Podcast appearances and mentions of Renata Scotto

Today would have been the 91st birthday of our beloved Renata Scotto. On an episode last year celebrating the 100th birthday of Maria Callas, I remarked that Renatina possessed in profusion two qualities that Maria lacked: cuteness and charm. Both of those qualities are heard in these performances of Rossini songs, which range from 1964 to 1984 and include Scotto in both live and studio recordings. For the last forty years of his life, Gioachino Rossini, who had written scores of operas by the time he was 37, wrote no more works for the stage. But in those later years he did compose two collections of parlor pieces, one of which, the Soirées musicales, or Serate musicali, published in 1835, are heard on this episode. Ten of the twelve songs are heard here performed by Scotto. The episode is supplemented by one larger-scale late Rossini work, an 1832 cantata entitled Giovanna d'Arco which structurally amounts to an enormous operatic scena, performed by Scotto (and my beloved teacher John Wustman) to perfection in a rare live recording from Carnegie Hall in 1969. In addition, we hear a pristine 1959 excerpt from one of Scotto's earliest recordings, La cambiale di matrimonio. 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.

Una de les sopranos m

1. Martina Arroyo 2. Grace Bumbry 3. Montserrat Caballé 4. Anja Harteros 5. Gwyneth Jones 6. Anna Netrebko 7. Sondra Radvanovsky 8. Renata Scotto 9. Anna Tomowa-Sintow 10. Julia Varady

Claudia Muzio was known as “the Duse of Song,” a title that might be lost somewhat in time, since it refers to the great stage actress Eleanora Duse, felt to rank among the greatest actresses of all time. She is one of a handful of singers that number among my most beloved vocal artists of all time and all genres. As such, Muzio is not only featured in the theme music to every single Countermelody episode, she was also the rightful star of Countermelody's hundredth episode. In choosing the repertoire for that episode, I made a too-large selection of must-hear Muzio selections. These spilled over into a bonus episode which I am now releasing for all of my listeners. Among those recordings we hear: Muzio singing Handel; two recordings of Muzio singing Mimì, including her earliest recording, made in 1911; several unusual so-called verismo arias; Muzio as both classicist (Gluck) and bel cantista (Bellini); Muzio singing light classical parlor songs; and then two capstones of her recorded legacy: the “Dio ti giocondi” duet from Otello with the Italian dramatic tenor Francesco Merli; and the death scene from Licinio Refice's Cecilia, a staged sacra rappresentazione written expressly for Muzio. These last two works were also heard in my recent Renata Scotto memorial tribute, and make for a fascinating comparison between these two great artists.

I began work on this episode on the one-year anniversary of the death of Renata Scotto, perhaps the most beloved of my many dearly-loved divas. But I have been thinking about and planning it ever since August 16, 2023. Now I am collected my thoughts on what made Scotto, in my opinion, one of the greatest artists of the past century. I break down her main repertoire into three groups (bel canto, Verdi, and verismo [including, however incorrectly, Puccini]); I describe her artistic and vocal training and her development into a powerful singing actress; I play her in duet with some of her most significant colleagues (including a few surprises); I assess her greatest roles and some of her surprising late-career assumptions; and I consider some of her most daring career risks (and the resultant flops and triumphs, sometimes in the same role!) I draw on a deep pool of mostly live recordings that reveal Scotto's musical and dramatic intelligence as I describe my own encounters with her live in performance, both in person and on the television screen. Throughout I have tried my best to capture the individuality and the fearlessness of the singer who most deeply influenced and affected me as my musical tastes were forming: La Scottissima, my diva. 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.

[@ 4 min and 39 min] We climb into the Wayback Machine for two ‘Inside the Huddle' segments (taped in back-to-back weeks, no less) from August 2023... [@ 29 min] And then… The ‘Listener Mailbag' overflows with new listeners and old friends... GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

In episode 91, hear how former opera singer Suzanne Vinnik designs bold, inclusive fashions that make women “feel seen” and encourage them to take up space for who they are. Knowing first hand what it is like to be exploited working in the arts, Suzanne runs her business differently. Her secret to success both on and off the stage is prioritizing community and personal relationships and paying everyone she works with living wages. Suzanne Vinnik, a distinguished figure in both classical music and the fashion world, boasts a richly diverse career path. Originally traveling the world as an opera singer, Suzanne performed at renowned venues such as Carnegie Hall, Lincoln Center, and notable opera houses across Europe, Russia, Norway and the United States. As a leading soprano, some of her favorite operas included "Manon Lescaut," Nedda in "Pagliacci," Mimi and Musetta"La bohème," and Violetta "La traviata," captivating audiences with her emotive performances. Parallel to her operatic endeavors, Suzanne embarked on entrepreneurial ventures, founding Shoperatic, a pioneering social media network and marketplace tailored for women in classical music. This platform served as a hub for artists to connect, collaborate, and showcase their talents, solidifying Suzanne's reputation as an innovator within the industry. Users could buy, rent, sell and promote their outside skills. Driven by her passion for fashion and a commitment to inclusivity, Suzanne transitioned seamlessly into the realm of design, launching "byVINNIK," a luxury womenswear brand celebrated for its size-inclusive ethos and ethically manufactured garments. Based in the heart of Los Angeles, Suzanne's designs have graced the frames of Classical Music luminaries, Broadway stars, and prominent figures in television and film. The impact of Suzanne's creations extends beyond the realm of entertainment, with her designs featured prominently on platforms like Disney+, Netflix, and HBOMax's acclaimed series "The White Lotus," on Jennifer Coolidge earning recognition with an Emmy nomination for Outstanding Contemporary Costumes. Her work frequently adorns red carpets, editorial spreads, and stages worldwide, embodying a fusion of sophistication, elegance, and inclusivity. Suzanne holds a Bachelor of Music in Vocal Performance from Texas Christian University, supplemented by studies at prestigious institutions such as Mannes College of Music and Otis College of Design. She further honed her craft at the Opera Studio of Accademia Nazionale di Santa Cecilia in Rome, mentored by the late Renata Scotto, and as an Administration Fellow at The Dallas Opera's Hart Institute for Women Conductors. Beyond her artistic pursuits, Suzanne is a passionate advocate for entrepreneurship, ethical manufacturing practices, and classical music education. Her expertise as a textile connoisseur, style forecaster, and classical music aficionado has positioned her as a sought-after keynote speaker at conferences, and universities, and as an expert for popular TV Shows like Today Show and Access Hollywood. Through her inspiring journey from opera singer to fashion designer, Suzanne empowers women of all backgrounds to embrace their confidence and individuality, embodying the transformative power of artistic expression. In this episode, you'll learn: Why Suzanne left a worldwide career in opera to start a fashion brand The transformative power of owning your boldness and dressing accordingly How Suzanne created a loyal community before she even started her brand How the personal relationships she's built with her clients influences her design decisions Why ethical production and paying fair wages are so important to Suzanne The people on Suzanne's team and what they each do in the business How By Vinnik's production model has changed and why How Suzanne prioritizes her day to not burn out even though she's “bad at boundaries” What Suzanne has learned the hard way about the fashion industry Why Suzanne designs a lot of outerwear for her collection People and resources mentioned in this episode: By Vinnik website By Vinnik Instagram Do you want fashion business tips and resources like this sent straight to your inbox? Sign up for the How Fitting newsletter to receive new podcast episodes plus daily content on creating fashion that fits your customer, lifestyle, and values.

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!

