Podcast appearances and mentions of lotte lehmann

The French baritone Gérard Souzay was born Gérard Tisserand on 8 December 1918 and died in Antibes on 17 August 2004. This episode was one of my first episodes, originally posted in honor of his then 101st birthday. It has been chosen by my friend Randall Scarlata as his Listeners' Favorite episode in the last of this month's Great Baritones series, and this is particularly appropriate and moving, because from the age of 19 until Souzay's death, Randall had a close association with Souzay as both teacher and mentor. He tells some wonderful stories about their work together, shares some of Souzay's bon mots and also presents with great compassion some of the personal challenges that Souzay faced. He also discusses some of Souzay's other artistic pursuits, one in particular of which may surprise you! The episode itself explores Souzay's recorded legacy, with particular emphasis on his earliest recordings. Repertoire ranges from Jaime Ovalle to César Franck, and Robert Schumann and Franz Schubert to Maurice Ravel, Henry Purcell, and Claude Debussy (including an excerpt from his 1955 radio performance of Golaud in Pelléas et Mélisande), many of them accompanied by Souzay's musical and personal partner Dalton Baldwin. We also hear performances by his teachers and mentors Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Lotte Lehmann, as well as his sister, Geneviève Touraine. And Randall's jewel of an introduction is a testimonial and tribute you'll want to turn to again and again. I am proud to present again for your listening pleasure a singer who means as much to me as any other who has ever lived. 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.  

Viele kennen das Problem. Der Kleiderschrank ist nämlich eines der häufigsten (Un-)Ordnungsthemen. Lotte Lehmann beschäftigt sich schon seit ihrer Jugend mit dem Thema Kleidung und Stil. In dieser Folge erzählt sie, wie sie lernte, ihren Schwerpunkt zu setzen, und warum man mit diesem Thema nie wirklich auslernt. Du möchtest auch wissen, welche Tools, Tricks und Tipps es gibt, um deinen Kund:innen mit ihrem Kleiderschrank zu helfen? Dann schau bei Lottes Schwerpunkt-Kurs vorbei: https://centerforprofessionalorganizers.com/produkt/schwerpunkt-kleiderschrank-und-stil/ Und wenn du auch gerne Ordnungscoach werden möchtest, dann kannst du dich jetzt ganz unverbindlich auf die Warteliste für unsere nächste Klasse im April eintragen: https://centerforprofessionalorganizers.com/step/zertifizierung/ Mehr zu Lotte findest du unter: https://ordnungswelt.com/Ordnungsexperten/lotte-lehmann/ https://ordnung-mit-stil.de/ https://www.instagram.com/ordnung.mit.stil/

I am so grateful to all the listeners who did introductions to their favorite episodes last month. It provided me with a little bit of needed breathing space and now I am back raring to go with my first new episode for 2024, just in time for Black History Month 2024! There is a secondary theme for this month which is “Forgotten Divas,” a favorite topic of mine at any time of year. The term “forgotten” needs to be taken with a grain of salt, because these women are anything but forgotten among those who experienced their singing, teaching, or friendship live and in person. Nevertheless, for want of a better term (Divas Who Deserve to Be As Well-Remembered as Any of Their More Famous Counterparts seems a little wordy), I'll stick with the designation I chose. Today's artist is the only “Forgotten Diva” who is still with us, soprano Delcina Stevenson, born 29 September 1933, so this enables me to also “give flowers” (to coin a present-day term I actually like) to her directly. She was born in Kansas and graduated from Kansas University. After moving to California in 1960, she coached and studied with Lotte Lehmann, Gwendolyn Koldofsky, Martial Singher, and William Vennard, and was a protégée early in her career of Kurt Herbert Adler at the San Francisco Opera. She has lived and performed around the world, primarily in California, New York, and Germany. She possessed one of the most exquisite lyric soprano voices I have ever heard, one which never aged, but simply grew more lush and voluminous. The musical excerpts I have compiled feature her in live and studio recordings from over the course of more than 30 years, ranging Mozart to Sondheim to Rossini, in which that voice is on shimmering display. I am thrilled to introduce (or reintroduce) her to you. 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.

Über diese Frage plaudern die beiden Ordnungscoaches Lotte von "Ordnung mit Stil" und Franzi von "räum dich glücklich" in der heutigen Folge. Lotte Lehmann ist deine Ordnungs- und Stilexpertin für deinen Kleiderschrank und dein Zuhause. Erfahre mehr unter https://ordnung-mit-stil.de/ und auf https://www.instagram.com/ordnung.mit.stil/+https://www.pinterest.de/OrdnungmitStil/ Hol Dir auch meinen kostenlosen Styling-Guide: https://styling-basics.subscribemenow.com/ Franziska Barth-Christner ist zertifizierter Ordnungscoach mit dem Schwerpunkt Neuanfang & Loslassen. "Beim Ordnung schaffen geht es darum, den Fokus wieder auf die persönlichen Bedürfnisse zu lenken, sich von materiellem Ballast zu befreien und mit einem funktionierenden Ordnungssystem den Alltag enorm zu erleichtern. Das alles erschafft uns einen Raum für Veränderung und Wohlgefühl - innen wie außen." Erfahre mehr über Franzi auf https://raeum-dich-gluecklich.de/ und https://www.instagram.com/raeum.dich.gluecklich/

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.

