.thecoopercompany.biz) About Shanice (https://en.wikipedia.org/wiki/Shanice) What is the “Whistle Tone?” (https://en.wikipedia.org/wiki/Whistle_register) About Gospel Great, Yolanda Adams (http://yolandaadamslive.com) Laylah Hathaway (https://www.lalahhathaway.com) Mint Condition's (https://en.wikipedia.org/wiki/Mint_Condition) Stokley Williams (https://www.istokley.com) Claude Kelly (https://en.wikipedia.org/wiki/Claude_Kelly) R&B and Soul Legends Aretha Franklin (https://en.wikipedia.org/wiki/Aretha_Franklin), Luther Vandross (https://en.wikipedia.org/wiki/Luther_Vandross) and Barry White (https://en.wikipedia.org/wiki/Barry_White) About Bill T. Jones (https://newyorklivearts.org/btj-az-company/) Special Guest: Jeremiah Abiah.

This week (inspired by an 10-inch LP in my collection of his songs performed by Anton Dermota and Wilma Lipp, both stalwarts of the Wiener Staatsoper in the 1950s) I present an introduction to the Lieder of Austrian composer Joseph Marx (1882 – 1964). His songs are most frequently compared to Richard Strauss and Hugo Wolf and are distinctly post-Romantic in style and harmony, but they also exhibit traits unique to their composer. As with so many figures from this period in European history, his legacy is shadowed in controversy, which I discuss at length. In the end, I believe it is his contribution as an inspired composer, particularly of song, for which he should be most remembered. Alongside Lipp and Dermota, some of the other singers heard in the episode include Ljuba Welitsch, Irmgard Seefried, Angelika Kirchschlager, Leontyne Price, Lotte Lehmann, Waldemar Kmentt, John Charles Thomas, Florence Easton, and Arleen Augér. Pianists include Marx himself, as well as Erik Werba and Paul Ulanowsky, both of whom studied with him. If you only know one or two of Marx's songs (or if you don't know his work at all), you are in for a glorious surprise! 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.

The Maroon's Jake Zucker and Gregory Caesar interview pianist and saxophonist Adegoke Colson, who performed live at the 2023 Hyde Park Jazz Festival. They are joined by his wife, composer and vocalist Iqua Colson, who is a Hyde Park native and alumna of Kenwood Academy. About Ade: "STEVE COLSON – aka ADEGOKE – pianist and composer, has performed internationally as a leader of jazz ensembles ranging from trios to orchestras. Born in Newark and raised in East Orange, NJ, he received his degree from Northwestern University School of Music and lived in Chicago for a decade before returning to reside on the East Coast. "A critically acclaimed figure in modern jazz, Steve's compositions are finding their way into the “jazz standard” repertoire and are being performed and recorded by some of today's jazz greats as well as by his own group. He became a member of The Association for Advancement of Creative Musicians (AACM) in the early 70s, a musicians' collective that has influenced music internationally in the 20th and 21st Century." About Iqua: "IQUA COLSON has been praised internationally by the media and placed in the company of some of our finest known vocal innovators including Betty Carter, Ella Fitzgerald, Sarah Vaughan and Abbey Lincoln, Iqua's work has been discussed in countless periodicals and books including a chapter in “Black Women & Music, More than the Blues” – which also features the great Leontyne Price. Her industry accolades include Vocal Talent Deserving Wider Recognition by Downbeat Magazine and Distinguished Achievement as a lyricist by Billboard. "A native of Chicago, Iqua was accepted to Northwestern University School of Music as a pianist after three years of high school. She was voted into The Association for Advancement of Creative Musicians (AACM) in the early 70s, the influential musicians' collective acknowledged worldwide as a primary influence in 20th and 21st Century music. She has recorded and performed in the U.S. and overseas collaborating with great artists, most frequently with her husband decorated pianist/composer Steve Colson." Read more about Ade and Iqua This interview was recorded at the Study at University of Chicago on Friday, September 22, 2023. Photo courtesy of colsonsmusic.com