Welcome to Season Five of Countermelody! While I indulge in a much-needed break for the month of January (my first in four years!), I have asked a number of Countermelody fans and listeners to provide spoken introductions to some of their favorite episodes from the first three seasons of the podcast. Today conductor Brian Castles-Onion introduces an episode from June 2020, as we neared the height of the pandemic and the panic surrounding it. It is an interview with Ira Siff, artistic director of La Gran Scena Opera Company di New York, alter ego of the beloved “traumatic soprano” Vera Galupe-Borszkh, lecturer for the Metropolitan Opera Guild and Weekly Commentator on the Metropolitan Opera broadcasts. So much has changed for everyone since the interview was recorded in January 2020, most poignantly (as relates to this episode) the death of our beloved Chic Walker (who portrayed Dame Emily Post-Morddum and Alfredo Sorta-Pudgi in La Gran Scena) on 11 April 2022; and the passing of Renata Scotto on 16 August 2023. My association with Ira Siff and La Gran Scena Opera Company di New York goes back more than thirty years, when Ira provided me with my first employment as a professional singer when my alter ego Daniela della Scarpone sang for two years with the renowned travesty opera company. I sat down with Ira in his East Village apartment in January 2020 for a wide-ranging interview in which we discuss his early days as a standee at the old Met (where some of his opera-going experiences included Maria Callas's final Tosca performances, Renata Scotto's 1965 debut as Madama Butterfly, and Leonie Rysanek's wild traversals of Verdi and Wagner). He discusses his first performing experiences in the early 1970s in association with Al Carmines and others, the genesis of La Gran Scena and their development into a worldwide phenomenon, and his subsequent “legitimate” career as lecturer, stage director, vocal coach and voice teacher and commentator all stemmed from in his words, “getting in a dress and singing soprano,” which he dubs “the strangest part.” This is a free-wheeling and extremely Opera Queeny interview, peppered with Ira's unique anecdotes and snippets from Gran Scena (and other!) performances. Today's guest host Brian Castles-Onion is one of Australia's most exciting and well-known opera conductors. Completing his tertiary studies at the Newcastle Conservatorium of Music, his outstanding achievements speak for themselves. He has worked at New York's Metropolitan Opera, the Julliard School of Music and the Rossini Festival in Italy, and has held the position of Artistic Director of Canterbury Opera in New Zealand. He currently continues his long run association with Opera Australia. His conducting experience includes well over five hundred opera performances throughout Australia, Asia and New Zealand alone. He was on the podium for Opera Australia's 40th Anniversary Gala and 60th Anniversary Gala, The Robert Allman Farewell Gala and conducted the Dame Joan Sutherland State Memorial Service – which was broadcast internationally on television and radio. His book Losing the Plot in Opera has been a Best Seller in Australia and the UK. Brian became a Member of the Order of Australia (AM) in the 2017 Australia Day Honours List. Today's interviewee and subject, Ira Siff, is a native New Yorker, who grew up on the standing room line of the old Metropolitan Opera, worshiping the famous singers of the 60's. A graduate of the Cooper Union, with a degree in Fine Arts, Mr. Siff began to study voice, and made his debut as a tenor in 1970. For the next decade, he performed roles in opera, operetta and musicals in New York, at The New York Shakespeare Festival, Circle in the Square, Playwrights Horizons, and many other venues. Turning to cabaret, Ira created an act using vocal parody of opera, jazz, and other styles of music, gaining critical acclaim, and a loyal following. In 1981, he founded La Gran Scena Opera Company di New Yor...

Today, Christmas Day 2023, is also the 93rd birthday of my teacher, the great John Wustman. I can think of no better way to conclude Season Four of Countermelody than with a tribute to the man who had the greatest influence on my development as a musician. He's probably best-known for his work with Luciano Pavarotti and as the accompanist in more than thirty Music Minus One LPs from the early 1960s, as well as for his pioneering teaching of scores of accompanists. He has been called “the dean of American accompanists” and many other things, but to me he is and remains primarily my dear friend and mentor. From the late 1950s through the 1980s and beyond, he appeared with nearly all of the greatest singers on the planet, from Richard Tucker, William Warfield, Eleanor Steber, and Jennie Tourel; to Birgit Nilsson, Carlo Bergonzi, Régine Crespin, Nicolai Gedda, and Renata Scotto. He and Russian mezzo-soprano Irina Arkhipova won the 1973 Gran Prix du Disque for their legendary (and matchless) recording of Mussorgsky's Songs and Dances of Death, only one of his many commercial recordings. I have been searching the internet for sound documents of his many live recordings and I'm pleased to say that I have found some rare ones to complement my reminiscences of studying with him in the late 1980s. He wrote to me just this past week that he is currently preparing another live performance of Schubert's Winterreise in early 2024. I am so thrilled to pay tribute to the man who, through his powerful example and influence, forever changed the way I play, sing, talk about, think about, and hear music. 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.

Cerramos nuestra cita con la voz de Renata Scotto. En esta ocasión la escuchamos en magníficas interpretaciones de Come per me sereno y Ah, non credea mirarti de La sonnambula de Bellini, dúo final del segundo acto de Fedora de Giordano en compañía de Plácido Domingo, Caro nome de Rigoletto de Verdi, salida de Isabelle de Roberto el Diablo de Meyerbeer, Quando rapito in estasi de Lucia di Lammermoor de Donizetti y final de La straniera de Bellini Escuchar audio

Recordamos en este programa y en el siguiente, a la recientemente fallecida soprano Renata Scotto. Empezamos escuchándola en Ah fors’e lui y Sempre libera de La Traviata. Después la delicada aria de las joyas de Fausto de Gounod, la exquisita confesión a Nemorino, Prendi, per me sei libero, de L’elisir d’amore de Donizetti, Donde lieta uscì de La Bohèmde Puccini junto a Alfredo Kraus, artista tan unido a ella. Para finalizar, más Puccini: un aria de Le villi y la célebre Un bel di vedremo de Madama Butterfly. Escuchar audio

Reanudamos el camino de este programa, que ha cumplido ya, desde su primera emisión, el 1 de enero de 1998, sus 25 años de vida. En este inicio de temporada tan señalada hacemos un somero repaso a algunas de las voces más importantes que han ido jalonando este cuarto de siglo. Naturalmente las de Tito Schipa y Toti Dal Monte, que son las que protagonizan nuestra careta. Los escuchamos en la interpretación completa del dúo Prendi l’anel ti dono de La sonnambula de Bellini, aunque la versión está ligeramente abreviada. Por eso la radiamos de nuevo, íntegra, ahora con las voces de Renata Scotto y Alfredo Kraus, este último uno de los más asiduos protagonistas del programa. A ella, recientemente fallecida, le dedicaremos un amplio recuerdo muy en breve. Luego damos cabida a la intervención del tenor danés Lauritz Melchior, al que también dedicamos una serie de programas, que entona el famoso Wälse, Wälse! de La walkiria de Wagner. A continuación otra de nuestras grandes figuras, Maria Callas, nos canta el famoso Suicidio! de La Gioconda de Ponchielli. A ella le dedicaremos con posterioridad otro recuerdo al cumplirse los 100 años de su nacimiento. Hans Hotter, otro coloso, asiduo de Ars canendi, entona inmediatamente la hermosa y lírica reflexión del segundo acto de Los maestros cantores de Wagner. Y un último recuerdo para Kathleen Ferrier, a la que Ars canendi dedicó también una serie de emotivos programas. La escuchamos en el último y dramático lied de ciclo mahleriano de Los niños muertos.Escuchar audio

Parlem d'Òpera 533: "Homenatge a Renata Scotto"

This week's episode offers music of both mourning and consolation performed by treasured artists, many of whom celebrate significant anniversaries this fall, and all of whom died before their time. Thus we hear singers Maria Callas, Jessye Norman, Fritz Wunderlich, Kathleen Ferrier, Judith Raskin, Arleen Augér, and Lucia Popp, and pianist Dinu Lipatti performing music of Bach, Schubert, Fauré, Bellini, and others. This episode may conform to my new streamlined format, but it packs an emotional wallop nonetheless. A bonus episode to be published later in the week will feature Tatiana Troyanos, Judy Garland, Lorraine Hunt Lieberson, Dusty Springfield, Renata Scotto and others in music designed, as in this episode, to console and comfort. 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.

