Podcast appearances and mentions of Rosa Ponselle

As a follow-up to my Mezzos on the Verge series, which seemed to resonate with so many of you, today I present the first in a new ongoing series, Over-the-Top Sopranos. As I first began exploring this repertoire, my first thoughts were focused on Italian repertoire. But then I gave myself the challenge of focusing on the French style instead, thinking that I would not have as easy a time of it. Was I ever wrong! There is such a profusion French (and non-French) singers going to the brink with life or death performances of French music that thrills one to the core. Naturally I focus on familiar composers of both French grand opera (Meyerbeer, Halévy, Gounod) and opéra-comique (Massenet, Bizet) but, as always with Countermelody, there are repertoire surprises along the way, including operas by Ernest Reyer and Sylvio Lazzari. And the wealth of sopranos heard here boggles the mind: again ranging from favorites such as Ninon Vallin, Rosa Ponselle, Mariella Devia, Germaine Lubin, Elisabeth Rethberg, and Carol Neblett, to such lesser-known lights as Andrée Esposito, Françoise Pollet, Madeleine Sibille, Mattiwilda Dobbs, Charlotte Tirard, and Margarete Teschemacher, alongside many others. This is the kind of episode I absolutely love to produce, one rich in both discoveries and old favorites, performed by old and new favorites. Goûtez-vous-en! 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.

“A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points (passaggi).[1] Voice classification is most strongly associated with European classical music, though it, and the terms it utilizes, are used in other styles of music as well. A singer will choose a repertoire that suits their voice. Some singers such as Enrico Caruso, Rosa Ponselle, Joan Sutherland, Maria Callas, Jessye Norman, Ewa Podleś, and Plácido Domingo have voices that allow them to sing roles from a wide variety of types; some singers such as Shirley Verrett and Grace Bumbry change type and even voice part over their careers; and some singers such as Leonie Rysanek have voices that lower with age, causing them to cycle through types over their careers. Some roles are hard to classify, having very unusual vocal requirements; Mozart wrote many of his roles for specific singers who often had remarkable voices, and some of Verdi's early works make extreme demands on their singers.[2]” --- Send in a voice message: https://podcasters.spotify.com/pod/show/antonio-myers4/message Support this podcast: https://podcasters.spotify.com/pod/show/antonio-myers4/support

New host Khadija Mbowe is joined by esteemed soprano Karen Slack for a no-holds-barred conversation about excellence, expectations, and self-esteem. In this episode, you'll hear:[00:00] MUSIC: Hannibal, Healing Tones, Karen Slack with The Philadelphia Orchestra [03:25] Fairytale love story[05:19] Music in the household[07:29] Veterinary dreams[8:27] Journey into classical through CAPA (Creative and Performing Arts High School)[13:14] MUSIC: Bizet, Habanera, Denyce Graves [14:11] Undiagnosed learning challenges[15:07] The double-edged sword of winning the Rosa Ponselle scholarship [18:45] Approach to mentorship[25:49] MUSIC: Price, Bewilderment  (with text from Langston Hughes), Michelle Cann and Karen Slack[27:09] See the need, fill the need [29:03] #KikiKonversations[33:14] Who heals the healers; unrealistic expectations placed on black women[36:49] The struggle for self-care MUSIC: Barnes, Taking Names,  Karen SlackLinks from this episode: BANFF Opera in the 21st Century ProgramBellini, "Casta Diva," Maria CallasWagner, "Tristan Und Isolde" - Prelude & Leibestod,  Jessye Norman and Herbert von Karajan Opera Philadelphia Sounds of Learning Rehearsal Program  La Forza Del Destino (Ponselle's debut)  Michelle Cann on the HearTOGETHER podcast#SayTheirNames#KikiKonversationsKhadija MboweKaren Slack

78 giri Rosa Ponselle

To celebrate the 30th Anniversary of the National Broadcasting Company, NBC created a series of shows called Recollections at 30. Using a vast number of archival recordings. Recollections at 30 host Ed Herlihy would assemble some of these transcriptions into a 25-minute show. Some of these shows followed a theme, such as the shows The Crash of the Hindenburg, The Big Bands, and Abraham Lincoln. Others concentrated on popular radio programs, such as Truth or Consequences, and Lights Out. People were honored, like Judy Garland, H. V. Kaltenborn, and Irving Berlin. The second episode aired on June 27, 1956 and featured Minstrels of the 1930's, Easy Aces, Al Jolson with Maxie Rosenbloom, Major Bowes Amateur Hour, actor Leslie Howard, and soprano Rosa Ponselle.