Zadig porte un prénom qui nous rappelle des souvenirs d'école. Prénom prédestiné à se prendre un ticket pour l'ampleur du monde, l'amour du théâtre et de l'opéra. Dans la vie terrestre, Zadig aime Le lac des cygnes mais aussi la voix berbère de Taos Amrouche, les piments qui grésillent sur le feu mais aussi les Paris-Brest, le tiercé commenté par Léon Zitrone mais aussi la voix soprano de Leontyne Price. Âme d'enfant, âme d'artiste pour Lyazid Hamroune qui signe Zadig Hamroune lorsqu'il écrit, ou pour le dire autrement, lorsqu'il s'échappe en écrivant par exemple je suis une rime orpheline. Après Le pain de l'exil, Le miroir des princes, voici La nuit barbare qui sème les petits cailloux d'une enfance charmante et menaçante, enfance normande et kabyle où il semblerait qu'il y ait… un loup.Les choix musicaux de Zadig HamrouneAmel Brahim Djelloul Il Kheir InouRita Hayworth Put on the blame on nameVerdi La Trouvère air de Leonora D'amor sull'ali rosee, interprété par Leontyne Price. 

Legendary lyric soprano Leontyne Price's ethereal voice elevates the beloved spiritual "There is a Balm in Gilead" to new heights.

Today's is a mammoth episode, one of my longest ever, so I suggest you listen to it in easily digestible segments. It's mammoth because it's a gigantic subject: great Mozart tenors of the 20th century, covering more than 100 years of recorded documents of the finest examples of tenorial interpretations of the big Mozart operas as well as some of his lesser-known works, including his concert arias. You will be dazzled (and that is a promise and a guarantee) by performances by Fritz Wunderlich (for many of us, the ne plus ultra of lyric tenors), George Shirley, Richard Tauber, Anton Dermota, Léopold Simoneau, Nicolai Gedda, Gösta Winbergh, John McCormack, David Rendall, Peter Schreier, and countless others, including lesser-known figures such as John van Kesteren, Kálmán Pataky, and Wiesław Ochman, and duets featuring Pilar Lorengar, Leontyne Price, Roberta Alexander, and Margaret Price. I also feature a peek into the future with a special salute to the young tenor Alex Banfield, whose work has impressed me enormously. The entire episode is dedicated to the memory of my friend Jerry Hadley, one of the supreme Mozart tenors of all time. 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.

If you're interested in learning about the first Black American prima donna to establish an international profile and perform in the Deep South, then my Leontyne Price Black History Facts profile is for you.   Show notes and sources are available at http://noirehistoir.com/blog/leontyne-price.

•Felicia Coleman-Evans a native Chicagoan, received Bachelor of Music and Master of Music degrees in vocal performance from Howard University, Washington, D.C.  Her voice has graced the great concert halls of the world. • She made her Carnegie Hall debut as the featured soloist in a tribute to the great Leontyne Price and was also featured at the world's most prestigious opera house, La Scala, in Milan Italy, while touring with Sue Conway and the Victory Singers of Chicago, IL.  She continues her career throughout the United States and abroad captivating audiences with her performances combining intricate classical technique with Spirit-filled soulfulness. •Felicia has garnered critical acclaim on the theatrical stage as well; playing the principal roles of Louise Lemon and Rosa Parks in George Faison's production of Sing Mahalia Sing, the role of Inanna, the Goddess of the Moabites in Noa Ains' production of The Outcast, for the Houston Grand Opera; and the national and international touring company of A Piece of My Soul: A Gospel Anthology, by Rodney Lewis. •Never forgetting her roots, Felicia has performed in numerous churches and conventions for the National Baptist USA, Inc, National Women in Radio and Television, Thomas Dorsey's National Convention of Gospel Choirs and Choruses, Edwin Hawkins Music and Arts Seminar, National Association of Negro Musicians. eMail Contact for Felicia: fcevans247@gmail.com •Please send me an email sharing your thoughts about this show segment also if you have any suggestions of future guests you would like to hear on the show. Send an email to letstalk2gmg@gmail.com •You may also “like” and share the podcast episode; or you may Subscribe to be alerted when the newest show is published. •NEW RADIO SHOW ON INTERNET RADIO STATION WMRM-DB SATURDAY MORNING 9:00 AM CST / 10:00 AM EST / 7:00 AM PST •The Podcast and Radio show is heard anywhere in the World! •Follow us at https://www.facebook.com/LetsTalk2GMG/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/letstalk2gmg-ansonia/message