Donizetti's ebullient bel canto comedy, L'elisir d'amore, is rightfully one of the jewels in the canon with its amusing story, gorgeous melodies that come one after another, and one of the great operatic characters at its center, Nemorino. We'll celebrate this opera by talking with sommelier Massimo Maietto (@6:25) about wine and which wines he would suggest as a love potion. Then, therapist Biany Perez (@20:00) discusses the games we play in relationships. After that celebrated American bass-baritone Patrick Carfizzi (@35:22) shares his journey to buffo roles and the chiaroscuro nature in all of us. Finally, we'll talk with Giovanna Cavaliere (@46:17), the personal assistant and long-time friend of Luciano Pavarotti, the greatest Nemorino of the late 20th century. Learn more about our guests on their websites! Biany Perez: www:bianyperez.com Patrick Carfizzi: www.patrickcarfizzi.com Don't forget to check out our Spotify Playlist for L'elisir d'amore, which includes a little tribute to the great Italian soprano Renata Scotto. https://open.spotify.com/playlist/1JDZz1GnYBKtnlxcLaHZcd?si=e55d2f69473f4237 You can always reach out to me on my website, www.michaeljbolton.com, or email me at mike@michaeljbolton.com.

This past week the opera world was plunged into mourning over the sudden death of Renata Scotto. Originally I had intended this week's episode to be devoted to her memory. But I can't even speak her name without bursting into tears. In other words, I need more time as I try to come to terms with her demise. I have decided to feature the matchless singing actor in the first episode of Season Five. In the meantime, we have another momentous occasion (and artist) to acknowledge: the 90th birthday of the English Rose: the phenomenal Janet Baker. Given that I could probably devote an entire podcast to Dame Janet, and given the wealth of material in my personal collection featuring this artist, much of it rare and unusual, I have chosen to feature this beloved artist in her third full Countermelody episode. There are few vocal artists in the history of classical music who have exhibited greater versatility than Janet Baker; this episode features many rare performances across the entirety of her long career of repertoire in which she had virtually no equal, as well as music in which she also excels but which might prove surprising. Thus we hear the expected mélodie, Lied, British song and Bach aria alongside Purcell's Dido and pants roles by both Mozart and Richard Strauss. But we also hear such surprises as Monteverdi's Poppea (sinuously and surprisingly sexy), Bellini's Romeo (opposite Beverly Sills), William Walton's Cressida (in the 1976 version of his opera Troilus and Cressida refashioned expressly for Baker), and a sublime extended orchestral song by Respighi, as well as the ultimate jaw-dropper, Rossini's Cenerentola! We wish long life and continued health and vitality to one of the greatest mezzo-sopranos of the twentieth century! 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.

John Wilson on: The journalist and broadcaster who became synonymous with the British chat show, Sir Michael Parkinson. Italian soprano Renata Scotto, one of the biggest stars of opera in the 1960s and 70s John Brierly, the author of bestselling guidebooks to the Camino de Santiago pilgrimage route The teacher, anthropologist and communist Isobel Crook who lived and worked in China for most of her life. Producer: Ed Prendeville

[@ 4 min] She was More Than a Diva, and now she enters the OBS Hall of Fame. It's our tribute to the late, great Renata Scotto… [@ 36 min] In a blow to American opera cognoscenti, the Metropolitan Opera Guild will cease publication of ‘Opera News'. That means all you PR agents out there? The OBS is all you've got left... [@ 48 min] In the ‘Two Minute Drill'… As we predicted, Spain won the Women's World Cup, but Australian women can't even get a break in their own opera houses… SHOW NOTES https://www.theguardian.com/music/2023/aug/20/renata-scotto-obituar https://abcnews.go.com/Business/wireStory/us-focused-opera-news-cease-publication-november-after-102286609 https://theconversation.com/95-male-conductors-70-ageing-classics-and-zero-appetite-for-risk-whats-wrong-with-elite-australian-opera-211270 GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Homenaje luctuoso a la última de las grandes sopranos italianas de la generación de la posguerra y a una de las grandes intérpretes del verismo y el bel canto de todos los tiempos. --- Send in a voice message: https://podcasters.spotify.com/pod/show/arturo-magaa-duplancher/message

Eiffel Tower interlopers… Mr. Baldwin back in the news… Armorer gets court date… New Chick-fil-A sandwich coming… Buc-ee's Bud-ee… Barbie sets record… Britney getting divorce?... Madonna tour rescheduled… chewingthefat@theblaze.com Who Died Today: Helen Smart 42 / Un-named pilot mid flight 56 / Renata Scotto 89… Kansas drops warrant now… Broadcast television drops below 50%... www.blazetv.com/jeffy Promo code: Jeffy… Apple glitches Becks podcasts… Target to fine-tune some things… Pumpkin Spice / enough already… Learn more about your ad choices. Visit megaphone.fm/adchoices

La legendaria soprano italiana, una de las figuras más importantes de la ópera internacional en la segunda mitad del siglo XX, ha fallecido a los 89 años. Repasamos su obra con Martín Llade.  Escuchar audio

La segunda parte de 'Campeones' con Javier Fesser y Elisa Hipólito; despedimos a la legendaria soprano fallecida a los 89 años; arranca la Schubertiada de Vilabertrán y una nueva visita de Use Lahoz. Escuchar audio

Berühmt wurde sie als Einspringerin für Maria Callas. Da war Renata Scotto gerade 23 Jahre jung. Sie überzeugte - und startete eine Karriere, die fast 50 Jahre dauern sollte. Nun ist die italienische Sopranistin im Alter von 89 Jahren gestorben.

Händel Lascia ch'io pianga Rinaldo Scarlatti Cara e dolce....Bellezza che s'ama Rossini La promessa Rossini La pastorella Verdi La preghiera del poeta, (1858) Verdi Barcarola, "Al tuo bambino",F.M.Piave Verdi Il brigidino (1863) Verdi È la vita un mar d'affani (1844) Verdi Pietà Signor (adatt. da Arrigo Boito,1894) Verdi Stornello Verdi Tu che le vanità Don Carlo Liszt Pace non trovo Sonetti di Petrarca Liszt Io vidi in terra angelici costumi Sonetti di Petrarca Respighi Soupir Respighi Au milieu du jardin Puccini Sole e amore Puccini Nel villaggio d'Edgar Edgar Mascagni Senti, bambino Zanetto Puccini Vissì d'arte Tosca Mascagni M'ama, non m'ama Puccini Tu ? Tu? Piccolo Iddio! Madama Butterfly Rossini La danza

durée : 00:21:17 - Disques de légende du vendredi 09 juin 2023 - Dans le rôle d'Adriana : Renata Scotto et celui de Maurizio : Placido Domingo

I've been plotting an episode on the subject of Dreams for a while. Given the profusion of music that references that altered state of consciousness, my challenge was narrowing down the topic. I chose to focus today on theater music (opera, operetta, and musicals) that references actual rather than figurative dreams. Even within these parameters, there was a plethora of material and as usual my repertoire choices are strangely and uniquely my own. So on this episode you'll hear everything from a 1965 recording of Tevye's Dream from Fiddler on the Roof in Yiddish, from the first Israeli production of the musical; Renata Scotto in late career essaying the haunted dreamscapes of Arnold Schoenberg's monodrama Erwartung; Mattiwilda Dobbs in a rare 1952 recording of “Ruhe sanft, mein holdes Leben” from Mozart's Zaide; excerpts from unusual French and German operettas featuring Robert Massard and Charles Kullman, respectively; birthday tributes to Birgit Nilsson and Richard Tauber; and the great Welsh bass Geraint Evans in a live performance of Bottom's Dream from Britten's A Midsummer Night's Dream. And much, much more, including a teaser of next week's subject the Italian lyric tenor Cesare Valletti; and Janet Baker live in recital in 1966, a preview of the first in a series of bonus episodes that will feature rare LPs from my personal collection. As always, thanks for your support; enjoy! 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.