Good Morning, This is Louise. Episode 90 - Song of the Indian Guest featuring sound and dialogue from Marguerite Dura's India Song with music by Carlos D'Alessio & Nikolai Rimsky-Korsakov realized by David Carbonara, London Symphony Orchestra, Paul Whiteman & His Orchestra, Fritz Kreisler, Milana Chernyavska & Nicolas Koeckert, Nicolas Koeckert, MarimbaMix, Vienna Les Orpheistes, Felix Carasco & Mario Hossen, Sergey Lemeshev, Ekaterina Donchenko, Chorus of the Bolshoi Theatre, The Great Symphonic Orchestra of the All-Union Radio and Television & Mikhail Pletnev, Roglit Ishay & Tatjana Masurenko, Wolf Harden & Takako Nishizaki, Marcela Roggeri & James Strauss, Lorina Gore, Tasmanian Symphony Orchestra & Marko Letonja, Willem Moolenbeek, Don Cossack Choir of Serge Jaroff & Serge Jaroff, Lev Kuznetsov, Bolshoi Theatre Choir, Yuri Simonov & Orchestra of the Bolshoi Theatre, Yorkshire Building Society Band, Nicholas J. Childs & Manfred Obrecht, Masayuki Kino & Hikaru Yoshiyama, Xenia Belmas, Boris Mersson & Mark Drobinsky, Rosa Ponselle, Pavel Chekin, Vassily Nebolsin & Orchestra of the Bolshoi Theatre, Dmitri Smirnoff, Olesya Rostovskaya, Alexey Kruglov & Yulia Ikonnikova, Daniel Gaede & Phillip Moll with ambient field recordings by Rambalac Namo Guan Shi Yin Pusa Thank you for listening

1. Stephen Scott - Vikings Of The Sunrise: Fantasy On The Polynesian Star Navigators (Start with “Ocean Drum”)https://open.spotify.com/album/1HRPSkZaRp1uaoOoRI2NEB2. Sarah Kirkland Snider - Penelope (Start with “Circe and the Hanged Man”)https://open.spotify.com/album/49xHTKjIfDahbCEPNVBZ3M3. Laura Kaminsky - As One (Start with “To Know” and “Out of Nowhere”)https://open.spotify.com/album/5h6QCRWqjzpFWrTlcAoEVGPanelists:El Schoepf, M.S. (they/she) is a social science researcher who studies and teaches about power, privilege, and oppression in the performing arts. After burning out of a performing career, El sought to improve mental health services in the performing arts sector by becoming a therapist. Their research about stratified economies’ effect on human behavior and experience served as inspiration for an experiential simulation game they developed called “Star Ensemble: Exploring Power and Privilege in Classical Music.” El holds degrees in counseling psychology and music and is currently a trainee at the Gestalt Therapy Institute of Philadelphia.Robin (Rob) McGinness is an active operatic baritone, inactive composer, and instructor helping students build the necessary skills needed for diverse careers in the arts. Often featured on stage portraying opera’s “bad boy,” Rob’s operatic credits include the title roles in Eugene Onegin and Don Giovanni, as well as Marcello in La Bohème. Committed to promoting and performing new works, Rob regularly premieres new roles, including Ed Wall in Frances Pollock’s award-winning opera Stinney, and Saul Hodkin/Price in The Ghost Train by Paul Crabtree. Rob’s compositions include vocal, theatrical, and orchestral pieces premiered at IngenuityFest, Andy’s Summer Playhouse, and by the Windham Orchestra of Vermont. Rob holds degrees from the Peabody Institute and Oberlin Conservatory and is a returning Marion Roose Pullin Studio Artist at Arizona Opera.British-American soprano Claire Galloway’s theatricality covers the gamut of “palpable pain” and “splendid, funny moments” (B.I.T.R.). This summer and next, Claire is a Fellow with the Ravinia Steans Music Institute. She recently sang Sam in Stephen Crino and Joshua Scheid’s Friends House for the new Podcast Opera Company. In 2019-2020 she performed Vitella (Clemenza) and Blanche (Dialogues of the Carmelites), was a semifinalist in the James Toland Vocal Arts Competition, and performed with Opera Lafayette’s 1806 revival of Beethoven’s Léonore. An avid recitalist, she recently presented a recital based on the life of Rosa Ponselle and concerts showcasing Scandinavian and contemporary American compositions. Ms. Galloway’s innovative recital programing has resulted in the best-attended concert event at the Baltimore War Memorial Arts Initiative in past seasons. Through her teaching studio, she is currently offering a 6-month training program called Core Singer Essentials, starting in October, as well as a free 2-day preview called “Singers Take The Wheel Career Roadmap” on September 25th and 26th. Details at www.clairegalloway.com.More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

