{"id":1716,"date":"2019-10-13T15:09:15","date_gmt":"2019-10-13T13:09:15","guid":{"rendered":"http:\/\/countermelodypodcast.com\/?p=1716"},"modified":"2023-11-09T17:54:51","modified_gmt":"2023-11-09T16:54:51","slug":"episode-4-jessye-and-her-forebears","status":"publish","type":"post","link":"https:\/\/countermelodypodcast.com\/index.php\/2019\/10\/13\/episode-4-jessye-and-her-forebears\/","title":{"rendered":"Episode 4. Jessye and Her Forebears (Needle Drop I)"},"content":{"rendered":"<div id=\"mega-menu-wrap-primary\" class=\"mega-menu-wrap\"><div class=\"mega-menu-toggle\"><div class=\"mega-toggle-blocks-left\"><\/div><div class=\"mega-toggle-blocks-center\"><\/div><div class=\"mega-toggle-blocks-right\"><div class='mega-toggle-block mega-menu-toggle-animated-block mega-toggle-block-1' id='mega-toggle-block-1'><button aria-label=\"Menu\" class=\"mega-toggle-animated mega-toggle-animated-slider\" type=\"button\" aria-haspopup=\"true\" aria-expanded=\"false\" aria-controls=\"mega-menu-primary\">\n                  <span class=\"mega-toggle-animated-box\">\n                    <span class=\"mega-toggle-animated-inner\"><\/span>\n                  <\/span>\n                <\/button><\/div><\/div><\/div><ul id=\"mega-menu-primary\" class=\"mega-menu max-mega-menu mega-menu-horizontal mega-no-js\" data-event=\"hover_intent\" data-effect=\"slide\" data-effect-speed=\"200\" data-effect-mobile=\"slide\" data-effect-speed-mobile=\"200\" data-mobile-force-width=\"body\" data-second-click=\"go\" data-document-click=\"collapse\" data-vertical-behaviour=\"standard\" data-breakpoint=\"600\" data-unbind=\"true\" data-mobile-state=\"collapse_all\" data-mobile-direction=\"vertical\" data-hover-intent-timeout=\"300\" data-hover-intent-interval=\"100\"><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-home mega-align-bottom-left mega-menu-flyout mega-menu-item-19160\" id=\"mega-menu-item-19160\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/\">Home<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-align-bottom-left mega-menu-flyout mega-menu-item-19161\" id=\"mega-menu-item-19161\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/about-daniel\/\">About Daniel<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-current_page_parent mega-align-bottom-left mega-menu-flyout mega-menu-item-19171\" id=\"mega-menu-item-19171\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/all-episodes\/\">All Episodes<\/a><\/li><\/ul><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Episode 4. Jessye and Her Forebears (Needle Drop I)<\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"400\" height=\"40\" src=\"https:\/\/countermelody.blubrry.net\/?powerpress_embed=16-podcast&amp;powerpress_player=mediaelement-audio\" frameborder=\"0\" scrolling=\"no\"><\/iframe>\n\n\n\n<div class=\"wp-block-columns has-2-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><strong>SOCIAL SHARE<\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-text-align-right\"><strong>SUBSCRIPTION PLATFORM<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-coblocks-buttons\"><div class=\"wp-block-coblocks-buttons__inner flex-align-right\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link\" href=\"https:\/\/countermelody.blubrry.net\/\">SUBSCRIBE VIA YOUR FAVORITE<br>PODCAST PLATFORM<\/a><\/div>\n<\/div><\/div>\n\n\n\n<p>Due to a last minute change of plans, I have decided to bring you the first in what I hope will be a series of episodes devoted to excerpts from LP recordings in my collection which have either never been reissued on CD or have had only limited availability. This first episode includes a tribute to the late Jessye Norman, with a nod to some of the great African American singers who paved the way for her in her career. In addition, my special guest the theatre scholar David Savran speaks about the significance of her collaborations with director Robert Wilson. Other singers heard include G\u00e9rard Souzay, Elisabeth S\u00f6derstr\u00f6m, Dorothy Maynor, Camilla Williams, Martina Arroyo, Shirley Verrett, and Leontyne Price, none of which have received widespread release beyond their initial appearance on LP. I conclude the episode with a special greeting from the balcony of my Air B&amp;B in Napoli, where I am celebrating my birthday.