Un día como hoy, 24 de febrero: Nace: 1463: Giovanni Pico della Mirandola, filósofo italiano (f. 1494). 1619: Charles Le Brun, pintor francés (f. 1690). 1842: Arrigo Boito, poeta y compositor italiano (f. 1918). 1934: Renata Scotto, soprano italiana. Fallece: 1704: Marc-Antoine Charpentier, compositor francés (n. 1643). 1929: André Messager, director de orquesta y compositor francés (n. 1853). 1967: Franz Waxman, compositor alemán (n. 1906). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

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.

¡Disfruta de este divertido recorrido por las mejores canciones italianas de nuestras vidas! A Italia le debemos las pizzas, los centrales marrulleros, las películas de gangster y hasta el derecho romano. País con forma de calzado de dominatrix cuya aportación cultural a la civilización es incuestionable y también, y aquí es donde viene la madre del cordero al mundo de la música. Cuna y madre del género lírico italianos eran Verdi, Vivaldi, Puccini, Carusso, Renata Scotto o Pavarotti. (Y PAGANINI) Si bien es verdad y hablando de tiempos más cercanos a nosotros que los sesenta en España fue la eclosión de la música en inglés, los setenta y los primeros ochenta tenían acento italiano.

From the vocal fireworks featured in the famous “mad scene” to the popularized sextet Lucia continues to fascinate audiences today. Many sopranos have taken the role, including, Maria Callas, Joan Sutherland, Renata Scotto, Lisette Oropesa and the current Lucia, Nadine Sierra. On today's episode of The Metropolitan Opera Guild Podcast, we have lecturer Tanisha Mitchell discussing the inner workings of this operatic staple.

As a child from a military family, Kelli Butler was raised in a multitude of locales, including Germany & the Eastern US, where her love of opera blossomed at an early age. Since attending the Purchase College Conservatory of Music, training with Renata Scotto, and apprenticing with Bel Canto at Caramoor, she has become a familiar face in New York's opera scene and beyond! Kelli performs regularly across the tri-state area and across the country, while continuing her studies with Metropolitan Opera mezzo-soprano Shirley Love and the acclaimed Canadian soprano Susan Eichhorn Young. She currently reside in New York with her husband Justin and their highly illogical pets, Bones & Scotty.

Segundo capítulo del análisis y estudio de la gran ópera verdiana. Comenzamos con Caro nome en la voz de Renata Scotto; seguimos con el aria Parmi veder le lagrime cantada por Alfredo Kraus; después escuchamos todo el episodio del jorobado tratando de encontrar a su hija en el Palacio del Duca, desde el epidérmico Larà, larà, larà hasta el remate de la gran y tremebunda aria Cortigiani vil razza dannata. En la enorme voz de Cornel MacNeil. Escuchar audio

Our series saluting great Canadian singers continues with a tribute to one of the greatest singers I have ever seen in performance, the Saskatchewan-born tenor Jon Vickers. Not only was he a profoundly imaginative and creative singing actor, he was also one of the most problematic personalities to appear on the operatic stage in the second half of the twentieth century. I discuss many of the controversies surrounding Vickers the man, in particular his virulent homophobia and sexism, while still giving full attention to his unmatched artistry. I feature both live and studio recordings over the course of his entire career, encompassing both opera and art song, focusing on what are probably his four greatest operatic roles: Florestan, Otello, Peter Grimes, and Tristan. Vocal guest stars include Maria Callas, Eileen Farrell, Joan Carlyle, Leonie Rysanek, and Renata Scotto; conductors include Colin Davis, Otto Klemperer, Tullio Serafin, Rudolf Kempe, Nicola Rescigno, William Steinberg, and Herbert von Karajan. 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 Two Gay Geeks

En este episodio, los niños podrán conocer un poco sobre la vida de Giacomo Puccini y su música, en especial, de sus tres óperas más conocidas: La Bohème, Tosca y Madama Butterfly.  LO QUE VAN A ESCUCHAR EN ESTE EPISODIO   00:35 Sonata No. 10  in G Major interpretado por Liuwe Tamminga.  01:53 Marcia No. 45 in D Major interpretado por Liuwe Tamminga.  04:23 Aida, Act I. Se quel guerrier io fossi!...Celeste Aida de Giuseppe Verdi. Interpretado por Andrea Bocelli, Orchestra del Maggio Musicale Fiorentino & Zubin Mehta. 05:15 Turandot, Act II: Gravi, Enormi Ed Imponenti, interpretado por Alexander Rahbari & Malaga Philharmonic Orchestra. 06:45 Le villi, Act I: Se come voi piccina io fossi... Non ti scordar di me!. Interpreado por Lorin Maazel, National Philharmonic Orchestra, Plácido Domingo & Renata Scotto.  09:33 Tosca, Act III: Io De' Sospiri. Interpretado por David Pearl, Zubin Mehta & Philharmonia Orchestra.  11:18 La bohème, Act II: "Arranci, datteri!". Interpretado por Rolando Panerai, Herbert von Karajan, Schonberger Sangerknaben, Chor der Deutschen Oper Berlin, Gianni Maffeo, Luciano Pavarotti, Berlin Philharmonic & Mirella Freni. 13:04 Madama Butterfly, Act II: Un bel dì vedremo. Interpretado por Renata Scotto, Orchestra of the Rome Opera House & Sir John Barbirolli. 14:28 Tosca: "Tre sbirri. Una carozza. Presto" - Te Deum. Interpretado por National Philharmonic Orchestra, Nicola Rescigno & Sherrill Milnes.     Si te gusta el episodio, califícalo en tu app favorita (Podcasts iTunes, iVoox, Spotify) o puedes dejar tu review. :)  No te pierdas ningún episodio. Súscríbete al newsletter en allegromagico.com/suscribirme.  Síguenos en: Facebook, Twitter, Instagram y Pinterest.   

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

In today's episode of The Metropolitan Opera Guild Podcast, join Ira Siff as he discusses other diva powerhouses like Maria Callas, Renata Scotto, and the incomparable Leontyne Price.

In today's episode of The Metropolitan Opera Guild Podcast, join Ira Siff as he discusses diva powerhouses like Maria Callas, Renata Scotto, and the incomparable Leontyne Price.

durée : 01:57:33 - Relax ! du mercredi 21 avril 2021 - par : Lionel Esparza - Portrait musical de la grande Renata Scotto qui pendant plus de quarante ans, mena une carrière hors du commun ; insurpassable Cio-Cio-San, tant sur le plan vocal que sur l'incarnation, elle ne limita pourtant pas son répertoire, prenant tous les risques, de Strauss au Bel Canto. - réalisé par : Antoine Courtin

Today I finally get to pay tribute to one of the singers who was a formative influence on me as a budding opera and vocal aficionado. George Shirley, born on April 18, 1934 in Indianapolis, Indiana, was 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 an incandescent young Renata Scotto), Mephistopheles in Busoni’s Doktor Faust, and even Bacchus in Ariadne auf Naxos. All of these are included in the episode, as are rare song recordings from throughout his career. Raise a glass to the great George Shirley, and join me in thanking him for having shared his extraordinary artistic gift with us for all these years! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

Un día como hoy, 24 de febrero: Nace: 1463: Giovanni Pico della Mirandola, filósofo italiano (f. 1494). 1619: Charles Le Brun, pintor francés (f. 1690). 1842: Arrigo Boito, poeta y compositor italiano (f. 1918). 1934: Renata Scotto, soprano italiana. Fallece: 1704: Marc-Antoine Charpentier, compositor francés (n. 1643). 1929: André Messager, director de orquesta y compositor francés (n. 1853). 1967: Franz Waxman, compositor alemán (n. 1906). Una producción de Sala Prisma Podcast. 2021

Ilse Eliza Zellermeyer führte mehr als 25 Jahre eine international renommierte Opernagentur. Berühmte Künstler wie Luciano Pavarotti und Mirella Freni, Anna Moffo und Renata Scotto, Renata Tebaldi und Francesco Corelli wurden von ihr vertreten. Ihre Kindheit verbrachte sie im Hotel ihres Vaters am Berliner Steinplatz. Ilse Eliza Zellermeyer, geboren 1920, ist am 21. August 2020 verstorben. Wir erinnern mit diesem Gespräch an eine beeindruckende Frau.