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.

The world is in chaos. We don’t know from one day to the next, or one hour to the next, what is going to happen. I am currently halfway around the world from home and wondering what the coming weeks will bring. This week I have decided to feature music that addresses reaching out to loved ones across enormous gaps of time and space, the yearning for a home lost and the ambivalence with which we face the changing seasons. But all is not hopelessness: at the end of the episode, I offer several pop songs by some of my favorite singers that address the promise of healing and reunion, no matter how difficult the process. In this episode, marking the six-month anniversary of Countermelody, I’m featuring Lorraine Hunt Lieberson, Hina Spani, Rosa Ponselle, Meta Seinemeyer, Anne Roselle, Claudia Muzio, Eidé Noréna, Eileen Farrell, Kathleen Ferrier, Martha Flowers, Janis Ian, Chi Coltrane, and Dusty Springfield. I also offer a recording I made in 2006 of “Danny Boy,” and I explain the song’s significance to me. 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

Feuille de route : Heure Titre Artiste Album diffusion 21:00:00 presentation 21:02:00 Non ti scoardar di me Beniamino Gigli 21:05:19 21:07:39 Élégy Rosa Ponselle 21:11:32 None but the lonely heart Eula Beal 21:15:02 presentation 21:17:02 Der Erköning Tom LoMonaco 21:21:52 presentation 21:23:52 Morgen Leotyne Prince 21:30:32 presentation 21:33:32 Après un rève Jerry Hadley 21:36:36 presentation […]

Singers such as Rosa Ponselle, Francesco Tamagno, Ferruccio Furlanetto, and Dolora Zajick have given definitive performances of Verdi’s late works, from the first OTELLO in 1887 through to the present day. What can their recordings tell us about the evolution of Verdian singing, and career-making moments on the opera stage? Find out in our final installment of the Verdi All-Stars lecture series, featuring Met Radio commentator Ira Siff.

Guy Maddin ("National treasure of Canadian cinema") may be less familiar to casual cinema lovers in the States, but once you see his work, you won't be able to forget his bizarre characters or dreamy imagery. In our second mom-cast, we invite Kseniya's mother, Tatiana Watson, to discuss portrayal of parenthood in Maddin's Careful (1992) and Brand upon the Brain! (2006) and how film has bonded the mother and daughter over the years.Outro Music: "The Nightingale and the Rose" by Rosa Ponselle, as featured in Guy Maddin's short film, A Trip To The Orphanage (2004)Previously released episode with Eleanor's mom, Dr. Paula Kagan, discussing Rosemary’s BabyReferenced in the episode: Slums of Beverly Hills 15-Year Reunion

  I bring you still another of my compilations of great artists in order to make you happy, and for your opera parties, where you give expensive gifts to those who guess all the selections. 1.  Magda Olivero  (turns 104 in March)     Iris  aria 2. Getrude Kappel      Walkure      "Hojotojo" 3.  Alfredo Kraus         Romeo        "Ah leve-toi,soleil"  (sings it up a half step.) 4. Karita Mattila         "I could have danced all Night" from "My Fair Lady." 5. Maria Callas           "La mamma morta"   (see the touching scene in the film "Philadelphia") 6. Sherrill Milnes         Attila cabaletta (with amazing high B flat) 7. Elena Nikolaidi        Don Carlo    "O don fatale." 8. Claudia Novikova    La Perichole   Hilarious act two "drunk aria." 9. Ivan Petrova            Yolantha (Tchaikowsky)  King Rene aria 10. Ezio Pinza               Amore de tre Re     Archibaldo's Monologue  (INCREDIBLE!) 11. Rosa Ponselle         Tosca    "Vissi d'arte" 12.  Cesare Valletti       Manon    "Le reve" 13.  Samuel Ramey       Boris Clock Scene 14.  Antonietta Stella    Attila   "Santo di patria" 15. Ebe Stignani             Semiramide aria  (see why she is my all-time favorite mezzo.) 16.  Richard Tucker        Turandot     "Nessun Dorma"