Today we observe a significant event in the history of Countermelody, namely, our 200th episode! I decided that there was no better way to celebrate than to devote a full episode to the great Lotte Lehmann (1888-1976), who vies with Claudia Muzio as one of my two favorite singers of all time. Lehmann was originally a conservatory flunkie, but somehow got her act together to become one of the most expressive and imaginative singers, both of opera and of art song, that ever lived. From the first time I heard this warm, enveloping voice allied to a theatrical, emotional style of delivery, I was in love. Though I have frequently featured her in individual cuts on the podcast, this is the first time she has been featured on her own episode. She is heard in live, studio, and radio recordings made between the years 1916 and 1958, all of which reveal her in all aspects of her sublime artistry and in the company of some of the greatest artists of her era, from Arturo Toscanini to Richard Tauber to George Szell, to her preferred accompanist, Paul Ulanowsky. Choosing the selections for this week's program was like reencountering an old friend. The episode begins with a brief tribute to the late Finnish composer Kaija Saariaho, who died a week ago at the age of 70 and to the evocative singer Astrud Gilberto, who died this past week at the age of 83. 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 past week the world of opera was plunged in mourning at the news of the death of the unique, the irreplaceable Grace Bumbry (04 January 1937 - 07 May 2023), an artist equal parts daredevil and refined, whose artistry enchanted us for more than sixty years. In recent months many of us anxiously awaited news of her health after she suffered a stroke last October, from which she miraculously if temporarily rebounded. Though the news of her death was therefore not unexpected, it is both momentous and sombre in that it signals the end of an era. In October I produced a pair of episodes in her honor, the second of which, published exclusively on Patreon, celebrated her prowess as a Lieder singer. As such, she carried on the tradition and bore the mantel of the great Lotte Lehmann, her teacher and mentor; Bumbry said of her: “Lotte Lehmann will always remain for me the most important person in my entire musical life.” The episode features examples of Bumbry's Lieder singing over the course of more than forty years, with a particular focus on her rare 1976 EMI release with pianist Geoffrey Parsons of Songs by Schumann and Schubert, which is heard in its entirety. Though I am bereft at her passing, I celebrate her mastery of a subtle and refined art form which formed the cornerstone of her artistry. 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, in another of my Women's History Month episodes, I present to you the extraordinarily versatile, even chameleon-like singer and actor Marni Nixon (22 February 1930 - 24 July 2016), who is no doubt best-known today as the so-called “Ghostess with the Mostest.” Born into a musical family in California, she became involved from an early age with the movies, and by a marvelous set of circumstances became The Voice for a number of Hollywood actresses not known for their singing voices, among them Deborah Kerr in The King and I, Natalie Wood in West Side Story, and Audrey Hepburn in My Fair Lady. Her skill in matching the vocal and speech characteristics of each of these performers is exceptional, but she was so much more than that. She pioneered the work of many 20th century giants, including Igor Stravinsky, Arnold Schoenberg, Charles Ives, and Anton Webern. She hosted a local Seattled children's television program called Boomerang that netted her four Emmy Awards. She performed on opera stages and concert platforms around the world. She recorded widely, everything from Mary Poppins to Pierrot Lunaire, and in the mid-1970s was the first singer to perform and record Schoenberg's cabaret songs, his so-called Brettl-Lieder, works that are now standard repertoire. She studied with Viennese soprano Vera Schwarz as well as the iconic Lotte Lehmann, and actively performed and recorded for more than 50 years. Her late career saw an extraordinary return to the musical stage, where she starred in both new work and revivals both on and Off-Broadway. Guiding us along the trajectory of her career is my good friend Thomas Bagwell, currently a coach and conductor at The Royal Danish Opera in Copenhagen, who was a colleague and good friend of Marni Nixon's for the last 25 years of her life. His anecdotes and reminscences are interspersed with examples (often familiar, more often rare) of Marni's vast recorded legacy, which give testament not only to her versatility, but to her flawless musicality and depth of expression. 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.