On the weekend that my benighted nation celebrates its birthday, I turn for real leadership to Renata Scotto, specifically her portrayal of the Druid priestess Norma in Vincenzo Bellini’s eponymous cornerstone of the bel canto repertoire. Scotto began her career as a charming lyric-coloratura, lending her distinctive voice and artistic personality to roles from such country damsels as Amina in La Sonnambula and Adina in L’elisir d’amore to the more substantial title roles in Lucia di Lammermoor and La Traviata. With Butterfly, she moved into heavier repertoire and eventually, in 1974, first took on Norma. Singing this role for the opening of the Metropolitan Opera season in 1981 was a risk that took a toll on her reputation. But, I contend, even with its flaws, her Norma is one of the greatest post-Callas assumptions of the role. Scotto's occasional vocal vulnerabilities in the role contrast with her continuing fearlessness in coloratura. And her insights into the varying aspects of Norma’s persona: her wisdom, her compassion, her conflict between love and duty, and finally, her ability to admit wrongdoing and accept the consequences, show all the characteristics of a true leader. In 1978, at the peak of her achievement, Renata Scotto sang the role of Norma in at least three different productions: in Philadelphia (with the gleaming John Alexander); in Houston (with the glorious Tatiana Troyanos); and in Firenze (conducted by the stern but compelling Riccardo Muti). I offer extended excerpts from each of these performances as well as a beguiling performance of “Casta diva” from her first assumption of the role in Torino in 1974. I also offer John Alexander and another podcast favorite, Shirley Verrett, in the Adalgisa-Pollione duet. Finally, I top off the episode with Scotto’s oh-so-wrong yet oh-so-right performance of “Send in the Clowns,” which serves as the perfect commentary for the current political situation in the USA. 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 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.

Today’s episode is an interview I did with Ira Siff, artistic director of La Gran Scena Opera Company di New York, alter ego of the beloved “traumatic soprano” Vera Galupe-Borszkh, lecturer for the Metropolitan Opera Guild and Weekly Commentator on the Metropolitan Opera broadcasts. My association with Ira and Gran Scena goes back more than thirty years, when he provided me with my first employment as a singer when my alter ego Daniela della Scarpone sang for two years with the renowned travesty opera company. I sat down with Ira in his East Village apartment last this past January for a wide-ranging interview in which we discuss his early days as a standee at the old Met (where some of his opera-going experiences included Maria Callas’s final Tosca performances, Renata Scotto’s 1965 debut as Madama Butterfly, and Leonie Rysanek’s wild traversals of Verdi and Wagner). He discusses his first performing experiences in the early 1970s in association with Al Carmines and others, the genesis of La Gran Scena and their development into a worldwide phenomenon, and his subsequent “legitimate” career as lecturer, stage director, vocal coach and voice teacher and commentator all stemmed from in his words, “getting in a dress and singing soprano,” which he dubs “the strangest part.” This is a free-wheeling and extremely Opera Queeny interview, peppered with Ira’s unique anecdotes and snippets from Gran Scena (and other!) performances. There is no better way to celebrate Gay Pride in isolation than to listen to this episode! Ira Siff is a native New Yorker, who grew up on the standing room line of the old Metropolitan Opera, worshiping the famous singers of the 60’s. A graduate of the Cooper Union, with a degree in Fine Arts, Mr. Siff began to study voice, and made his debut as a tenor in 1970. For the next decade, he performed roles in opera, operetta and musicals in the New York, at The New York Shakespeare Festival, Circle in the Square, Playwrights Horizons, and many other venues. Turning to cabaret, Ira created an act using vocal parody of opera, jazz, and other styles of music, gaining critical acclaim, and a loyal following. In 1981, he founded La Gran Scena Opera Co. di New York, the internationally acclaimed travesty troupe, whose gifted falsetto “divas” have spoofed opera with great affection for over two decades, in New York annually, and on tours to some of the great festivals, theatres and opera houses of the world. For the past thirty years, Mr. Siff has been a voice teacher and interpretive coach, teaching in New York, Italy, Israel, Holland and China, giving Master Classes for the Metropolitan Opera Guild, and was on the faculty of the Renata Scotto Vocal Academy. Ira was a guest teacher of bel canto technique at The Royal Conservatory in Den Haag in 2008, and then at the Dutch National Opera Academy for five seasons, and at the Amsterdam Conservatory in The Netherlands where he returned annually, and was appointed Permanent Guest Teacher. In 2000, he turned to stage directing, gaining critical acclaim for his productions of operas ranging from Tosca, Turandot, and La Fanciulla del West to Lakmé, Werther, and La Grande Duchesse de Gérolstein at venues such as Carnegie Hall, Sarasota Opera, The Caramoor Festival, and the Tanglewood Music Festival, where he directed productions of Così fan tutte, Don Giovanni, and Ariadne auf Naxos. All in all, he has directed operas for companies in New Jersey to New Zealand, with stops along the way in Puerto Rico, Lima, Peru and Utah. Singers whom he has directed include Sumi Jo, Dolora Zajick, Aprile Millo, Eglise Gutierrez, Krassimira Stoyanova, and the late Marcello Giordani. Conductors with whom he has collaborated as a stage director have included Richard Bonynge, Christoph von Dohnányi, and James Levine. He has also given master classes in bel canto and verismo for the Metropolitan Opera Guild every season since 2008 and has presented sold-out lectures for the M...

Here is a program filled with sunshine for a March day. Franco Corelli sings O sole mio plus arias from Rigoletto, Romeo and Juliet and May Night. Also spreading sunshine are Karita Mattila, Piotr Beczala, Renata Scotto, Carlo Bergonzi and Nicolai Gedda. The post Here Comes the Sun appeared first on WFMT.

durée : 01:28:57 - Sir John Barbirolli, chef d'orchestre (4/4) - par : François-Xavier Szymczak - Suite et fin de notre série sur John Barbirolli, avec quelques rencontres marquantes : l'Orchestre philharmonique de Berlin, l'Orchestre philharmonique de Vienne, ou encore Janet Baker, Renata Scotto et Emil Gilels. - réalisé par : Céline Parfenoff

Today, in the first of two consecutive episodes. I pay tribute to the great Mirella Freni, who died on February 7 and who would have celebrated her 85th birthday on February 27th. Celebrated for the freshness of her timbre, her musical integrity and commitment, her vocal prowess and longevity, and her expressivity, Freni sang a repertoire which covered a wide range of styles and languages. Today’s selections, from over the course of her entire career, feature her exclusively in duet, and include selections from Gianni Schicchi, I Puritani, L’Elisir d’amore, Le nozze di Figaro, La Bohème, Otello, Manon Lescaut, Don Carlo, Le due illustri rivali, Don Giovanni, and La Traviata with Alfredo Kraus, Nicolai Gedda, Gundula Janowitz, Franco Corelli, Luciano Pavarotti, Peter Dvorsky, Luis Lima, Renata Scotto, and her husband Nicolai Ghiaurov. Three selections from a rare 1977 LP of Puccini and Verdi duets with the superlative (and notorious!) Italian tenor Franco form the centerpiece of this loving tribute. 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

durée : 01:28:57 - Sir John Barbirolli, chef d'orchestre (4/4) - par : François-Xavier Szymczak - Suite et fin de notre série sur John Barbirolli, avec quelques rencontres marquantes : l'Orchestre philharmonique de Berlin, l'Orchestre philharmonique de Vienne, ou encore Janet Baker, Renata Scotto et Emil Gilels. - réalisé par : Céline Parfenoff

1979, with Renata Scotto, Lucia Valentini-Terrani, Veriano Luchetti and Martti Talvela.