It’s that time of year again, when orchestras across the land are dusting off their holiday pops programs and choruses are warming up for Messiahs and sing-a-along carol extravaganzas. But for the recording industry, Christmas music has changed. The big orchestral albums of the sort that conductors like Arthur Fiedler or Eugene Ormandy used to make have fallen by the wayside. So have the grand star vehicles, with a sequined opera diva belting out Christmas songs backed up by a choir and orchestra. But as we hear in this edition of Conducting Business, what remains are plenty of smaller-scale recordings that either attempt to make a cozier or refined spiritual statement (as with many early-music groups), or round up a bunch of stars from different genres to perform the standards. The changes are partly driven by economics, said Anastasia Tscioulcas, who covers classical music for NPR Music. “Where did the recordings go? They’re very expensive to make,” she told host Naomi Lewin. “The big star-studded album with the full symphony orchestra behind them and maybe chorus thrown in for good measure is extremely expensive to produce.” The new realities are a reflection of changes in the classical music business. “The number of stars that have that sort of appeal has descended dramatically,” noted Anne Midgette, classical music critic of the Washington Post. “Renee Fleming and Anna Netrebko are the only opera singers who have that sort of mass appeal.” Of course, Christmas is not a time for snobbery or strict adherence to high-minded artistic ideals, say the panelists. Nostalgia is a big part of what drives the business. Listeners are often attracted to a holiday album by their favorite star, which sticks with them later in life. Steven Epstein, a multi-Grammy Award-winning record producer, says a simpler aesthetic has come to dominate. “The most successful Christmas albums are those where the arrangements are not complex and that the melodies don’t get lost,” he said. Epstein’s imprint can be found on several albums that follow an increasingly popular template: gather together stars from different genres and try and capture some of their respective fan bases. The most recent recording of this sort is “Musical Gifts from Joshua Bell and Friends,” which was released last month, but Epstein cites a similar effort from back in 1989: "Crescent City Christmas," for which Wynton Marsalis was joined by singers like Jon Hendricks and Kathleen Battle. “That is what really brings in the consumer are the additional guest artists,” Epstein noted. Midgette sees no loss in the decline of the diva Christmas record. “Artistically these things are negligible – and I say that as somebody who has my favorite Christmas albums, which have been basically the same since I was about seven." Listen to the full podcast above and tell us below: What are your most and least favorite holiday albums? Sidebar: A Few of our favorite Christmas Recordings Anne Midgette:Christmas from a Golden Age (Naxos) (singers including Victoria de los Angeles, John McCormack, Rosa Ponselle and others)The Messiah Remix (Cantaloupe) (featuring remixed versions by Paul Lansky, Eve Beglarian, Phil Kline and others) Anastasia Tsioulcas:Vince Guaraldi: "A Charlie Brown Christmas"Robert Shaw Chorale: "The Many Moods of Christmas" Steven Epstein:Christmas with the Mormon Tabernacle Choir Naomi Lewin:Britten's Ceremony of Carols (Philadelphia Singers, Benita Valente, Maureen Forrester, David Gordon)...And an honorable mention for worst Christmas collaboration: Michael Bolton and Placido Domingo sing "Ave Maria" from "Merry Christmas from Vienna" .chart_div { width: 600px; height: 300px; } loadSurvey( "which-piece-classical-holiday-music-most-overexpos", "survey_which-piece-classical-holiday-music-most-overexpos");

  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.)