<\/p>\n\n\n\n<p style=\"font-size:30px\" class=\"has-custom-size\"><strong>RECORDINGS FEATURED ON THIS EPISODE<\/strong><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignright is-resized\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Souzay-Schubert-3.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Souzay-Schubert-3.jpg\" alt=\"\" class=\"wp-image-1735\" width=\"190\" height=\"190\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Souzay-Schubert-3.jpg 493w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Souzay-Schubert-3-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Souzay-Schubert-3-300x300.jpg 300w\" sizes=\"auto, (max-width: 190px) 100vw, 190px\" \/><\/a><\/figure><\/div>\n\n\n\n<p> <strong>G\u00e9rard Souzay<\/strong>. Franz Schubert: <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=cjhCkHWLtCw\" target=\"_blank\">Die Taubenpost, D.957\/14<\/a><\/strong>. Dalton Baldwin, piano. From <strong>G\u00e9rard <\/strong> <strong>Souzay singt Schubert<\/strong>&nbsp;<a rel=\"noreferrer noopener\" aria-label=\"838 124  (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/G%C3%A9rard-Souzay-Dalton-Baldwin-Franz-Schubert-Schubert\/release\/6210654\" target=\"_blank\"><strong>838 124<\/strong> <\/a>(ca. 1967). I have stated repeatedly how Souzay is one of my favorite interpreters of art song. If one is going to be completely honest about his work, one would have to acknowledge that some of his late singing is distinctly under-par (I myself remember hearing a shocking poor late recital in Milwaukee), and his forays into opera, except for his extroardinary Golaud in <em>Pell\u00e9as et M\u00e9lisande<\/em> don&#8217;t pack the needed punch. He was on the record as being dissatisfied with his recordings from the 1950s (before he signed with the Philips label), but I find those a perfect balance of all his finest qualities: honeyed legato, textual awareness, tonal beauty, all allayed to his intense need to <em>tell the story<\/em>. Because this is my first Needle Drop episode and because I just picked this recording up at the flea market a couple weeks ago just blocks from my house, and because he is at his very best in Schubert, I chose his recording of <em>Die Taubenpost<\/em> from the <em>Schwanengesang <\/em>compilation to represent him here. More will be said about this great artist in future episodes. And of course you can also hear him every week singing the closing music to every podcast episode!<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignleft is-resized\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Soderstrom-1972-Swedish-EMI.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Soderstrom-1972-Swedish-EMI.jpg\" alt=\"\" class=\"wp-image-1721\" width=\"195\" height=\"190\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Soderstrom-1972-Swedish-EMI.jpg 599w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Soderstrom-1972-Swedish-EMI-300x292.jpg 300w\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" \/><\/a><\/figure><\/div>\n\n\n\n<p><strong>Elisabeth S\u00f6derstr\u00f6m<\/strong>. Anonymous: Neapolitan Mourning Song, arr. Claude  G\u00e9netay. Ulf Bj\u00f6rlin conducting the  Symfoniorkestern Norrk\u00f6ping. <a rel=\"noreferrer noopener\" aria-label=\"EMI  4E 061-34788 (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Elisabeth-S%C3%B6derstr%C3%B6m-Elisabeth-S%C3%B6derstr%C3%B6m\/release\/13798029\" target=\"_blank\"><strong>EMI  4E 061-34788<\/strong><\/a> (1973). This is quite an extraordinary and rather rare recording. As far as I know, it never received any release other than on this LP from Swedish EMI. The repertoire is quite eclectic and ambitious and includes the great Swedish soprano&#8217;s versions of extended scenes from two of her greatest roles: Tatyana in <em>Eugene Onegin<\/em> (the so-called Letter Scene) and the Gr\u00e4fin in <em>Capriccio<\/em> (here she sings the great final scene with such purity of intention and passion that one is completely swept away. Also included are the <em>Divinit\u00e9s du Styx<\/em> from Gluck&#8217;s <em>Alceste<\/em>, Cherubino&#8217;s <em>Non so pi\u00f9<\/em> and the so-called <em>Air de Lia<\/em> (<em>L\u2019ann\u00e9e en vain chasse l\u2019ann\u00e9e<\/em>) from Debussy&#8217;s early Massenet-esque cantata <em><strong>L&#8217;Enfant prodigue<\/strong><\/em> (which garnered its composer the Prix de Rome in 1884), as well as the great Swedish composer <strong>Ture Rangstr\u00f6m<\/strong>&#8216;s short orchestral cycle <em>Hennes Ord<\/em> on texts by the great Swedish author and poet <strong>Bo Bergman<\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Rose-Caron.