Soprano Renata Scotto gave a famously chilling interpretation of Lady Macbeth in Verdi’s take on Shakespeare’s play. But Scotto was just as loved for tugging at our heartstrings in the title role of LUISA MILLER. On this episode of the Metropolitan Opera Guild Podcast, Met Radio commentator Ira Siff explores the artistry of legends such as Renata Scotto, Astrid Varnay, and others, in the second installment if his “Villains and Victims” series.

durée : 00:05:28 - Leurs premiers pas du samedi 05 janvier 2019 - Sabine Devieilhe interprétait Hai Luli, mélodie de Pauline Viardot accompagnée au piano par Florence Boissolle à l'occasion d'une émission-hommage à Renata Scotto. Enregistré au studio 105 de la Maison de la radio le 3 juin 2013.

Con Carlos Iribarren. Hoy Toca abrir el cofre de la ópera en Clásica FM Radio, con arias italianas poco o nada conocidas. ¡Y os aseguramos que son brillantes! Carlos y Mario Mora, acompañados por Rafa Bernardo, enamorado del bel canto en "Play Ópera", escuchan y comentan estas 7 joyas: compuestas por Pergolesi, Paisiello o Jommelli y cantadas por Cecilia Bartoli, Jonas Kaufmann o Renata Scotto. ¡No desafines y dinos cuál es tu favorita! "Hoy Toca", como siempre, quiere sorprenderte...

Con Carlos Iribarren. Hoy Toca abrir el cofre de la ópera en Clásica FM Radio, con arias italianas poco o nada conocidas. ¡Y os aseguramos que son brillantes! Carlos y Mario Mora, acompañados por Rafa Bernardo, enamorado del bel canto en "Play Ópera", escuchan y comentan estas 7 joyas: compuestas por Pergolesi, Paisiello o Jommelli y cantadas por Cecilia Bartoli, Jonas Kaufmann o Renata Scotto. ¡No desafines y dinos cuál es tu favorita! "Hoy Toca", como siempre, quiere sorprenderte...

Renata Scotto and Jose Carreras.

Nicolai Gedda, Renata Scotto, Christian Gerhaher, Susan Graham, Anne-Sofie von Otter and Karen Cargill.

Junto a Renato Bruson en La Traviata. Escuchar audio

Soprano Elaine Alvarez is singing the title role in Daniel Catan's Florencia en el Amazonas. In this conversation with Dr. Nic she talks about her exciting operatic debut at Chicago Lyric Opera as Mimi in La boheme, under the direction of renowned diva Renata Scotto, and her approach to the lyrical, challenging music of Daniel Catan. We can't wait to hear and see her at the opening of this wonderful opera on Saturday, March 17th!!

This past season, Met broadcast commentator Ira Siff delighted New York audiences with his survey of the greatest Verdi singers of the past and present. Today’s episode is the first of a three-part series from Ira’s Verdi All-Stars course, discussing performances by Marisa Galvany, Luciano Pavarotti, Renata Scotto, Placido Domingo, and other legendary stars.

See, I TOLD you I would do audio podcasts again! I just had so many glitches. Here is a 1967 Rigoletto under Fernando Previtali, with the glorious cast of Cornell MacNeil,Richard Tucker, and Renata Scotto. (I do not have complete cast information.)      

1 Lauritz.Melchior                    Walkure "Walse"  (get a stopwatch) 2. Mario Filippeschi     PIRA!!!! 3. Renata Scotto                         Luisa Miller aria 4. Vera Galupe-Borszkh    In questa reggia    (Ira Siff -better than most Turandots) 5. Piero Cappuccilli                        Attila Cab...B FLAT!!! 6.  Joseph Schmidt                            Ma Parri 7. Diana Soviero                              Mefistofele aria 8.Christine Goerke               "Come scoglio" (Cosi) 9. Sergei Lemeshev              May Night Aria 10. Georges Thill                    Saffo aria 11.Maria Caniglia                   "Pace" 12. Marilyn Horne                   "Or la tromba" 13. Joseph Rogatchevsky     Oberon aria 14. Antonio Cortis                    PIRA 15. Lucine Amara, Richard Tucker,Martial Singher   Hoffmnn Trio 16. Meta Seinemeyer            Liebestod  (great  singer,died at 33)

More fun (I hope) for you: 1.Licia Albanese                      Pagliacci Aria 2.Zeani/Borso                         Piccolo Marat Duet  (They made them do the finale again!) 3.Vassilka Petrova                  Trovatore Aria  (send children and small animals out of the room) 4.Schwartzkopf/Jurinac/Della Casa (Sophie)   Rosenkavalier trio  (Della Casa did all three roles) 5. Mado Robin                            Lucia Mad Scene   (with High K# above R) 6. Eleanor Ross                          "Pace" 7. Bidu Sayao                    Manon Adieu  (You do not have to sound like Nilsson to be  a sensation) 8. Renata Scotto                        Adriana Phedre Declamation in Act 3 9.Irmgard Seefried                    Ariadne Composer's Aria  10.Cesare Siepi                           Salvador Rosa Aria 11. Simionato/Di Stefano          Favorita Duet 12.Pinza/Martinelli                      Simone duet (Jan.21,1939,my third birthday)                                     (I never forgave mom and dad for not taking me!) 13.Giuseppe Taddei                     Schicchi Aria 14.Diana Soviero                          Zaza aria (Leoncavallo) 15.Joan Sutherland                       Alcina Aria 16.Giuseppe Taccani                     Guglielmo Ratcliff aria (Mascagni) 17-18.   Richard Tucker                   Chenier aria/ Juive Cabaletta 19. Taddei                                          Fanciulla aria 20. Antonietta Stella                        Vespri Bolero 21.Franz Voelker                               Walkure act one scene  (one of my 5 fav.tenors of the past) 22.Leonard Warren                            Faust aria 23.Ludwig Weber                               Boris Monolog. (one of my 5 fav.bassos of the past) 24.Ljuba Welitsch                               Gypsy Baron aria 25. Zinka Milanov's Last "Pace" from Newark,NJ Concert in 1966 (I CRY!)

  Another compilation of material from my files. I hope you enjoy the selections, and remember what "fun" you can have if you give an opera party and ask the guests to guess, giving prizes for the winners. 1.  Julia Varady             Aria from Puccini's Edgar 2. Shirley Verrett          Favorita Cabaletta (We went nuts at Carnegie Hall.) 3-4.  Leonard Warren   Ernani and Pagliacci arias 5. Ljuba Welitch             Vissi d'arte 6.Dolora Zajick                Principessa aria from Adriana 7. Milanov/Bjoerling      Ballo Love duet 8. Janet Baker                Traume 9. Alessandro Bonci       Luisa Miller aria 10. Maria Callas              Puritani  "Vieni al tempio" 11. Steber/Kullman       Carmen act one duet 12. Enrico Caruso           "Mia piccirella"  (Makes me CRAZY!)  13. Renata Scotto          Butterfly "Che tua madre."  14. Mario del Monaco     Otello  "Dio mi potevi"  15. Marisa Galvany         What else but the famous Aida act 2 E flat.  16.  Nicolai Gedda            Manon  "Ah fuyez."   17-18   Leyla Gencer/Cornell Macneil and then Hilde Gueden/Leonard Warren in the Rigoletto  "Si,vendetta' duet.