97.    Ottoman Writers and European Classical MusicAdvertisement for operaperformance at Naum Theatre inPera, Istanbul (1833)Osmanlı toplumunun yaşamının hızla değiştiği bir dönem olan 19. yüzyılda sanat alanında da birçok yenilikler ortaya çıktı. Bu podcastın birinci bölümünde Doç. Dr. Melda Üner ile batılılaşma ve modernleşme paradigmaları çerçevesinde 19. yüzyıl Türk Edebiyatı’nda müzik ögesinin nasıl kullanıldığını konuşacağız. Dönemin bir çok edebi eseri üzerinde yoğunlaşarak Tanzimat ve Servet-i Fünûn gibi iki ayrı edebi dönemde Osmanlı aydınının batılılaşma ve modernleşme karşısındaki tavırlarını ve “Doğu” ile “Batı” arasındaki tercihlerini tartışacağız. Podcastımızın ikinci kısmında, Emrah Safa Gürkan Osmanlı edebiyatı'nda bahsi geçen klasik müzik eserlerini içeren ve Melda Üner, Murat Özkoyuncu ve Chris Gratien tarafından hazırlanan mixtape'imizi sunuyor. The nineteenth century not only radically transformed daily life in Ottoman society but also introduced new artistic styles. In part one of this podcast, Assoc. Prof. Melda Üner examines the element of music in nineteenth-century Turkish literature along the paradigms of westernization and modernization. Exploring a number of contemporary works, she focuses on Ottoman intellectuals’ attitudes towards westernization and modernization and demonstrates how they took sides between “East” and “West” in two different literary periods: the Tanzimat and Servet-i Fünûn. In the second part of the podcast, Emrah Safah Gürkan presents a mixtape organized by Melda Üner, Murat Özkoyuncu, and Chris Gratien displaying examples of European classical music referenced in Ottoman literature (podcast is in Turkish).1. Bölüm   19. yüzyıl Türk Edebiyatı'nda Müzik: Melda Üner ile bir görüşme MP3 FileiTunes2. Bölüm    Osmanlı Romanlarından Klasik Batı Müziği Seçmeleri MP3 FileiTunesTanzimat Dönemi'nden günümüze Türk Edebiyatı üzerine uzmanlaşan Doç. Dr. Melda Üner başkan yardımcılığı görevini de üstlendiği Yeditepe Üniversitesi Türk Dili ve Edebiyatı Bölümünde ders vermektedir. (bkz. academia.edu)Yeniçağ Akdeniz Tarihi ve Osmanlı İmparatorluğu üzerine uzmanlaşan Dr. Emrah Safa Gürkan İstanbul 29 Mayıs Üniversitesi'nde ders vermektedir. (bkz. academia.edu)Dr. Murat Özkoyuncu Andante Dergisi Yazar ve Eleştirmenidir (bkz. Andante)Yakınçağ Orta Doğu Tarihi çalışan Chris Gratien Georgetown Üniversitesi'nde doktora yapmaktadır (bkz. academia.edu)SEÇME KAYNAKÇAİnceleme Kitapları: Ahmet Hamdi Tanpınar, XIX. Asır Türk Edebiyatı Tarihi, Yay.Haz. Abdullah Uçman (İstanbul: Yapı Kredi Yayınları, İstanbul 2006)Ahmet Hamdi Tanpınar, Edebiyat Üzerine Makaleler, Haz.: Zeynep Kerman (İstanbul: Dergâh Yayınları, 1992).Ahmet Hamdi Tanpınar, XIX. Asır Türk Edebiyatı Tarihi (İstanbul: Çağlayan Kitabevi, 1967).Halid Ziya Uşaklıgil, Sanata Dair II (İstanbul: Hilmi Kitabevi, 1938).Halid Ziya, Kırk Yıl III, (İstanbul: Cumhuriyet Gazetesi ve Matbaası, 1936). Ayşe Melda Üner, Roman ve Musiki (İstanbul: Simurg Kitapçılık, 2006).Romanlar:Ahmet Midhat Efendi, Felâtun Bey ve Rakım Efendi, Haz.: Necat Birinci (Ankara: Atatürk Kültür , Dil ve Tarih Yüksek Kurumu, Türk Dil Kurumu Yayınları, Ankara 2000). Ahmet Midhat Efendi, Müşahedat, Haz.: Necat Birinci (Ankara: Atatürk Kültür , Dil ve Tarih Yüksek Kurumu, Türk Dil Kurumu Yayınları, 2000). Ahmet Midhat Efendi, Jön Türk, Haz.: Dr. Osman Gündüz (Ankara: Akçağ Basım Yayım Pazarlama A.Ş., 1999). Recaizade Mahmut Ekrem, Araba Sevdası, Haz. İsmail Parlatır, Nurullah Çetin ve Hakan Sazyek (İstanbul: Milli Eğitim Bakanlığı Yayınları , 1997).Mizancı Murat, Turfanda mı Yoksa Turfa Mı? (Ankara: Akçağ Yayınları, 1999).Sami Paşazade Sezai, Sergüzeşt (İstanbul: Sahip ve Naşiri Kütüphane-i Sudî, İstanbul Bab-ı Âli Caddesi, Orhaniye Matbaası, 1924). Nabizade Nazım, Zehra (Ankara: Akçağ Yayınları, 1997). Fatma Aliye Hanım, Udî, (Dersaâdet: İkdam Matbaası, 1315/1899).Halid Ziya Uşaklıgil, Mai ve Siyah, Haz.: Enfel Doğan (İstanbul: Özgür Yayınları, 2007).Halid Ziya Uşaklıgil, Aşk-ı Memnu, Haz.: Muharrem Kaya (İstanbul: Özgür Yayınları, 2003).Halid Ziya Uşaklıgil, Nesl-i Ahir, Haz.: Alev Sınar Uğurlu (İstanbul: Özgür Yayınları, 2009).Mehmet Rauf, Eylül, Haz.: Metin Martı (İstanbul: Arma Yayınları, 1998). Müzik:Felix Mendelssohn-BartholdyConcerto per violino e orchestra in Mi minore op. 64NBC Symphony Orchestra, 1944Giuseppe VerdiLa fatal pietra (Aida)Nicola Zerola, 1909Giuseppe VerdiPace, Pace, Mio Dio (La Forza Del Destino)Rosa Ponselle, 1928Charles GounodJe veux vivre dans le rêve (Roméo et Juliette)Amelita Galli-Curci (1917)Charles Gounod'O merveille! ... A moi les plaisirs' (Faust) Enrico Caruso / Marcel Journet, 1910Jacques OffenbachLe roi plaintif qui s'embarque (La Belle Hélène)Paris Philharmonic Chorus & Orchestra, 1952Ludwig van BeethovenMoonlight SonataSolomon, 1956Frédéric ChopinPiano Concerto No. 2Alfred Cortot, piano / John Barbirolli, conductor (1935)Felix Mendelssohn-BartholdyA Midsummer Night's DreamCleveland Orchestra, 1942Frédéric ChopinNocturne in C sharp Minor (No.20)Vladimir Ashkenazy