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"1016\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Rose-Caron.jpg\" alt=\"\" class=\"wp-image-1762\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Rose-Caron.jpg 800w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Rose-Caron-236x300.jpg 236w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Rose-Caron-768x975.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><\/a><figcaption>Rose Caron, who sang the role of Lia in the premiere of Debussy&#8217;s cantata <em>L&#8217;Enfant prodigue<\/em>.<br>In this portrait by  L\u00e9on Bonnat  she is depicted in the title role of Ernest Reyer&#8217;s <em>Salammbo<\/em>.<\/figcaption><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Great-Day-in-the-Morning.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1011\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Great-Day-in-the-Morning-1011x1024.jpg\" alt=\"\" class=\"wp-image-1727\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Great-Day-in-the-Morning-1011x1024.jpg 1011w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Great-Day-in-the-Morning-296x300.jpg 296w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Great-Day-in-the-Morning-768x778.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Great-Day-in-the-Morning-1600x1621.jpg 1600w\" sizes=\"auto, (max-width: 1011px) 100vw, 1011px\" \/><\/a><\/figure>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignright\"><img loading=\"lazy\" decoding=\"async\" width=\"252\" height=\"390\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/GreatDay.jpg\" alt=\"\" class=\"wp-image-1782\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/GreatDay.jpg 252w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/GreatDay-194x300.jpg 194w\" sizes=\"auto, (max-width: 252px) 100vw, 252px\" \/><figcaption>Jessye Norman in <br><em>Great Day in the Morning<\/em>, Paris 1982.<br>Photo  \u00a9 Colette Masson \/ Roger-Viollet<\/figcaption><\/figure><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Norman (opens in a new tab)\" href=\"https:\/\/www.theguardian.com\/music\/2019\/oct\/01\/jessye-norman-american-soprano-stars-legend\" target=\"_blank\">Jessye Norman<\/a><\/strong>. Four excerpts from <strong>Great Day in the Morning<\/strong>.  1. I Believe I&#8217;ll Go Back Home (duet with <strong><a rel=\"noreferrer noopener\" aria-label=\"LaVerne Williams (opens in a new tab)\" href=\"https:\/\/vimeo.com\/45747889\" target=\"_blank\">LaVerne Williams<\/a><\/strong>); 2. Thought (with <strong><a rel=\"noreferrer noopener\" aria-label=\"Elizabeth Cooper (opens in a new tab)\" href=\"https:\/\/fr.wikipedia.org\/wiki\/Elizabeth_Cooper\" target=\"_blank\">Elizabeth Cooper<\/a><\/strong>, piano); 3. Calvary (a cappella); 4. Amazing Grace (a cappella). <a rel=\"noreferrer noopener\" aria-label=\"Philips 6769 104  (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Jessye-Norman-Great-Day-In-The-Morning\/release\/8513683\" target=\"_blank\"><strong>Philips 6769 104<\/strong> <\/a>(1982). In the episode, I interview the distinguished theater scholar <strong><a rel=\"noreferrer noopener\" aria-label=\"David Savran (opens in a new tab)\" href=\"https:\/\/twitter.com\/davidsavran?lang=en\" target=\"_blank\">David Savran<\/a><\/strong> about the (relatively unexamined) importance of Jessye Norman&#8217;s collaborations with the director Robert Wilson. This recording captures their first collaboration. <strong><a rel=\"noreferrer noopener\" aria-label=\"Here is a page from Wilson's website that pays tribute to the late diva. (opens in a new tab)\" href=\"http:\/\/www.robertwilson.com\/news\" target=\"_blank\">Here is a page <\/a><\/strong>from Wilson&#8217;s website that pays tribute to the late diva. And here is a <a rel=\"noreferrer noopener\" aria-label=\"link to