In her own words, “We had music growing up, 78RPM's that evolved into 45RPM's and, always, the radio.  The radio in my day, Black and white, played everything.  Gospel Spirituals, even some opera when Leontyne Price came along.  You could listen to R & B late at night or you could go to the other station and listen to popular music.  There was also jazz if the wind was right.  I feel so sorry for the kids who only hear one kind of music.  Where do your dreams come from? My dream was not to publish or to even be a writer:  my dream was to discover something no one else had thought of.  I guess that's why I'm a poet.  We put things together in ways no one else does.” She did not go unappreciated as revealed in a few recognitions below. Seven NAACP Image Awards: for Love Poems; Blues: For All the Changes; Quilting the Black-Eyed Pea; Acolytes; Hip Hop Speaks to Children; 100 Best African American Poems; Bicycles. Named one of Oprah Winfrey's 25 Living Legends Phi Beta Kappa State Historical markers in Knoxville, Tennessee, and Lincoln Heights, Ohio The Tennessee Governor's Award in the Arts Tennessee Governor's Award In the Humanities Virginia Governor's Award for the Arts Woman of the Year, Ebony Magazine Woman of the Year, Ladies Home Journal Woman of the Year, Mademoiselle Magazine This show is a replay of an NPR On Being with Krista Tippett Nikki Giovanni interview. You will love her authenticity, her humor, and her resolve.  Grab your favorite beverage, put your feet up, and exhale. Then, click below.

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

In today's episode, we celebrate Opera Day and Black History Month continues. We reflect on the contributions of African American opera singers like Marian Anderson and Leontyne Price and more. It's YOUR Wednesday night conversation with Felicia "Fefe" Minor and Freddy Prinze Charming! Join the conversation as they catch up with you on the weekend recap, relationship or lifestyle tips, and keep up with what's current in the news, politics, and more! Promotional consideration for Let's Have A Fefe is provided by WigsofaKind, 6S Boutique, and LC Designs. You can also support us at https://PayPal.me/letshaveafefe. Bonus content can be found at https://patreon.com/letshaveafefe. #BlackHistoryMonth

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

This week is a continuation of my memorial tribute to my dear friend and colleague Susan May Schneider, who died last week after a long struggle with cancer. Susan's husband Gary, a composer and conductor, wrote a stunning song cycle for Susan using texts from the biblical Song of Songs, and this episode is bookended with their live 2000 performance of two of those songs. I supplement this with further material which all use texts based on the Song of Songs. This includes choral works by composers from Brumel and Palestrina, Walton and Bairstow to Penderecki and Daniel-Lesur; pop songs by India Adams and Kate Bush; orchestral song cycles, cantatas, and oratorios performed by Lois Marshall, Elly Ameling, Jennie Tourel, Leontyne Price, Eleanor Steber, and Suzanne Danco; and works from such surprising compositional sources as Stockhausen and Vangelis. 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.

Greetings to all from my former home of Manhattan! Upon landing here a week ago, I was greeted by the news of the death of Ned Rorem, the man previously known as “America's Greatest Living Composer,” who just last month had celebrated his 99th birthday. Though he won the Pulitzer Prize in Music in 1976 for his orchestral work Air Music, Rorem was most celebrated for his vocal music, in particular his art songs. In this episode, I will delve into that aspect of his output, from his earliest published work to his extraordinary late masterpiece Evidence of Things Not Seen. The episode features singers who collaborated closely with the composer, including Phyllis Curtin, Donald Gramm, Beverly Wolff, Regina Sarfaty, Phyllis Bryn-Julson, Kurt Ollmann, and others. Many other singers were also drawn to Rorem's songs, including Leontyne Price, Jan DeGaetani, Martina Arroyo, and Laura Aikin, all of whom are represented here. As celebrated as a frank and forthright diarist and essayist as he was as a composer, Rorem (like his British counterpart Benjamin Britten) had extraordinary taste in the poetry and texts he chose to set. In this episode alone, we hear compositions set to words of Sylvia Plath, Paul Goodman, Walt Whitman, Paul Monette, Theodore Roethke, Frank O'Hara, and others. The episode concludes with a tribute to another musician who died earlier the same day, the American collaborative pianist David Triestram, who accompanies his dear colleague and friend Roberta Alexander in Leonard Bernstein's poignant and timely song “Some Other Time.” 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.  