“I could not believe where this voice came from… She had this melting, big sound.” – Renata Scotto, soprano Great Interpreters:  Fiorenza Cossotto Broadcast on Fine Music Radio on 22 November 2013. Like her predecessors Ebe Stignani, Fedora Barbieri and Giulietta … Continue reading→

From La Scala, 1953, under Carlo Maria Giulini, we hear Catalani's "La Wally" with Renata Tebaldi in the title role, Mario del Monaco as Hagenbach, Renata Scotto as Walter, Giangiacomo Guelfi as Gellner, and Giorgio Tozzi as Stromminger.  (73 min.) The story is set in the Austrian Tyrol where the free-spirited but vulnerable Wally is in love with the handsome Giuseppe Hagenbach, the son of her father's implacable enemy. This leads to the inevitable disastrous conclusion. Act 1 The village of Hochstoff A shooting contest is being held in celebration of the 70th birthday of Wally's father, Stromminger. A hunting party arrives from the nearby village of Sölden led by Hagenbach. Old enmities quickly surface and a quarrel develops between Stromminger and Hagenbach, who trade threats and insults before Hagenbach is drawn away by his companions. Vincenzo Gellner has his own heart set on Wally and is quick to notice that during the quarrel she is clearly infatuated with her father's enemy. When left alone with Stromminger, he tells the old man of his suspicions. Recognising that Gellner is in love with his daughter, he insists that Wally agrees to marry him within a month or else leave his house forever. Wally retorts that she would rather take her chances in the Alpine snows than marry Gellner. Act 2 The Eagle Tavern at Sölden A year has passed; Stromminger has died and Wally has inherited his fortune. However, Hagenbach has become engaged to Afra, the landlady of the Eagle Tavern, and is apparently not interested in Wally. A festival is taking place in Sölden and Wally is drawn to the tavern knowing that Hagenbach will be there. Hagenbach is persuaded to accept a challenge to try to win a kiss from Wally. What begins as a game quickly develops into something more serious, and Hagenbach easily wins his wager. When Wally realises she has been the victim of a cynical bet, her jealousy and fury boil over. She turns to Gellner, who is also at the festival, and insists that if he loves her he must kill Hagenbach. Act 3 A ravine La Wally returns to her home. The anger she felt has now subsided and she wishes she could take back her words. At that moment there is a knock at her door. It is Gellner, who describes how under cover of darkness he was able to set upon Hagenbach and hurl him into a deep ravine. Wally is horrified and hurries to the ravine in the hope of saving Hagenbach, even though she believes he loves Afra. She herself goes down a rope to rescue him and successfully raises his unconscious body back to the surface. Act 4 High in the Alps Lonely and depressed, Wally has climbed into the mountains above the village. Her only friend, Walter, has followed and urges her to come down for the Christmas festivities and reminds her of the dangers of avalanches. She sends him away and contemplates her imminent death. Wally hears another voice. It is Hagenbach, who has recovered from his injuries and come to confess his love. The lovers are reconciled and Hagenbach goes to find a safe path back down the mountain. He shouts up to Wally, but the noise of his call sets off an avalanche which carries him away. Wally stands for a moment on the edge of the precipice before hurling herself down to her death.

 A veritable LESSON in singing by the legendary Carlo Bergonzi, the Nemorino on this 1967 Elisir under Gianandrea Gavazzeni. In addition, Renata Scotto, Giuseppe Taddei, and Ivo Vinco perform magnificently and show what proper Italianate style is all about .  (73 min.)

An exciting performance of Verdi's "I Lombardi" from  Rome, 1969 under Gianandrea Gavazzeni, with Renata Scotto, Luciano Pavarorri, Ruggero Raimondi, Anna di Stasio (Viclinda), and Umberto Grilli (Arvino.)

From Turino, 1999 under John Mauceri, the great Renata Scotto sings Poulenc's one-woman opera, La Voix Humaine. I know you will enjoy one of the very last of the great verismo divas. (50 min.)

A compilation of some of the most important Italian artists from around the 1950-1960 period. Included are Tito Gobbi, Magda Olivero, Anita Cerquetti, Cesare Valletti, Paolo Silveri, Renata Scotto, Carlo Bergonzi, Rosanna Carteri, Mario Filippeschi, Renata Tebaldi, Ebe Stignani, and Giuseppe Di Stefano. (70 min.)

 A 1978 Toronto,Canada recital by Renata Scotto and Carlo Bergonzi,two of the most famous artists of the past generation. (Contents announced.)     (60 min.)

One of the very last exponents of truly emotional style and careful attention to the delicacy of phrasing in opera has been Renata Scotto. This 1967 Radio Turino Butterfly from 1967 under Artuto Basile is an example of her great artistry, despite some of the top notes that were often a bit problematical as the years passed.he is 33 here, but for many more years her Butterfly remained  possibly the greatest of them all.She is joined by Renato Cioni,Franca Mattiucci, and Alberto Rinaldi. (71 min.)

 For a little change of pace, I present a series of songs as written by Giuseppe Verdi.(Announced.) They are sung by Renata Scotto, accompanied by Vincenzo Scalera in 1989  (50 min.)

12 selections featuring live performances by some of opera's greatest singers.Included are: Renata Tebaldi,Leonie Rysanek,Leontyne Price, Zinka Milanov, Eleanor Steber, Birgit Nilsson, Kiri Te Kanawa,Kirsten Flagstad, Hilde Gueden, Judith Blegen, Renata Scotto, Tatiana Troyanos, Placido Domingo, Jon Vickers, Luciano Pavarotti, Franco Corelli, Dmitri Hvorostovsky, and Lauritz Melchior  (70 min.)

This is a magnificent Vespri Sicilani from Scala 1970 under Gianandrea Gavazzeni. It features Renata Scotto, Piero Cappuccilli, Ruggero and Gianni Raimondi (no relations) and I know you will enjoy it. The more I hear Scotto, the more I am captivated by her feeling for the line and the style.  (71 min.)

Ten wonderful sopranos sing the finale of Act one of Anna Bolena. The singers (in order of selections)are: Renata Scotto, Beverly Sills, Olivia Stapp, Maria Callas(in photo), Elena Suliotis, Dimitra Theodossiou, Joan Sutherland, Leyla Gencer, Edita Gruberova, and Marisa Galvany.                (50 min.) Send me a VOTE on your top 2 favorites!!!!!!!!!!

In Episode 2 we concentrate on Le Violette (from 24 Italian Songs and Arias), Il fervido desiderio (Bellini), and O del mio amato ben (Donaudy), and discuss some basic rules of Italian diction with Fabio Centanni, an Italian coach who accompanies Renata Scotto's Opera Studio in Rome! The texts are available from the LiederNet Archive by clicking on the titles above.   Feel free to leave comments here or you can write to me with specific questions at ellen@ellenrissinger.com

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

OH!!! Did you think I meant Beverly SILLS????  Although the great Beverly Sills is represented on this podcast, I did this one for a fine young lyric soprano by the name of Beverly Thompson, one of the talented Dolora Zajick students.    This is the third podcast for one of these young artists, where I ask them about their repertory and their favorite artists and, adding some of my choices, I offer them an opportunity to sample some of the beautiful performances that are out there.    Included here are selections  by:        Beverly Sills, Leontyne Price, Renata Scotto,Kiri Te Kanawa, Elizabeth Grummer, Irmgard Seefried, Virginia Zeani, Diana Soviero, Renee Fleming, Renata Tebaldi, Mirella Freni, Eleanor Steber, and Bidu Sayao.       I sincerely hope Beverly and all of you enjoy them.(65 min.)