the article in the LA Times  (opens in a new tab)\" href=\"https:\/\/www.latimes.com\/entertainment-arts\/story\/2019-10-02\/jessye-norman-american-opera-singer-appreciation\" target=\"_blank\">link to the article in the LA Times <\/a>that David talks about in our interview which foregrounds the importance of the <em>Great Day in the Morning<\/em> project. Other musicians involved in this project, in addition to those listed above, were soprano <strong><a rel=\"noreferrer noopener\" aria-label=\"Shezwae Powell (opens in a new tab)\" href=\"https:\/\/www.ibdb.com\/broadway-cast-staff\/shezwae-powell-84589\" target=\"_blank\">Shezwae Powell<\/a><\/strong>; mezzo-soprano <strong><a rel=\"noreferrer noopener\" aria-label=\"Nancy Ticotin (opens in a new tab)\" href=\"https:\/\/www.imdb.com\/name\/nm0862721\/\" target=\"_blank\">Nancy Ticotin<\/a><\/strong>; tenors <strong><a rel=\"noreferrer noopener\" aria-label=\"Jimmy Chambers (opens in a new tab)\" href=\"http:\/\/www.jimmychambers.com\/\" target=\"_blank\">Jimmy Chambers<\/a><\/strong> and Wayne Williams; baritones Vernon Nesbeth, <strong><a rel=\"noreferrer noopener\" aria-label=\"Ira Spaulding (opens in a new tab)\" href=\"https:\/\/www.americanartsfestival.org\/ira-spaulding.html\" target=\"_blank\">Ira Spaulding<\/a><\/strong>, and <strong><a rel=\"noreferrer noopener\" aria-label=\"Richard Taylor (opens in a new tab)\" href=\"https:\/\/www.t25cl.com\/collections\/wally-taylor\" target=\"_blank\">Richard Taylor<\/a><\/strong>; bass <strong><a rel=\"noreferrer noopener\" aria-label=\"Thomas Pollard (opens in a new tab)\" href=\"https:\/\/www.imdb.com\/name\/nm0689507\/\" target=\"_blank\">Thomas Pollard<\/a><\/strong>, cellist <strong><a rel=\"noreferrer noopener\" aria-label=\"Renaud Fontanarosa (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/artist\/2382447-Renaud-Fontanarosa\" target=\"_blank\">Renaud Fontanarosa<\/a><\/strong>, flautist <strong><a rel=\"noreferrer noopener\" aria-label=\"Beno\u00eet Fromange (opens in a new tab)\" href=\"https:\/\/www.pearlflute.com\/artists\/benoit-fromanger\" target=\"_blank\">Beno\u00eet Fromange<\/a><\/strong>, percussionist Wieslaw Janacek, and saxophonist <strong><a rel=\"noreferrer noopener\" aria-label=\"Steve Potts (opens in a new tab)\" href=\"https:\/\/www.stevepotts.net\/\" target=\"_blank\">Steve Potts<\/a><\/strong>, saxophone, all conducted by <strong><a rel=\"noreferrer noopener\" aria-label=\"Willis Patterson. (opens in a new tab)\" href=\"https:\/\/smtd.umich.edu\/about\/faculty-profiles\/willis-patterson\/\" target=\"_blank\">Willis Patterson<\/a><\/strong>. The <em><a rel=\"noreferrer noopener\" aria-label=\"Winterreise  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=J-dg2B5Tngs\" target=\"_blank\"><strong>Winterreise<\/strong> <\/a><\/em>to which Wilson, Savran, and the LA Times article reference was broadcast on European television but is currently unavailable on any platform. Here is a <strong><a rel=\"noreferrer noopener\" aria-label=\"link to the 1982 item (opens in a new tab)\" href=\"https:\/\/www.nytimes.com\/1982\/11\/19\/arts\/great-day-in-morning-spirituals-program-cut.html\" target=\"_blank\">link to the 1982 item<\/a><\/strong> in the <em>New York Times<\/em> which announces the cancellation of <em>Great Day in the Morning <\/em>at BAM.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignright is-resized\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/The-Art-of-Dorothy-Maynor.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/The-Art-of-Dorothy-Maynor.jpg\" alt=\"\" class=\"wp-image-1729\" width=\"236\" height=\"236\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/The-Art-of-Dorothy-Maynor.