As a Thanksgiving Weekend special, here is an example from Music-A Closer Look, a series I created, produced and hosted at WGTD shortly after I began work here in 1986. This episode of the program is dedicated to one of the most acclaimed and beloved classical singers of the 20th century, Leontyne Price.

This week I celebrated my birthday, so today is the second of this month's birthday celebrations. A number of my listeners have been asking me for a while to post an episode featuring my favorite singers and recordings. So here it is! We lead off with a brief memorial tribute to Angela Lansbury, who died in the early California morning of my birthday. The rest of the episode features many recordings that I first got to know as I began exploring the world of great singing on records. Leontyne Price, Maria Callas, Alexander Kipnis, Elisabeth Söderström, Richard Lewis, Renata Scotto, Adele Addison, Gundula Janowitz, Margaret Price, Teresa Stratas, Gérard Souzay: all of these artists were formative figures in my early listening experience. My appreciation of some others came later: Hina Spani, Brigitte Fassbaender, Georges Thill, Sylvia Sass, Nicolai Gedda, Kirsten Flagstad. By this late date, all of them have been favorite artists of mine for decades and are represented on the episode by some of their greatest recordings. The episode concludes with a brief tribute to the English composer Ralph Vaughan Williams on the occasion of his 150th birthday, also celebrated this week. P.S. Two years ago I did another Happy Birthday To Me episode, which featured performances by some of my favorite pop divas. The episode can be found for a limited time at the top of my LinkTree chain. 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.

#OTD Opera singer Leontyne Price received the Presidential Medal of Freedom from President Lyndon B. Johnson. Actress Shondrella Avery narrates.

durée : 01:28:24 - « Georg Solti, chef d'orchestre » (4/5) - par : François-Xavier Szymczak - Vingt-cinq ans après la disparition de ce musicien de légende, qui fut aussi un pianiste virtuose, retour sur l'exceptionnelle discographie de Solti, où l'on croise Renata Tebaldi, Christa Ludwig, Birgit Nilsson, Renée Fleming, Régine Crespin, Leontyne Price, Luciano Pavarotti, Placido Domingo...

durée : 01:28:13 - « Georg Solti, chef d'orchestre » (3/5) - par : François-Xavier Szymczak - Vingt-cinq ans après la disparition de ce musicien de légende, qui fut aussi un pianiste virtuose, retour sur l'exceptionnelle discographie de Solti, où l'on croise Renata Tebaldi, Christa Ludwig, Birgit Nilsson, Renée Fleming, Régine Crespin, Leontyne Price, Luciano Pavarotti, Placido Domingo...

durée : 01:28:24 - « Georg Solti, chef d'orchestre » (2/5) - par : François-Xavier Szymczak - Vingt-cinq ans après la disparition de ce musicien de légende, qui fut aussi un pianiste virtuose, retour sur l'exceptionnelle discographie de Solti, où l'on croise Renata Tebaldi, Christa Ludwig, Birgit Nilsson, Renée Fleming, Régine Crespin, Leontyne Price, Luciano Pavarotti, Placido Domingo...

durée : 01:28:41 - « Georg Solti, chef d'orchestre » (1/5) - par : François-Xavier Szymczak - Vingt-cinq ans après la disparition de ce musicien de légende, qui fut aussi un pianiste virtuose, retour sur l'exceptionnelle discographie de Solti, où l'on croise Renata Tebaldi, Christa Ludwig, Birgit Nilsson, Renée Fleming, Régine Crespin, Leontyne Price, Luciano Pavarotti, Placido Domingo...

Soprano Leontyne Price has many firsts in the opera world and among those accolades came fame. She put that fame to good use fighting racism her way. Find out more in the latest episode of the 'Rhapsody in Black' podcast.