Šiandien prasideda Talino kino festivalis „Juodosios naktys“. Festivalis, rengiamas nuo 1997 metų yra vienas didžiausių kino festivalių Šiaurės Europoje. Apie šių metų festivalį kalbamės su vienu iš festivalio programos sudarytojų ir Baltijos šalių konkursinės programos kuratoriumi, kino kritiku Edvinu Pukšta.Nacionaliniame muziejuje Lietuvos Didžiosios Kunigaikštystės valdovų rūmuose dvylika metų rengiamas tarptautinis edukacinis Šv. Cecilijos senosios muzikos festivalis šiais metais pirmąjį kartą vyksta keliose šalyse – Lietuvoje ir Italijoje. Apie tai kalbamės su festivalio vadove Beatriče Baltrušaityte.Klaipėdos valstybinis muzikinis teatras šokio spektaklyje „Dona Kichotė“ baroko muzika ir šokėjų kūnais prabyla apie vertybes ir už jas kovojančias šių laikų idealistes. Ketvirtoji teatro premjera džiugina teatro vadovus, kalbančius apie augantį ir stiprėjantį kolektyvą. Apie spektaklį „Dona Kichotė” pasakoja kolegė iš Klaipėdos Agnė Bukartaitė.Klasikinės muzikos naujienose: smarkiai apkarpytas Jungtinės Karalystės operos teatrų finansavimas, Ženevos pianistų konkurso nugalėtojai, Vokietijos Beethoveno žiedo ir Lotte Lehmann atminimo žiedo laureatės ir klimato aktyvistų sutrikdytas koncertas Amsterdame.Žurnalistika, daugiau nei šešiolika metų supusi britiškoji kultūra, žodžio valdymas, kritiškas žvilgsnis į visuomenę ir aktualiausias problemas. Rubrikoje „Be kaukių“ vieši žurnalistas Andrius Užkalnis.Ved. Gerūta Griniūtė

Though the great diva Grace Bumbry has often been featured on Countermelody, I have not yet done a full episode on this incomparable artist. Today's episode seeks to remedy that, and to celebrate a singer whose contribution and influence extends back many decades and continues to this very day. Normally when I consider an artist so well-renowned, I try to offer a perspective that sheds different light on that singer. So today's Bumbry celebration considers three aspects of her artistry that have received somewhat less attention. While her successes in a wide range of mezzo soprano repertoire are well-known and well-documented, her soprano assumptions have been somewhat more controversial. I highlight numerous scenes and arias, including from Macbeth, Salome, Turandot, and Nabucco, in both live and studio performances, that shed light on the enormous prowess and fearlessness with which she confronted these roles. Alongside such larger-than-life impersonations are Bumbry's intimate and detailed performances as a Lieder singer, a tribute to her training under that matchless singer and teacher Lotte Lehmann, with whom Bumbry studied at the Music Academy of the West. Recordings of art song by Schubert, Schumann, Brahms, Strauss, Liszt, and Berlioz, made over the course of 45 years are also a testament to Bumbry's vocal longevity and technical prowess. In recent years, Grace Bumbry has devoted her time to the care, nurturing, and training of young singers under the aegis of a program she has named “The Bumbry Way.” The episode closes with a definitive performance of the song “My Way,” which incorporates and encapsulates all the colors of this extraordinary singer in all her fearlessness, self-assurance, determination, vulnerability, and strength. Evviva “The Bumbry Way!” 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 in honor of Women's History Month and the people of Ukraine, I present a compendium of eight different Liedersängerinnen singing Franz Schubert's song cycle Winterreise, set to poems by Wilhelm Müller. When I am in despair, I turn to Schubert, who, even in such a bleak piece as Winterreise, offers incomparable insight and empathy into our shared humanity. Though it is often held that this is a cycle that should sung exclusively by men, these eight women put the lie to that faulty premise. Featured singers are Lois Marshall, Brigitte Fassbaender, Lotte Lehmann, Elena Gerhardt, Christa Ludwig, Margaret Price, Mitsuko Shirai, and Alice Coote. Pianists are Paul Ulanowsky, Erik Werba, James Levine, Hartmut Höll, Julius Drake, Coenraad Bos, Aribert Reimann, Wolfram Rieger, Anton Kuerti, and Thomas Dewey. This is an episode that I have been planning for some time, and with so many people forced to take precarious and life-threatening winter journeys, there was no time like the present than to share this music, and these singers, with you. Warning: This is at least a six-hanky episode! 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.

It's time for my third annual Christmas show! Can you believe that Countermelody has been around that long already? This year I am reviving last year's theme, Christmas-themed art songs, but with all-new material this time around as sung by some of my very favorite singers, including Elly Ameling, Teresa Berganza, Norman Bailey, Irmgard Seefried, Lois Marshall, Benjamin Luxon, Jennie Tourel, Jorma Hynninen, Janet Baker, Peter Schreier, Sarah Walker, and many, many more. It's an absolutely chock-full episode which focuses upon seasonal songs by Hugo Wolf, Joaquín Nin, Richard Strauss, Peter Warlock, Paul Hindemith, Peter Cornelius, Joaquín Rodrigo, and Maurice Ravel, among others. Attention is devoted to many of the characters in the original Christmas story: the Virgin Mary, the Shepherds, the Magi, and the Baby Jesus himself, while also not neglecting songs that address the less joyous aspects of the holiday season. I guarantee that your spirits will be uplifted, however, when Lotte Lehmann “drops in” to recite two of the poems from Rainer Maria Rilke's Marienleben cycle. In addition, the episode begins with a tribute to Justino Díaz, who this past week received a Kennedy Center Honor. 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 I feature nearly a century's worth of recordings of pop music by singers who also, and in some cases primarily, were great singers of art song. Many of my favorite singers figure into the mix, including Hermann Prey (who was the inspiration for this episode), Grace Bumbry, Helen Donath, Roberta Alexander, Elly Ameling, Peter Schreier, Lotte Lehmann, Gérard Souzay, Brigitte Fassbaender, Bryn Terfel, Richard Tauber, José van Dam, Peter Schreier, Leontyne Price, Donald Gramm, and many, many others. They perform everything from Broadway standards to jazz to Deutsche Schlager to tangos to the Great American Songbook to 80s power ballads. This episode was such a joy to put together and I hope that you will enjoy this cornucopia of vocal and interpretive bounty. 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.