An exciting compilation of various interpretations of the finale of the Traviata Gambling Scene (Act 3 or Act 2 scene 2 in various productions.) The casts are as follows: Renata Scotto, Carlo Bergonzi,Mario Zanasi  (1970)Renata Tebaldi, Giacinto Prandelli, Gino Orlandini  (1952)Maria Callas, Alfredo Kraus, Mario Sereni  (1958)Licia Albanese, Richard Tucker, Leonard Warren  (1954) Joan Sutherland, Giacomo Aragall, Sherill Milnes  (1970)Diana Soviero, Carlo Bergonzi, Garbis Boyagian  (1983)Virginia Zeani, Aldo Bottion, Franco Bordini  (1967)                                    (75 min.)

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

A podcast dedicated to the "lost art" of verismo soprano style. Included are arias by:          Magda Olivero,Virginia Zeani, Maria Farnetti, Rosetta Pampanini,         Pia Tassinari, Claudia Muzio, Maria Zamboni,          Bianca Sciacciati, Hina Spani, Mafalda Favero, Rosanna Carteri,          Licia Albanese, Angela Gheorghiu, Renata Scotto, and Diana           Soviero.   (64 min.)                                     

  I have selected some artists I feel belong in my "controversial" category. I love most of them,but some I never could grasp...that is the way of things in life. One person exits a film and raves;the other one is totally negative. Same with opera, so PLEASE do not send me too much hate mail, because after all, I am a fairly nice guy.    The artists are:        Martha Moedl, Leonie Rysanek, Theresa Stitch-Randall, Boris Christoff, Dietrich Fischer-Dieskau, Conchita Supervia, Lily Pons, Christina Deutekom, Ivan Koslovsky, Giovanni Martinelli, Maria Callas, Renata Scotto, Magda Olivero, and Leyla Gencer.                                 (71 minutes)

  By popular request (Ruben!!), here are highlights from  Cecilia, a truly beautiful, and seldom-heard work. It  features Renata Scotto as both the Angel and Cecilia, Harry  Theyard as Valerian, and George Fourie as Almachis. It  is conducted by Angelo Campori.                                    (66 minutes)  

The excellent Ponto company has released their 4 CD set of manyinteresting excerpts. (Number 50 in their catalogue.).These are livescenes featuring many fine artists as follows: Trovatore:  Renata Scotto,Louis QuilicoThe Medium:  Regine CrespinSemele: Beverly SillsJenufa: Gre Brouwenstijn and Frans VroonsSalome: Lili Djanel and Tito GobbiOtello: Joan Sutherland and Angelo MarenziManon Lescaut:  Leontyne PriceEugen Onegin:    Margaret PriceForza:       Julia VaradyDon Giovanni: Frank Sinatra and Kathryn Grayson (Don't ask!  (74 minutes)  

Celebrating our 200th podcast, with special guests Karita Mattila, Rolando Villazon, Renee Fleming, Dorothy Kirsten, Renata Scotto, Elena Obratszova, David Daniels, Ruth Ann Swenson, Renata Tebaldi, Giuseppe diStefano, Marilyn Horne, Montserrat Caballe, Kostas Paskalis, Alain Vanzo, Krassimira Stoyanova, Marcello Giordani and Aprile Millo.

Giacomo Puccini was a composer whose operas tugged at our heartstrings. There are so many emotional moments in his works,and here I include one scene from each of his operas,featuring: Renata Scotto(in photo), Diana Soviero, Renata Tebaldi,Virginia Zeani, Julia Varady, Krassimira Stoyanova,Beverly Sills, Christina Gallardo-Domas, Magda Olivero,Leontyne Price, Dorothy Kirsten, Richard Tucker,Placido Domingo, Jerry Hadley, and Giovanni Inghilleri (72 minutes)

Arias sung by 15 famous divas of the recent past: Montserrat Caballe, Arlene Auger, Maria Callas,Kiri Te Kanawa, Virginia Zeani, Eda Moser,Maria Chiara, Regine Crespin, Renata Scotto,Catherine Malfitano, Margaret Price,Rene Fleming,Anita Cerquetti, Pilar Lorengar,Ileana Cotrubas  (73 minutes)  

     The great Bellini opera "Norma" surely lends itself to    performances by some of our most memorable artists.    Here are some scenes which feature a number of them: Maria Callas, Montserrat Caballe, Shirley Verrett,Lauren Flanigan, Marisa Galvany, Zinka Milanov,Gina Cigna, Rita Hunter, Beverly Sills, Renata Scotto,Joan Sutherland, Leyla Gencer, Lili Lehmann,Marilyn Horne, Ebe Stignani, Gino Penno,Kurt Baum,Carlos Cossutta, Lamberto Furlan, Carlo Bergonzii, Franco Corelli,  Elena Nicolai, Roberto Francesconi,AND Olive Middleton (well, nobody's POIFEKT!)

            Truly wonderful singing by La Scala artists who                 visited Russia in 1964. Included are: Mirella Freni, Bruno Prevedi, Renata Scotto,Birgit Nilsson, Carlo Bergonzi, Fiorenza Cossotto, and Gianni Raimondi

  Giuseppe Verdi wrote some of his most remarkable musicfor baritone and soprano. This podcast features duets fromeleven of his works, and features baritones such as: Cornell MacNeil, Piero Cappuccili, Leonard Warren,Roberto Frontali, Gino Bechi, Sherrill Milnes,Antonio Boyer, Ettore Bastianini, andGian-Giacomo Guelfi. The sopranos include:  Montserrat Caballe, Virginia Zeani,Zinka Milanov, Leyla Gencer, Renata Tebaldi,Renata Scotto, Maria Callas, Shirley Verrett, &Sondra Radnovsky (Photo: Maria Guleghina and Renato Bruson in Nabucco)

For Good Friday, a decidedly non-traditional Parsifal Act Two. Renata Scotto sings her her only Kundry in this April 14, 1995 performance from the Meclkenburg State Theater. Parsifal: Edward Cook; Klingsor: Rudolf Kostas. Conductor: Ivan Torzs.

Carlo Bergonzi and Renata Scotto star in this 1967 performance of Donizetti's romantic comedy.

Carlo Bergonzi and Renata Scotto star in this 1967 performance of Donizetti's romantic comedy.

Renata Scotto sings Elena in this 1970 performance of Verdi's I Vespri Siciliani from La Scala.

Renata Scotto sings Elena in this 1970 performance of Verdi's I Vespri Siciliani from La Scala.

Renata Scotto sings Elena in this 1970 performance of Verdi's I Vespri Siciliani from La Scala.

Renata Scotto sings Elena in this 1970 performance of Verdi's I Vespri Siciliani from La Scala.

Renata Scotto sings Elena in this 1970 performance of Verdi's I Vespri Siciliani from La Scala.

Roy Plomley's castaway is soprano Renata Scotto.Favourite track: Sola, Perduta, Abbandonata by Giacomo Puccini Book: Divine Comedy by Dante Alighieri Luxury: Silver shadow Rolls Royce

Roy Plomley's castaway is soprano Renata Scotto. Favourite track: Sola, Perduta, Abbandonata by Giacomo Puccini Book: Divine Comedy by Dante Alighieri Luxury: Silver shadow Rolls Royce