Sometimes Jay indulges in hyperbole—but the hyperbole is not far off. In this episode, he calls Dawn Upshaw's 1989 recording of “No word from Tom” (Stravinsky) “just about the best thing ever.” You may well agree. He begins the episode with another “just about the best thing ever”: Leontyne Price in “Summertime” (Gershwin), live in […]

Sometimes Jay indulges in hyperbole—but the hyperbole is not far off. In this episode, he calls Dawn Upshaw’s 1989 recording of “No word from Tom” (Stravinsky) “just about the best thing ever.” You may well agree. He begins the episode with another “just about the best thing ever”: Leontyne Price in “Summertime” (Gershwin), live in Munich, 1968. Also on the menu are Mozart, Bridge, Medtner... Source

Sometimes Jay indulges in hyperbole—but the hyperbole is not far off. In this episode, he calls Dawn Upshaw's 1989 recording of “No word from Tom” (Stravinsky) “just about the best thing ever.” You may well agree. He begins the episode with another “just about the best thing ever”: Leontyne Price in “Summertime” (Gershwin), live in Munich, 1968. Also on the menu are Mozart, Bridge, Medtner, and Szymanowski. A winning line-up. Gershwin, “Summertime” from “Porgy and Bess” Mozart, String Quartet No. 2 in D major, K. 155 Medtner, Fairy Tale No. 3 Bridge, “Allegro appassionato” Szymanowski, Violin Concerto No. 2 Stravinsky, “No word from Tom” from “The Rake's Progress”