21 popular selections (announced) by the sensational Rosa Ponselle. Unimaginable how she sounded live.  (65 min.)  Bio follows: Legendary Operatic Diva, Rosa Ponselle, was discovered at age 21, while singing in vaudeville, by Enrico Caruso who brought her to the Met to appear opposite him as the "Leonora" in the 1918 Metropolitan Opera premiere performance of Verdi's La FORZA del DESTINO. She became the first American-born artist to sing a major role at the Met without the benefit of prior European training or experience, and is credited with opening the doors of the Met to the American-trained singer. Most remarkable about Ponselle is that she had no vocal training prior to her operatic debut. Born with a natural gift for singing and acting, she was a true Dramatic Soprano having many revivals done for her. For the 19 seasons that she sang with the Met, she was considered its reigning queen, and was dubbed by Huneker as "The Caruso in Petticoats". Geraldine Farrar is reported to have said when discussing singers, "There are two you must put aside, one is Enrico Caruso, the other is Rosa Ponselle. Then you may begin to discuss all the others." Leonard Bernstein, who credited Ponselle with changing the direction of his young life, wrote in a letter to her, "Yours is the first operatic voice I ever heard, at age eight, on an old Columbia 78, singing 'Suicido'. Even through all the scratchiness and surface noise, that voice rang through in such glory that it made me a music-lover forever. I thank you every day of my life." is is ultimate perfection.'"f us all."  Legendary Operatic Diva, Rosa Ponselle, was discovered at age 21, while singing in vaudeville, by Enrico Caruso who brought her to the Met to appear opposite him as the "Leonora" in the 1918 Metropolitan Opera premiere performance of Verdi's La FORZA del DESTINO. She became the first American-born artist to sing a major role at the Met without the benefit of prior European training or experience, and is credited with opening the doors of the Met to the American-trained singer. Most remarkable about Ponselle is that she had no vocal training prior to her operatic debut. Born with a natural gift for singing and acting, she was a true Dramatic Soprano having many revivals done for her. For the 19 seasons that she sang with the Met, she was considered its reigning queen, and was dubbed by Huneker as "The Caruso in Petticoats". Geraldine Farrar is reported to have said when discussing singers, "There are two you must put aside, one is Enrico Caruso, the other is Rosa Ponselle. Then you may begin to discuss all the others." Leonard Bernstein, who credited Ponselle with changing the direction of his young life, wrote in a letter to her, "Yours is the first operatic voice I ever heard, at age eight, on an old Columbia 78, singing 'Suicido'. Even through all the scratchiness and surface noise, that voice rang through in such glory that it made me a music-lover forever. I