durée : 01:58:47 - Relax ! du jeudi 11 février 2021 - par : Lionel Esparza - Histoires de Lotte ! Retour sur le destin de trois chanteuses : Lotte Lehmann, Lotte Lenya & Lotte Schöne. Elles appartiennent à la même génération, et leurs parcours musicaux, pourtant très différents, ont tous été affectés par l'arrivée au pouvoir des Nazis en Allemagne, puis en Autriche... - réalisé par : Antoine Courtin

Today is the final episode of the Crossover Classics series and the final episode of Season One of Countermelody. The subject is US-American singers who spent significant portions of their lives and careers in Europe. I begin with an historical survey of early Twentieth Century singers who emigrated from the US to Europe (Geraldine Farrar, Mary Lewis) as well as from Europe to the US (Jarmila Novotná, Lotte Lehmann). Singers are featured in operetta (Barry McDaniel, Donald Grobe, Arlene Saunders), musicals (Reri Grist, Tatiana Troyanos, Wilbur Evans, Robert Trehy, Maria Ewing), jazz (Margaret Tynes, Charles Holland, Shirley Verrett), and pop, soul, and schlager (Lawrence Winters, Anna Moffo, Kenneth Spencer, Grace Bumbry, Felicia Weathers). The range of composers represented is enormous, from Cole Porter to Carrie Jacobs-Bond to Jimmy Webb to Rodgers and Hammerstein to ABBA to Duke Ellington to Gilbert Bécaud to J.B. Lenoir to Franz Lehár. The tone ranges from tongue in cheek to dead serious, from the quasi-bel canto pop vocalism of Muriel Smith to the intimate, Lieder-like shadings of Roberta Alexander to the raw blues stylings of Barbara Hendricks. Tune in next week for an sneak preview of Season Two. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available!

durée : 00:15:11 - Lotte Lehmann chante des Airs d'Opéras - La collection Références du label EMI grave en 1988 un disque d'airs d'opéras enregistrés par Lotte Lehmann dans les années 1927-1933, pour célébrer le centenaire de la naissance de la soprano allemande...

durée : 01:58:13 - Relax ! du vendredi 12 juin 2020 - par : Lionel Esparza - Au programme, des nouveautés et notamment le dernier disque de l'altiste Tabea Zimmermann et du pianiste Javier Perianes. On évoque en deuxième partie d'émission le chef Carlo Maria Giulini, à l'occasion des 15 ans de sa disparition. Et notre légende du jour est l'incomparable Lotte Lehmann... - réalisé par : Antoine Courtin

The Oxford English Dictionary defines “glamour” as “magic; enchantment; spell” and “a magical or fictitious beauty attaching to any person or object; a delusive or alluring charm.” Further down in the entry are “charm; attractiveness; physical allure,” certainly the definition we most closely associate with the term. And yet, it’s fascinating to examine the concept of glamour from its spellbinding origins. In the first of my episodes on Glamour, I examine many singers both from the spell-binding sense of the term and the sense of vocal and personal allure. Among others, I examine such varied singers as Alice Faye, Eleanor Steber, Annie Lennox, Carol Neblett, Betty Carter, Diahann Carroll, Teresa Żylis-Gara, Liane Augustin, Dorothy Kirsten, Florence Quartararo, Hana Janků, Helen Traubel, Hilde Güden, Kiri Te Kanawa, Leontyne Price, Lisa Kirk, Lotte Lehmann, Anna Moffo, Maria Nemeth, Montserrat Caballé, Rosa Ponselle, Zarah Leander, and The Incomparable Hildegarde with an eye to what makes their work glamourous in all senses of the term. And the gentlemen are by no means excluded: I spend particular time on the seductive and dulcet tenor tones of Fritz Wunderlich, José Carreras, Karl Friedrich, and Miguel Fleta. Countermelody is a podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.