She needs no introduction — but in magazine history, Tina Brown is rightly deemed a legend, reviving Tatler, Vanity Fair and The New Yorker, before turning to the web and The Daily Beast (where I worked for her). Her new book is The Palace Papers. We talked journalism, life and royals.You can listen to the episode right away in the audio player embedded above, or right below it you can click “Listen in podcast app,” which will connect you to the Dishcast feed. For two clips of our convo — on Meghan Markle’s epic narcissism, and why women make the best monarchs — head over to our YouTube page. Having Tina on the pod was the perfect excuse to transcribe our popular episode with Michael Moynihan, who used to work for Tina at The Daily Beast — which also hosted the Dish for a few years. So we’re all old friends. From the Moynihan chat:Andrew: I was talking to Tina Brown about this not that long ago, with the great days of the big magazines in the '80s and '90s. Really, when you look back on that time, it was an incredible festival of decadence and clearly over the top before the fall.Michael: I love Tina. I did a thing — you can look this up — an interview with her, when her Vanity Fair Diaries came out, for The Fifth Column. Just Tina and I sat down and talked for an hour and a half, and it was one of the best things I think we’ve recorded, and got one of the best responses. Because people miss those stories.Perhaps Bill Kristol should check out the clip with Moynihan on how to change your mind on stuff you get wrong:A listener looks back to last week’s episode:Wonderful interview with Douglas Murray, with the two of you riffing off each other with brilliant dialogue. Very warm and affirming as well. I particularly enjoyed your discussion of the religious dimension as one aspect of our present dilemma. I know you would want to provide variety for the Dishcast, but please consider having him on again.Another fan:This was the most memorable episode in a long time (although they are all great). Of course, your dialogue was choir-preaching, and so I need to be careful in avoiding confirmation bias. That said, I found Murray’s elegant way of encapsulating the obvious — which I fail to express myself — truly invigorating. I rewound and listened to many parts several times over. I ordered his book today.Another listener dissents:I find the armchair psychoanalysis regarding ressentiment — as the organizing principle of what is happening in our culture today — to be one of the least compelling arguments made in the episode. Why not go ahead and attribute our perpetual unwillingness in the West to recognize what is great about it to Christianity’s concept of original sin? Or maybe read psychoanalytic literature on why an individual or group of people who are objectively improving might hold onto beliefs of the self or society as rotten? These seem just as likely as Nietzsche’s argument. Ultimately, what a person speculates to be the primary motivator of another person or group reveals a lot. Your speculation that it’s mostly ressentiment suggests you want or need to demonize the CRT crowd. This is tragic given that this is precisely what you and Douglas accuse the CRT crowd of doing. Another listener differs:I don’t agree with everything you and Douglas Murray write, but thank you for talking about the resentment and bitterness that’s driving politics and culture today. It’s gone completely insane. I used to work for a small talent agency, and during the pandemic I coached some actors over Zoom. During the George Floyd protests, one of my clients was up watching the news all night, not getting any sleep. I told her, look, you want to be informed and want to help. But you have to take care of yourself first or you’re no help to anyone. Go to bed and catch up on the news tomorrow. People criticized me for this kind of advice, saying I was privileged, that I just wanted to look away and not examine myself for my own inherent racism, etc. I couldn’t understand why people were being so unreasonable.I’m also a Mormon. After George Floyd was murdered, our ward started to discuss racism. Mormonism has a checkered past when it comes to things like Black men and the priesthood. Or even language in some of the scriptures. These are important conversations that our church needs to have. There were good things that happened, like Black people in the ward shared more about their experiences during meetings. But almost immediately it became weird. The women’s group did a lesson on Robin DiAngelo’s “White Fragility,” for example. We didn’t actually ever talk about the things I was hoping we’d talk about — how Brigham Young stopped Black men receiving the priesthood, for example. We were just told we all needed to acknowledge our white privilege and feel guilty about it. There was a part about redlining. There was no acknowledgment that some of the white people in this ward lived in low-income housing, basically had nothing, and had been stressed even further by the pandemic. It just felt unnecessarily divisive. I have no idea what the Asian members made of this talk, because it basically excluded them. There were so many holes in these theories, but I wasn’t brave enough to point them out.So it was a real relief to hear you and Murray talk about the way these ideas have infiltrated churches. The Mormon thing is typically like, “God wants you to be happy. Live this structured life, show compassion, work hard, love your family, and be happy.” But the DiAngelo ideas felt like, “you can’t even be saved, at least not if you’re white. Some people don’t deserve to be happy; they should only feel guilt.” It was easier to bring in a fad book and talk about property values than to talk about the awful passage in the Book of Mormon where it says dark-skinned people are cursed, but other people are “white and delightsome.” I felt like the second the door opened to have a serious conversation about the church and race, they immediately jumped the shark instead.From a fan of opera and ballet:Douglas Murray mentioned Jessye Norman and how her obituary was racialized. Well, in January of 1961, Leontyne Price made her Metropolitan Opera debut, and she and Franco Correlli received an ovation that was around 50 minutes long ... possibly the longest in Met history, or among two or three longest. There have been so many great black singers at the Met, such as Shirley Verrett, Kathleen Battle (who was loved by James Levine but whose voice I never liked), Eric Owens, Grace Bumbry, and many others. Here’s a snip of Price’s Met debut:Balanchine choreographed Agon (music by Stravinsky), arguably his greatest dance, for Diana Adams (white) and Arthur Mitchell (black) in 1957. They danced the pas de deux, which is an erotic tangle of bodies. Balanchine wanted the black/white tension. Here is a bit of it:And to my beloved Jessye Norman, whom I saw only once, here she is at her best:Another listener rolls out some poetry:I greatly enjoyed your conversation with Douglas Murray. He is fierce! Your mention of Clive James’s “The Book of My Enemy Has Been Remaindered” reminded me of a similarly minded poem from Nina Puro. (I suspect one of them inspired the other.) I LONG TO HOLD THE POETRY EDITOR’S PENIS IN MY HANDand tell him personally,I’m sorry, but I’m goingto have to pass on this.Though your pieceheld my attention throughthe first few screenings,I don’t feel it is a good fitfor me at this time. Please know it receivedmy careful consideration.I thank you for allowingme to have a look,and I wish youthe very best of luckplacing it elsewhere.Shifting away from the Murray episode, here’s a followup from a intrepid Dishhead:I was excited to see my letter published on the violent toll homelessness takes on communities recently. I’ll be listening to the podcast with Maia Szalavitz soon, and I’ve got Johann’s book on harm reduction to read as well. (I loved the episode with Johann, bought his new book, loved it, and stopped being so online for about a week before backsliding ...)Shortly after I wrote that last letter to you, I realized that I wasn’t satisfied with just writing indignant letters about the bloody cost of complacency on homelessness. It’s really the story of Ahn Taylor — a sweet 94-year-old lady stabbed by a homeless man as she was walking in her neighborhood — that made me understand that complaining is not enough.So I’ve started a non-profit, Unsafe Streets, to take on this challenge. It’s sort of a “Take Back the Night”-style public safety crusade. It’s early days still, but we have a website, including pages for NYC and San Francisco, a Twitter feed, and a crowdfunding campaign. Next on my agenda is to create a page for Los Angeles, a detailed policy platform, and then to recruit a board and apply for 501c3 status.I’ve been keeping up with the Dish when I can (LOVING the conversation with Jonathan Haidt, and I HIGHLY recommend this complementary Rogan episode.) I’ve been busy with the kids and trying to get Unsafe Streets going in my free minutes.She follows up:I just listened to Maia’s episode, and I am pretty unsatisfied with her proposed solutions. Non-coercive acceptance and decriminalization is fine for people who are using drugs they bought with their own money in the privacy of their home. But public drug use, public intoxication, and the associated “quality of life” crimes (public defecation, indecency, etc.) make public spaces unsafe and uncomfortable for everyone else. Laws against these crimes should be enforced, which means arresting people and taking them to jail or some kind of treatment. Injecting fentanyl and passing out on the sidewalk is a very antisocial and harmful behavior, and should not be “decriminalized.”I agree with Maia that this is a complicated mix of addiction and severe mental illness. But I don’t think the cost of housing argument holds up. (A brief scan of the news will show you that there in fact ARE homeless encampments in West Virginia.) I think she was unfair in her characterization of Michael Shellenberger’s proposal, which includes tons of resources to expand access to and quality of treatment. Overall, Maia’s perspective is very focused on the benefit to the addict, but discounts the costs to the surrounding community. Thanks for keeping a focus on this subject!Another listener looks to a potential future guest:Hello! You invite your readers to submit guest ideas here. I submit Kevin D. Williamson — another nuanced “conservative,” Roman Catholic, Never Trumper, and admirer of Oakeshott. Oh, and he was fired after five minutes at The Atlantic for a previous statement about abortion.Thanks for the suggestion. Lastly, because we ran out of room this week in the main Dish for the new VFYW contest photo (otherwise the email version would get cut short), here ya go:Where do you think it’s located? Email your guess to contest@andrewsullivan.com. Please put the location — city and/or state first, then country — in subject line. Proximity counts if no one gets the exact spot. Bonus points for fun facts and stories. The winner gets the choice of a VFYW book or two annual Dish subscriptions. If you are not a subscriber, please indicate that status in your entry and we will give you a free month subscription if we select your entry for the contest results (example here if you’re new to the contest). Happy sleuthing! Get full access to The Weekly Dish at andrewsullivan.substack.com/subscribe