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/The-Art-of-Dorothy-Maynor-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/The-Art-of-Dorothy-Maynor-300x300.jpg 300w\" sizes=\"auto, (max-width: 236px) 100vw, 236px\" \/><\/a><\/figure><\/div>\n\n\n\n<p><strong><a rel=\"noreferrer noopener\" aria-label=\"Dorothy Maynor (opens in a new tab)\" href=\"https:\/\/aaregistry.org\/story\/dorothy-maynor-beautiful-voice-generous-heart\/\" target=\"_blank\">Dorothy Maynor<\/a><\/strong>. George Frideric Handel: O Sleep, why dost thou leave me? (<em>Semele<\/em>) With Serge Koussevitzky conducting the Boston Symphony Orchestra (recorded 1939). From <em><strong><a rel=\"noreferrer noopener\" aria-label=\"The Art of Dorothy Maynor, RCA  LM-3086 (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Dorothy-Maynor-The-Art-Of-Dorothy-Maynor\/release\/12443449\" target=\"_blank\">The Art of Dorothy Maynor<\/a><\/strong><\/em><a rel=\"noreferrer noopener\" aria-label=\"The Art of Dorothy Maynor, RCA  LM-3086 (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Dorothy-Maynor-The-Art-Of-Dorothy-Maynor\/release\/12443449\" target=\"_blank\">,<\/a><strong><a rel=\"noreferrer noopener\" aria-label=\"The Art of Dorothy Maynor, RCA  LM-3086 (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Dorothy-Maynor-The-Art-Of-Dorothy-Maynor\/release\/12443449\" target=\"_blank\"> RCA  LM-3086<\/a><\/strong> (1969). Dorothy Maynor&#8217;s importance as an African American concert artist of the first rank cannot be underestimated. Just as Marian Anderson helped create a context in which artists of color could be heard and celebrated in the United States, so did Maynor. <strong><a rel=\"noreferrer noopener\" aria-label=\"This article (opens in a new tab)\" href=\"http:\/\/afrovoices.com\/dorothy-maynor-biography\/\" target=\"_blank\">This article<\/a><\/strong> gives a wonderful overview of her career and contributions. I promise to feature more of Maynor&#8217;s work in future episodes.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Dorothy-Maynor-booking-ad.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"749\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Dorothy-Maynor-booking-ad-749x1024.jpg\" alt=\"\" class=\"wp-image-1763\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Dorothy-Maynor-booking-ad-749x1024.jpg 749w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Dorothy-Maynor-booking-ad-219x300.jpg 219w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Dorothy-Maynor-booking-ad-768x1050.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Dorothy-Maynor-booking-ad.jpg 1000w\" sizes=\"auto, (max-width: 749px) 100vw, 749px\" \/><\/a><figcaption>A 1948 booking advertisement for Dorothy Maynor (probably from <em>Musical America<\/em>).<\/figcaption><\/figure>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignleft is-resized\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/A-Camilla-Williams-Recital.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/A-Camilla-Williams-Recital.jpg\" alt=\"\" class=\"wp-image-1730\" width=\"286\" height=\"282\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/A-Camilla-Williams-Recital.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/A-Camilla-Williams-Recital-300x296.jpg 300w\" sizes=\"auto, (max-width: 286px) 100vw, 286px\" \/><\/a><\/figure><\/div>\n\n\n\n<p><strong>Camilla Williams<\/strong>. <a href=\"https:\/\/youtu.be\/-AM3MLsDZnE?t=127\"><strong>Charles Koechlin: Si tu le veux<\/strong><\/a>. With Borislav Bazala, piano. From <em><strong><a rel=\"noreferrer noopener\" aria-label=\"A Camilla Williams Recital (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Camilla-Williams-Song-Recital\/release\/13712654\" target=\"_blank\">A Camilla Williams Recital<\/a><\/strong><\/em>, MGM Records E 140 (1952). <strong><a href=\"https:\/\/www.nytimes.com\/2012\/02\/03\/arts\/music\/camilla-williams-opera-singer-dies-at-92.html\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Camilla Williams (opens in a new tab)\">Camilla Williams<\/a><\/strong> is probably best remembered today for her performance of Bess in the 1951 Goddard Lieberson-produced Columbia Records recording of <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Porgy and Bess (opens in a new tab)\" href=\"https:\/\/en.wikipedia.org\/wiki\/Porgy_and_Bess_(1951_album)\" target=\"_blank\">Porgy and Bess<\/a><\/strong><\/em>, which also featured Lawrence Winters as Porgy , Inez Matthews as Serena and  June McMechen as Clara, conducted by Lehman Engel. Though the recording perpetuated the tradition of heavy cuts to the original structure preferred by George Gershwin, it remains a landmark document. I will feature more on Camilla Williams in next week&#8217;s episode, the first of a three-part interview with soprano <strong><a rel=\"noreferrer noopener\" aria-label=\"Janet Williams (opens in a new tab)\" href=\"http:\/\/www.janet-williams.com\/\" target=\"_blank\">Janet Williams<\/a><\/strong>, one of Ms. Williams&#8217;s most successful students.