Auf der Suche nach einem Künstlernamen suchte er in einem englischen Wörterbuch und fand das Wort "to banter" - "necken, scherzen,spielen". Eigentlich hieß Harald Banter Gerd von Wysocki. Schon als Kind war er dabei, wenn sein Vater in Berlin Schallplatten produzierte, mit Richard Tauber, Lotte Lehmann, Heinz Rühmann. Nach 1946 studierte er Komposition, machte eine Ausbildung zum Tonmeister und kam nach Köln zum NWDR, ab 1956 WDR. Autor Christian Kosfeld

The French baritone Gérard Souzay was born Gérard Tisserand on 8 December 1918 and died in Antibes on 17 August 2004. This episode celebrates his 101st birthday by exploring his recorded legacy, with particular emphasis on his earliest recordings. Repertoire by Jaime Ovalle, César Franck, Robert Schumann, Franz Schubert, Maurice Ravel, Henry Purcell, and Claude Debussy (including an excerpt from his 1955 radio performance of Golaud in Pelléas et Mélisande). We also hear performances by his teachers and mentors Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Lotte Lehmann, as well as his sister, Geneviève Touraine. I make my best effort to argue the case of Souzay's artistic importance, his continuing significance, and the unique qualities of his artistry. Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com

1. Ivan Koslovsky               Lohengrin aria (in Russian) 2. Selma Kurz                      Seraglio   "Ach ich liebte" 3.Lotte Lehmann                 Walkure Sieglinde aria 4. Jose Luccioni                    Werther Ara 5. Roberta Peters/Cornell MacNeil      Rigoletto act three duet 6. Lois Marshall                       Seraglio aria  (same as Kurz) 7. Dorothy Maynor                 Zauberflote aria 8. Lauritz Melchior                Tannhauser Rome Narrative 9. Aprile Millo                         Trovatore act four aria 10. Claudia Muzio                 "Ninna Nanna" 11.Gustave Neidlinger           Das Rheingold Curse 12. Anna Netrebko                 Rusalka aria 13. Olive Middleton                Trovatore Miserere (not for purists) 14.Magda Olivero                    Fedora Finale 15.Rosetta Pampanini           Iris aria 16. Alfredo Piccaver               Meistersinger act three aria 17. Vassilka Petrova              Trovatore (I think!) 18.Bruno Prevedi                   Butterfly Addio 19.Lina Bruna Rasa/Afro Poli   Cav Duet 20. Regina Resnik     (as soprano)   Voi lo sapete 21.Katya Ricciarelli           Zaira aria (After Petrova is Podles Cenerentola aria/..aorry!) (After no.17,i think I made an omission.)

 The remarkable Lauritz Melchior sings highlights from Siegfried, Tannhauser, Tristan (w.Frida Leider),Pagliacci,Otello, Walkure (w.Lotte Lehmann), Meistersinger, Gotterdamerung (with Kirsten Flagstad), plus the live "Walse" from the 1940 broadcast of Walkure, where you need a stopwatch!!!! (72 min.)

  As I indicated in the narration, I have an incredible number of files from all the podcasts I have done, and I have decided, on occasion, to put together some of the selections for your listening enjoyment. The singers in this compilation,in order are: Giuseppe Anselmi, Janet Baker, Daniele Barioni, Maria Callas, Franco Corelli, Mario Del Monaco, Barbro Ericson,Ellen Faull,Marisa Galvany, Nicolai Gedda, Renata Tebaldi and Rosalind Elias, Hans Hotter, Alexander Kipnis, Dorothy Kirsten, and Lotte Lehmann.  I hope you enjoy this new feature.   (73 min.

  A compilation of arias and scenes from Richard Strauss operas.(announced). Included are such artists as:  Lotte Lehmann, Maria Ivogun, Rose Pauly, Charles Kullmann, Barbara Kemp, Richard Mayr, Tiana Lemnitz, Viorica Ursuleac, Erna Berger, Margarete Teschemacher, and Gerhard Husch. (68 min.)

  A collection of arias as sung by some of the great divas of the past. The selections are announced but the list (in proper order) is as follows: Luisa Tetrazzini, Nelly Melba, Adelina Patti, Frieda Hempel, Amelita Galli-Curci, Rosa Ponselle, Lotte Lehmann, Eva Turner, Nina Koshetz, Eide Norena, Maria Nemeth, and Claudia Muzio  (69 min.)

  The beloved Rise Stevens would be 100 on June 11, the exact same day as Richard Strauss was born in 1864. How appropriate that a great Octavian would share this day with the composer of this great work, a work in which Rise excelled. George Sebastian in San Francisco, 1945, conducts the third act of Rosenkavalier, with Rise, Lotte Lehmann, Lorenzo Alvary, Nadine Conner, Herta Glaz and Allesio de Paolis (Valzacchi and Annina), and Walter Olitzki (Faninal.)   (52 min.)

 A collection of music as composed by Erich Wolfgang Korngold. The contents are as follow: 1. Der Ring Des Polykrates aria   Gundula Janowitz 2. Violantha Duet with Hans Hopf and Hildegard Hillebrecht 3. Die Tote Stadt  Act One scene including Marietta's aria  Ilona Steingruber and Anton Dermota   and 4. the baritone aria from act 2 "Mein sehnen,mein Wehnen"   Alfred Poell 5. Das Wunder Der Heliane   "Ich ging zu ihm"   Steingruber  (also check out Lotte Lehmann's rendition on Youtube, which is one of my all-time favorite recordings.) 6. Die Kathrin   Scene w. Steingruber 7-11  songs as follows:  "Ich bin ein Liedersanger"   Janowitz and Rudolf Christ. " Soldaten Marsch und Gebet"  Steingruber "Szene in Nachtlokal"   Rose Schweiger and Anton Dermota "Arie des Malignac"   Alfred Poell "Wanderlied"  Anton Dermota        The Austrian State radio Orchestra from Vienna, 1949   (59 min.)