This week's episode is a musical celebration of all things spring. As in all episodes of this sort, it features a wide range of singers in performances recorded over the course of many decades, all singing about the delights (and sometimes the heartbreak) of spring. Artists include Carmen McRae, Beniamino Gigli, Elisabeth Söderström, Helen Morgan, Leontyne Price, Judy Collins, Eartha Kitt, Emma Calvé, Eileen Farrell, Kaye Ballard, Gérard Souzay, Patricia Neway, and Edith Piaf, among many others, singing songs of Tommy Wolf, Fran Landesman, Georges Auric, Hugo Wolf, Lerner and Loewe, Dietrich Buxtehude, Alec Wilder, and Paolo Tosti. A vernal feast for the ears! The Countermelody podcast is 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.

Last week, Jayme Alilaw joined Garrett to outline her journey to, away from, and back to opera. She returns this week to offer a break down of activism in opera spaces, advice on traversing tokenization, and a call to action for people not yet engaged by "classical" institutions. Garrett and Scott conclude Women's History Month with music performed by Leontyne Price and Nathalie Joachim, and the guys offer their opinions to the recent Oscar scandal. Playlist: Nina Simone - "To Be Young, Gifted and Black" Beyonce - "Be Alive" The Temptations - "My Girl" Antonín Dvořák - "Song to the Moon" (perf. Leontyne Price: https://www.youtube.com/watch?v=ibuMjbmNB0c) Nathalie Joachim & Spektral Quartet - "Papa Loko" Black Opera Alliance Gala Part I: https://www.youtube.com/watch?v=edkCLsu79JI Black Opera Alliance Gala Part II: https://www.youtube.com/watch?v=fIx64SF3mqY Maria Isa- "Lowrider Mamis" More: Respectability Politics: https://en.wikipedia.org/wiki/Respectability_politics Downbeat (Ted Cruz Questions Ketanji Brown Jackson): https://www.youtube.com/watch?v=R9lxFfOgFtM Older, Gifted and Black: https://www.theguardian.com/music/2022/mar/24/older-gifted-and-black-the-british-musicians-getting-better-with-age 2022 Oscar Winners: https://ew.com/awards/oscars/2022-oscars-winners-list/ Aesthetic Violence and Misogynoir Against Jada Pinkett Smith: https://htnewz.com/aesthetic-violence-and-misogynoir-against-jada-pinkett-smith/ Questlove Wins for "Summer of Soul": https://www.inquirer.com/news/ahmir-questlove-thompson-wins-best-documentary-feature-oscar-awards-2022-20220327.html