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-3 is-cropped wp-block-gallery-1\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia-original.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"498\" height=\"500\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia-original.jpg\" alt=\"\" data-id=\"1765\" data-link=\"https:\/\/countermelodypodcast.com\/?attachment_id=1765\" class=\"wp-image-1765\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia-original.jpg 498w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia-original-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia-original-300x300.jpg 300w\" sizes=\"auto, (max-width: 498px) 100vw, 498px\" \/><\/a><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"565\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia.jpg\" alt=\"\" data-id=\"1766\" data-link=\"https:\/\/countermelodypodcast.com\/?attachment_id=1766\" class=\"wp-image-1766\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Columbia-300x283.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips-2.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"599\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips-2.jpg\" alt=\"\" data-id=\"1767\" data-link=\"https:\/\/countermelodypodcast.com\/?attachment_id=1767\" class=\"wp-image-1767\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips-2.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips-2-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips-2-300x300.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"480\" height=\"475\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips.jpg\" alt=\"\" data-id=\"1768\" data-link=\"https:\/\/countermelodypodcast.com\/?attachment_id=1768\" class=\"wp-image-1768 is-layout-flex wp-block-gallery-is-layout-flex\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips.jpg 480w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Porgy-Philips-300x297.jpg 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><\/a><\/figure><\/li><\/ul><\/figure>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignright is-resized\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Arroyo-Meeting.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Arroyo-Meeting.jpg\" alt=\"\" class=\"wp-image-1731\" width=\"286\" height=\"286\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Arroyo-Meeting.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Arroyo-Meeting-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Arroyo-Meeting-300x300.jpg 300w\" sizes=\"auto, (max-width: 286px) 100vw, 286px\" \/><\/a><\/figure><\/div>\n\n\n\n<p><strong>Martina Arroyo<\/strong>. I Couldn&#8217;t Hear Nobody Pray (traditional spiritual).  With the Choirs of The Harlem School of the Arts and St. James Presbyterian Church, NYC conducted by Dorothy Maynor. From <strong><em><a rel=\"noreferrer noopener\" aria-label=\"There's A Meeting Here Tonight (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Martina-Arroyo-Theres-A-Meeting-Here-Tonight\/release\/4955825\" target=\"_blank\">There&#8217;s A Meeting Here Tonight<\/a><\/em><\/strong>, Angel Records S-36072 (1974). <strong><a rel=\"noreferrer noopener\" aria-label=\"Martina Arroyo (opens in a new tab)\" href=\"http:\/\/www.martinaarroyo.com\" target=\"_blank\">Martina Arroyo<\/a><\/strong> surely numbers among the most important spinto sopranos at the <strong><a rel=\"noreferrer noopener\" aria-label=\"Metropolitan Opera in the 1960s through the 1980s (opens in a new tab)\" href=\"http:\/\/archives.metoperafamily.org\/archives\/frame.htm\" target=\"_blank\">Metropolitan Opera in the 1960s through the 1980s<\/a><\/strong>. Her Verdi portrayals from Elena in <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Vespri siciliani (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=KyLNpdiOOsg\" target=\"_blank\">Vespri siciliani<\/a><\/strong><\/em> to Elvira in <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Ernani (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=KiLv-qY_rko\" target=\"_blank\">Ernani<\/a><\/strong><\/em>, from