  How can I forget the very first opera star I ever met, and then we went to her apt.every year for the music club,and it was a joyful afternoon. In honor of her 99th birthday on June 11,2012, I present highlights from a 1939 Rosenkavalier with her idol, Lotte Lehmann, Emmanuel List, and Marita Farell. Bless her forever in my heart.   (70 min.)

The great Astrid Varnay was born on April 25, 1918. Let us celebrate the memory of this legendary soprano with highlights from her illustrious career. All selections are from the 1950's and they include scenes from Parsifal, Tannhauser (Venus and Elizabeth),Tristan und Isolde, Flying Dutchman (with Hans Hotter),Elektra (w.Hoengen and Schoeffler, and concluding with the Gotterdmaerung Immolation Scene.  (68 min.) She made her sensational debut at the Metropolitan Opera on 6 December 1941 in a broadcast performance singing Sieglinde in Wagner's Die Walküre, substituting for the indisposed Lotte Lehmann with almost no rehearsal. This was her first appearance in a leading role, and it was a triumph. Six days later she replaced the ailing Helen Traubel as Brünnhilde in the same opera. Varnay and Weigert became closer and were married in 1944. It was also at this time that she had lessons with former Metropolitan Opera tenor, Paul Althouse. In 1948 she made her debut at Covent Garden and in 1951 in Florence as Lady Macbeth. In that year she also made her debut at Bayreuth after Flagstad, who had declined the invitation to Bayreuth, recommended that Wieland Wagner engage Varnay. She sang at Bayreuth for the next seventeen years, and appeared regularly at the Metropolitan until 1956. She left when it was clear that the Met director Rudolf Bing did not appreciate her, and went on to become a mainstay of the world's other great opera houses, especially in Germany, in Wagner and Strauss but also several Verdi and other roles. She had already made Munich her home, where audiences considered her a goddess. In 1969 she gave up her repertoire of heavy dramatic soprano roles and began a new career singing mezzo roles. After being the world's leading Elektra for over twenty years, she now established herself as a great interpreter of Klytemnestra. The role of Herodias in Salome became her most often-performed role: 236 performances. She returned to the Metropolitan in 1974 and last appeared there in Weill's Rise and Fall of the City of Mahagonny in 1979. In the mid-1980s, character roles now became Varnay's metier. Her last appearance on stage was in Munich in 1995, fifty-five years after her Metropolitan debut. In 1998 she published her autobiography Fifty-Five Years in Five Acts: My Life in Opera, written with Donald Arthur (German title is Hab'mir's gelobt). In 2004, a documentary about her life and first New York career entitled Never Before, produced by Donald Collup, received acclaim in the USA. Her recordings of Strauss heroines such as Elektra and Salome along with the Wagnerian roles are among the treasures of the medium, while transcriptions of broadcast performances of her great roles document her art in sound, and a few video recordings of her late career preserve evidence of her acting ability. Astrid Varnay died in Munich on 4 September 2006, aged 88. Selected recordings

 A fascinating event, as the great soprano Astrid Varnay makes her Met debut as Sieglinde,replacing Lotte Lehmann, on the Dec.6 Walkure broadcast...her Met debut, (with no rehearsals) AND the first time she EVER sang on ANY stage. This must go down in opera history as one of the great events.    In the cast are Lauritz Melchior,Helen Traubel,Friedrich Schorr, and Alexander Kipnis, under Erich Leinsdorf. (68 min.)   I must also make mention of  Donald Collup,former singer and pianist, who interviewed Mme.Varnay in her later years, and produced a magnificent  documentary of her  fabulous career. Mr.Collup's fascinating home page can be found at: http://www.collup.com. I must also mention that his remarkable collection can be found at his store at: http://www.collup.com/dczcdz.html.