Joshua and Angela salute the illustrious career of opera soprano Leontyne Price. We hear three signature selections by Ms. Price and learn of her journey from Laurel, Mississippi, to capturing the attention and admiration of the world for her unparalleled vocal prowess and artistry. She remains a standard-bearer for opera singers globally.Featured music: "Summertime" from Porgy and Bess"O patria mia" from Aida – The Metropolitan Opera"This Little Light of Mine" – Margaret BondsSupport the show (https://classicalmusicindy.org/support-classical-music-indy/)

From Tchaikovsky's Eugene Onegin.

In this episode, Laverne introduces us to her opera singing teacher of 25 years, the celebrated opera lecturer, Metropolitan Opera Broadcast co-host and retired diva, Ira Siff. Ira is the creator of La Gran Scena, the all-male cross-dressed opera troupe that performed internationally for over 20 years to much critical acclaim with a cult-like following. Ira was the prima donna of La Gran Scena as his diva alter ego, Madame Vera Galupe-Borszkh. Vera was an amalgamation of the most famous opera stars of the 20th century. As Vera, Ira toed the line between spoof and adoring tribute with a thoughtfulness that earned La Gran Scena the praise and patronage of the very same opera stars Scena lovingly spoofed. Known for his lectures and the approachable manner in which he talks about opera, Ira breaks down opera history while telling stories of growing up as an “opera queen” in New York, and the insane fandom of diva worship. // Glossary of Opera Terminology: Aria: A self-contained piece for a singer, or “solo.” In opera, arias mostly appear during a pause in dramatic action when a character is reflecting on their emotions. //  Bel Canto: An Italian vocal technique or “school” developed and popularized in the 18th and 19th centuries. It places emphasis on beauty of sound and brilliance of performance rather than dramatic expression and romantic emotion. //  Coloratura: Elaborate ornamentation of a vocal melody, especially in operatic singing by a soprano. //  Falsetto: A method of singing used by male singers, especially tenors, to sing notes higher than their normal range. //  Forte: A musical direction that means “loud.” //  Legato: (adj.) Smooth and flowing in manner, without breaks between notes. //  Libretto: The text of an opera (or other vocal work). //  Lucia: Short for “Lucia di Lammermoor,” a famous opera work by Gaetano Donezetti. // Ornaments (ornamentation): Musical flourishes or embellishments (such as a trill or a slide) that are not essential to carry the overall line of the melody, but serve instead to decorate or “ornament” that line. //  Pianissimo: A soft performance, played or sung quietly. //  The Met: The Metropolitan Opera House in New York. // Tosca: A famous opera by Luigi Illica and Giuseppe Giacosa. // Traviata: Short for “La Traviata,” a famous opera by Giuseppe Verde. La Traviata also goes by the name “Camille” in English, which was the title of the book that inspired it. //   Verismo: An operatic genre that attempts to portray the world with greater realism. It came about in the 19th century and often focuses on subject matter that was not previously fit for opera, such as the life of the poor. //  Wagner/Wagnerian: Richard Wagner was one of the most famous Opera composers of all time. He lived during the 19th century. Notable operas include: Tristan und Isolde, Die Walküre, Lohengrin. // Famous Opera Divas // Joan Sutherland, active from 1947 - 1990. //  Maria Callas, active from 1945 - 1965. // Renata Scotto, active from 1952 - 2002. // Leontyne Price, active from 1952 - 1997. // Leonie Rysanek, active from 1959 - 1996. //  Montserrat Caballé, active from 1956 - 2018. // Please rate, review, subscribe and share The Laverne Cox Show with everyone you know. You can find Laverne on Instagram and Twitter @LaverneCox and on Facebook at @LaverneCoxForReal. // As always, stay in the love. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com