Several great singers sing sings by Francesco Paolo Tosti.In order they are: Mattia Battistini, Augusto Dianni, Tom Burke, Alfred Piccaver, Charles Dalmores, Fernando de Lucia, Giuseppe Anselmi, John McCormack, Richard Tauber, Enrico Caruso, Dusolina Giannnini, Adelina Patti, Emma Eames, Rosa Ponselle, and Luisa Tetrazzini.  (57 min.)

Highlights from a Met Carmen of March 28,1936 featuring Rosa Ponselle, Rene Maison, Ezio Pinza and Hilda Burke                  (The conductor is Louis Hasselmans)                                      (70 min.)

Recollections At Thirty. June 27, 1956. The NBC Minstrels with Gene Arnold and Vance McKuen (who sings). Easy Aces, Al Jolson and Maxie Rosenbloom on "Shell Chateau." Major Bowes' Original Amateur Hour. Leslie Howard and his daughter Ruth in a dramatic excerpt written by Sir James Barrie. Graham McNamee introduces Rosa Ponselle (1933). Al Jolson, Ed Herlihy (announcer), Edward Bowes, Fred Collins (announcer), Gene Arnold, Goodman Ace, Graham McNamee (host), James M. Barrie (author), Jane Ace, Leslie Howard (guest host), Maxie Rosenbloom, Rosa Ponselle, Leslie Ruth Howard, The NBC Minstrels, Vance McKuen.

 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 tribute to the phenomenal Rosa Ponselle, one of the greatest singers in opera history. Included are some commercial selections, but mostly live selections from 1951-1954. Enjoy!!!!  (73 min.)

Highlights from Puccini operas featuring many great artists: Rosa Ponselle, Claudia Muzio, Virginia Zeani, Licia Albanese,Margherita Sheridan, Edith Mason, Nelly Melba, Lucrecia Bori,Magda Olivero, Montserrat Caballe, Mattia Battistini,Titta Ruffo,Beniamino Gigli, Enrico Caruso, Aureliano Pertile,Tito Schipa,John McCormack.                                    (73 minutes)

Here are 21 great artists of the past,all on commercial recordings. Isincerely hope you enjoy them and will "turn on" to some of theless familiar voices: Emma Calve(pictured), Rosa Ponselle, Mafalda Favero, Tito Schipa,Beniamino Gigli, Ernestine Schumann-Heink, Alfred Piccaver,Erna Berger, Tiana Lemnitz, Selma Kurz, Gilda Dalla Rizza,Lauritz Melchior, Bernardo de Muro, Adamo Didur, Lawrence Tibbett,Titta Ruffo, Heinrich Schlusnus, John McCormack,Emmy Destinn,Luisa Tetrazzini,Frances Alda.                                         (79 minutes) ...and a special note of thanks for your wonderful responses to these,my  "labors of love." Our average audience is now over 900!!!!

This is volume one of the "chest voice" podcasts. Here I includesuch exciting artists (in proper order) as: Luisa Tetrazzini,Emma Calve, Clara Butt, Conchita Supervia,Eugenia Burzio, Mafalda Favero, Maria Callas and Fedora Barbieri,Martha Moedl, Leyla Gencer, Beverly Sills, Regina Resnik,Oralia Dominguez, Birgite Fassbaender, Rosa Ponselle,Rita Hunter, and Lina Bruna Rasa.                                    (74 minutes)

A pot-pourri of fifteen famous sopranos. They include: Magda Olivero, Gianna Arangi-Lombardi, Mafalda Favero, Ninon Vallin, Bidu Sayao, Eva Turner, Ljuba Welitsch, Rosetta Pampanini, Germaine Lubin, Claudia Muzio, Elizabeth Grummer, Martha Moedl, Rosa Ponselle, Licia Albanese, and Gina Cigna (w.Cloe Elmo).