A brilliant Elektra with Astrid Varnay, Leonie Rysanek, Hans Hotter, and Res Fischer from 1953 under Richard Kraus.   (71 min.)     She made her sensational debut at the Metropolitan Opera on 6 December 1941 in a broadcast performance singing Sieglinde in Wagner's Die Walküre, substituting for the indisposed Lotte Lehmann with almost no rehearsal. This was her first appearance in a leading role, and it was a triumph. Six days later she replaced the ailing Helen Traubel as Brünnhilde in the same opera. Varnay and Weigert became closer and were married in 1944. It was also at this time that she had lessons with former Metropolitan Opera tenor, Paul Althouse. In 1948 she made her debut at Covent Garden and in 1951 in Florence as Lady Macbeth. In that year she also made her debut at Bayreuth after Flagstad, who had declined the invitation to Bayreuth, recommended that Wieland Wagner engage Varnay. She sang at Bayreuth for the next seventeen years, and appeared regularly at the Metropolitan until 1956. She left when it was clear that the Met director Rudolf Bing did not appreciate her, and went on to become a mainstay of the world's other great opera houses, especially in Germany, in Wagner and Strauss but also several Verdi and other roles. She had already made Munich her home, where audiences considered her a goddess. In 1969 she gave up her repertoire of heavy dramatic soprano roles and began a new career singing mezzo roles. After being the world's leading Elektra for over twenty years, she now established herself as a great interpreter of Klytemnestra. The role of Herodias in Salome became her most often-performed role: 236 performances. She returned to the Metropolitan in 1974 and last appeared there in Weill's Rise and Fall of the City of Mahagonny in 1979. In the mid-1980s, character roles now became Varnay's metier. Her last appearance on stage was in Munich in 1995, fifty-five years after her Metropolitan debut. In 1998 she published her autobiography Fifty-Five Years in Five Acts: My Life in Opera, written with Donald Arthur (German title is Hab'mir's gelobt). In 2004, a documentary about her life and first New York career entitled Never before, produced by Donald Collup, who interviewed her, received acclaim in the USA. Her recordings of Strauss heroines such as Elektra and Salome along with the Wagnerian roles are among the treasures of the medium, while transcriptions of broadcast performances of her great roles document her art in sound, and a few video recordings of her late career preserve evidence of her acting ability. Astrid Varnay died in Munich on 4 September 2006, aged 88.

We're back on German diction with bass Thorsten Grümbel and sopranos Netta Or and Karen Bandelow, focusing on glottals in German and some unstressed prefixes with open E (er-, her-, ver- and zer-), as well as reviewing a few things that we've talked about before, like the NG sound [ŋ], the unpronounced intervocalic H and some diphthongs. Our texts for this episode are "O Isis und Osiris" from Mozart's Die Zauberflöte (I did not link this to the Opera Guide website because there are several typos there), and "In dem Schatten meiner Locken" from Wolf's Spanisches Liederbuch. I dug through many YouTube clips in researching this episode, so I wanted to include them here. For "O Isis und Osiris" I found Rene Pape (who lives in Dresden and drops in on performances sometimes!), Kurt Moll, Gottlieb Frick and Hans-Peter König (an old colleague of mine from Düsseldorf who sings all over the world, especially the Wagner repertoire). For "In dem Schatten meiner Locken" Elisabeth Grümmer with Hertha Klust uses all of the glottals we talked about, Elisabeth Schwarzkopf has two posted clips, one with Gerald Moore and one with Wilhelm Furtwängler where she uses considerably more glottals than the other performance, and I also found a clip of Lotte Lehmann (with unknown pianist) who doesn't seem to use glottals at all. I also specifically looked for Fischer-Dieskau using glottals and found several examples--the most obvious were in Erlkönig when he says "den Erlkönig" and in "Die Forelle" when he says "Doch endlich". Enjoy this little study on glottals! I'll be in the States giving some master classes for the next few weeks, so the podcast will be back up mid-November for a few episodes before the holidays, but in the meantime, please feel free to contact me with questions, comments or suggestions here, at the Facebook page or directly at ellen@ellenrissinger.com

A compilation of arias as sung by 14 famous sopranos of the past.Included are: Frida Leider, Elizabeth Rethberg, Lotte Lehmann, Tina Lemnitz,Maria  Cebotari, Maria Reining, Pia Tassinari, Eileen Farrell, Eleanor Steber, Hilde Gueden, Lisa della Casa, Astrid Varnay, Gre Brouwenstijn, and Sena Jurinac.    (60 min.)

Norman Lebrecht talks to the American mezzo-soprano Marilyn Horne, tracing her career from precocious Shirley Temple sound-alike, to pirate recordings of pop songs in the 1950s, to dubbing the title role in the movie of the Oscar Hammerstein musical Carmen Jones, and finally the breakthrough to the major mezzo Bel Canto roles of Rossini, Bellini and Donizetti for which she was justly famed. She also talks about her experience of early masterclasses with the veteran singer Lotte Lehmann and how the sometimes unhappy experience of that has influenced her approach to helping young singers and teaching masterclasses in her retirement. She discusses her relationship with other musicians such as Stravinsky, Joan Sutherland and Richard Bonynge. In her frank and direct manner she also reveals to Norman Lebrecht the difficulties she had with her family when she married the black conductor Henry Lewis.

Ten versions of the great "Liebestod" from Wagner's "Tristan und Isolde."                    The order is as follows: Astrid Varnay,Helen Traubel, Lotte Lehmann, Nanny Larsen-Todsen,Rita Hunter, Johanna Meier, Margaret Harshaw, Martha Moedl,Birgit Nilsson, and Kirsten Flagstad.                                             (73 min.)  

 A podcast that features 15 famous artists of the past singing music appropriate for the holidays. Included are: Rosa Ponselle,Giovanni Martinelli, Enrico Caruso, Sigrid Onegin, Ernstine Schumann-Heink, Beniamino Gigli, Lotte Lehmann, Emmy Destinn, Lawrence Tibbett, John Charles Thomas, John McCormack, Alma Gluck, Elizabeth Schumann, Richard Crooks, and Claudia Muzio                                       (59 min.)

A comparison of several versions of the Walkure Act 3 scene between Brunnhilde and Sieglinde. Included are many famous voices, and of special interest, one can sample Nilsson,Moedl,Flagstad, and Varnay in both roles. Other artists included are: Leonie Rysanek,Hilde Konetzni, Rita Hunter, Lotte Lehmann,Regina Resnik, Marjorie Lawrence, Helen Traubel, Regine Crespin,Margaret Curphey.                                  (72 min.)

Commercial and live recordings featuring the very great soprano,Lotte Lehmann (1885-1976). I have always felt that if I had to choose one soprano of the past to have heard (in my time machine), it would be this amazing lady.                        I hope you enjoy the selections.                                            (72 minutes)   

So, when does the next swan leave????? (You all know the story!) Here are scenes from this great opera featuring some great artists: Leonie Rysanek, Birgit Nilsson, Elizabeth Rethberg, Astrid Varnay,Lauritz Melchior, Helen Traubel, Marjorie Lawrence,Ninon Vallin,Wolfgang Windgassen, Rita Gorr, Emmanuel List, Leonard Warren,Elizabeth Grummer, Eleanor Steber, Nicolai Gedda, Barbro Ericson,Lotte Lehmann.                                         (66 minutes)

Great Singers of the "Germanic" School. Included are: Frieda Leider (in photo), Margarita Perras, Alexander Kipnis,Lotte Lehmann, Tiana Lemnitz, Friedrich Schorr, Maria Ivogun,Johanna Gadski, Franz Voelker, Marcel Wittrisch,Wilhelm Hesch,Maria Olzewska, Lauritz Melchior, Maria Cebotari,Richard Tauber,Gerhard Huesch, Elizabeth Schumann                                      (78 minutes)

The second volume of some of my favorite commercialrecordings,featuring: Eileen Farrell (pictured), Jussi Bjoerling, Robert Merrill,Lotte Lehmann, Claudia Muzio, Gottlob Frick, Ruby Helder,Riccardo Stracciari, Christa Ludwig, Walter Berry,Clara Butt, Enrico Caruso, Janet Baker, Herman Prey                                (72 minutes)

 From a superb 4 CD set on the Preiser Label,  20 famous Wagnerian singers: Lotte Lehmann, Gertrude Bindernagel, Nanny Larsen-Todsen,Maria Muller, Maria Reining, Lilly Hafgren, Karin Branzell,Maria Olszewska,Margarete Arndt-Ober, Hans Hermann Nissen,Alexander Kipnis, Joel Berglund, Michael Bohnen, Emil Schipper,Heinrich Schlusnus, Set Savanholm, Gotthelf Pistor, Curt Taucher,Erik Enderlein, Franz Voelker.                                (83 minutes)

A comparison of ten fine sopranos singing the Sieglinde"Hallucination Scene' from Act two of Wagner's "Die Walkure." Featured are:              Regine Crespin, Kirsten Flagstad, Julia Varady,             Leonie Rysanek, Astrid Varnay, Birgit Nilsson,             Lotte Lehmann, Regina Resnik, Martha Moedl,             Natalie Secunde.                                  (75 minutes)  

There have been many great artists who appeared at theSalzburg Festival in the 30's and 40's, and in other theatres.Here is a pot-piurri that will present some of them to you. Tiana Lemnitz,Lotte Lehmann, Maria Reining, Charles Kullmann, Koloman Von Pataky, Sigrid Onegin,Marcel Wittrisch,Alexander Kipnis, Michael Bohnen, Ludwig Weber,Selma Kurz, Julius Patzak, Hans Hotter, Dino Borgioli,Maria Cebotari, Ljuba Welitsch, Set Svanholm, andAlfred Piccaver.                               (80 minutes)    

A pot-pourri of 12 different renditions of the famousfinal trio from Strauss' sublime "Der Rosenkavalier." Selections are announced on the podcast for your edification. Artists include:  Elizabeth Schwarzkopf, Viorica Ursuleac, Regine Crespin, Lotte Lehmann, Eleanor Steber,  Helge Dernesch, Renee Fleming, Elizabeth Grummer, Lisa della Casa (in all three roles),Gundula Janowitz, Elizabeth Soederstrom, Rise Stevens,Sena Jurinac, Tiana Lemnitz, Susan Graham, Frances Bible,Jarmila Novotna, Birgitte Fassbaender, Erna Berger, Lucia Popp,Hilde Gueden, Marita Farell, Judith Raskin, Anne Elgar,Ileana Cotrubas, Anneliese Rothenberger, and Barbara Bonney                                (74 minutes)  

          Songs, scenes, and arias as sung by Lotte Lehmann, one of     the greatest artists in opera history. A tribute to a great lady! (55 minutes)

Roy Plomley's castaway is soprano Lotte Lehmann. Book: Faust by Johann Wolfgang Goethe Luxury: Paintbox