the title role in <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Aida  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=jp7HiM6qHKE\" target=\"_blank\">Aida<\/a><\/strong><\/em><a rel=\"noreferrer noopener\" aria-label=\"Aida  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=jp7HiM6qHKE\" target=\"_blank\"> <\/a>to the Leonoras in <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Trovatore  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=eycmfYCtfvk\" target=\"_blank\">Trovatore<\/a><\/strong><\/em><strong><a rel=\"noreferrer noopener\" aria-label=\"Trovatore  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=eycmfYCtfvk\" target=\"_blank\"> <\/a><\/strong>and <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Forza (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=HhXiNPP_tNo\" target=\"_blank\">Forza<\/a><\/strong><\/em>, from Amelia in <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Ballo (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=lUK9dzHtKoY\" target=\"_blank\">Ballo<\/a><\/strong> <\/em>to, most surprisingly, <strong><a rel=\"noreferrer noopener\" aria-label=\"Lady Macbeth (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=4dvmV340X28\" target=\"_blank\">Lady Macbeth<\/a><\/strong>, are justly celebrated. She also performed both soprano roles in Puccini&#8217;s <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Turandot  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=5PEEY77ziQ0\" target=\"_blank\">Turandot<\/a><\/strong><\/em><strong><a rel=\"noreferrer noopener\" aria-label=\"Turandot  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=5PEEY77ziQ0\" target=\"_blank\"> <\/a><\/strong>as well as the the title role in <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Madama Butterfly and (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=spflxulH9Eo\" target=\"_blank\">Madama Butterfly <\/a><\/strong><\/em>and Elsa in Wagner&#8217;s <em><a rel=\"noreferrer noopener\" aria-label=\"Lohengrin (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=CqEuImSrGw0\" target=\"_blank\"><strong>Lohengrin<\/strong><\/a><\/em>. Her <strong><a href=\"https:\/\/www.youtube.com\/watch?v=7IA7ZAF5Uog\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Donna Anna (opens in a new tab)\">Donna Anna<\/a><\/strong> in Mozart&#8217;s <em>Don Giovanni<\/em> was twice-recorded and is another of her most significant parts. She was also a distinguished recitalist and in 1963 created the solo in <strong><a rel=\"noreferrer noopener\" aria-label=\"Samuel  (opens in a new tab)\" href=\"https:\/\/paulthomasonwriter.com\/samuel-barber-andromaches-farewell\/\" target=\"_blank\">Samuel Barber<\/a><\/strong>&#8216;s <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Andromache's Farewell. (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=iP6LbpnE7bs\" target=\"_blank\">Andromache&#8217;s Farewell<\/a><\/strong><\/em> at the New York Philharmonic&#8217;s inaugural season at Lincoln Center. Though it was often remarked that she had a relatively placid stage demeanor, hers is an enormously beautiful and satisfying voice and the live performances of hers that I have sampled are remarkably consistent. In 2010, she was an NEA Opera Honors recipient. <strong><a rel=\"noreferrer noopener\" aria-label=\"Here is an interview (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=-X_dewm3M1o\" target=\"_blank\">Here is an interview<\/a><\/strong> with her from that time. (P.S. In her early days when she was beginning her career in German-speaking Europe, she participated in and recorded the 1965 version of Karlheinz Stockhausen&#8217;s <em><strong><a rel=\"noreferrer noopener\" aria-label=\"Momente (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=iZES35Kcx-o\" target=\"_blank\">Momente<\/a><\/strong><\/em>.)<\/p>\n\n\n\n<div style=\"height:28px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignleft is-resized\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Gospel-Album.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Gospel-Album.jpg\" alt=\"\" class=\"wp-image-1733\" width=\"338\" height=\"338\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Gospel-Album.jpg 600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Gospel-Album-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Shirley-Gospel-Album-300x300.jpg 300w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/a><\/figure><\/div>\n\n\n\n<p><strong>Shirley Verrett<\/strong>.  &nbsp;Charles H. Gabriel, Civilla D. Martin: <strong><a rel=\"noreferrer noopener\" aria-label=\"His Eye Is On the Sparrow (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=XQY9WtEB5rI\" target=\"_blank\">His Eye Is On the Sparrow<\/a><\/strong> (arranged and adapted Herb Geller). With Peter Daniels, piano. From <strong><em><a rel=\"noreferrer noopener\" aria-label=\"How Great Thou Art Precious Lord (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Shirley-Verrett-How-Great-Thou-Art-Precious-Lord\/release\/11303483\" target=\"_blank\">How Great Thou Art Precious Lord<\/a><\/em><\/strong>, Kapp Records, KS-3394 (1964). Shirley Verrett numbers among my very favorite singers of all time. Because time is running short, I will limit myself to one audio posting. In my recent interview with <strong><a rel=\"noreferrer noopener\" aria-label=\"Nicholas Tamagna (opens in a new tab)\" href=\"https:\/\/nicholastamagna.com\/\" target=\"_blank\">Nicholas Tamagna<\/a><\/strong> we spoke of the role of Ruggero in Handel&#8217;s <em>Alcina<\/em>. Here is a recording from the 1969 Edinburgh in which La Verrett, accompanied by Warren Wilson, performs the most sublime of Ruggero&#8217;s arias, <em><strong><a rel=\"noreferrer noopener\" aria-label=\"lusinga il dolce affetto (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=iX9FQJFDqFA\" target=\"_blank\">Mi lusinga il dolce affetto<\/a><\/strong><\/em>. It is true that Verrett was an inconsistent singer, but this was allied in great part to serious allergies and other health problems. At her best, she could sing nearly anything, and was a true mistress of <em>bel canto<\/em> worthy of her greatest predecessors. And yes, I <em>do<\/em> include Callas in that list. In fact, I think that Verrett was the greatest exemplar of the role of Norma since Maria. She is deserving of a full episode, and will be receiving one in the near future.<\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Leontyne Price<\/strong>. Franz Schubert: Die Allmacht. With David Garvey, piano. From <strong><em><a rel=\"noreferrer noopener\" aria-label=\"Lieder by Schubert and Richard Strauss (opens in a new tab)\" href=\"https:\/\/www.discogs.com\/Leontyne-Price-David-Garvey-Lieder-by-Schubert-and-Richard-Strauss\/release\/8847257\" target=\"_blank\">Lieder by Schubert and Richard Strauss<\/a><\/em><\/strong>, Angel Records,  SZ-37631 (1979). Of all the singers referenced today, it is probably the last one with whom I have the most complicated relationship. Leontyne&#8217;s was the first operatic voice I ever heard when my father invited up to his study to listen to a Saturday afternoon <strong><a rel=\"noreferrer noopener\" aria-label=\"Live from the Met (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=vfbbzB8kqSg\" target=\"_blank\">Live from the Met<\/a><\/strong> broadcast of Leontyne singing the title role of <em>Aida<\/em>. She was my gateway to opera. For that I remain eternally grateful. Since then I have become rather more ambivalent about much of her singing (please don&#8217;t shoot me!), though, as with the late Ms. Norman, I remain an admirer in <em>so many ways<\/em>. This recording of songs by Schubert and Strauss on the Angel Records label has never been reissued on CD (except for a very obscure <strong><a rel=\"noreferrer noopener\" aria-label=\"Schubert box set on French EMI  (opens in a new tab)\" href=\"https:\/\/www.amazon.fr\/Schubert-Messes-Lieder-Coffret-CD\/dp\/B000V1Z0DA\/ref=sr_1_14?__mk_fr_FR=%C3%85M%C3%85%C5%BD%C3%95%C3%91&amp;keywords=leontyne+schubert&amp;qid=1570970974&amp;sr=8-14\" target=\"_blank\">Schubert box set on French EMI <\/a><\/strong>of Side One only). Interestingly, there are four extent <em>Lieder<\/em> recitals from the Salzburg Festival from around this time available on YouTube that feature live recordings of much of this repertoire, and much, much more. Here are the links, if you are interested in hearing them: <strong><a rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=35W7E8Zrvl0&amp;t=1s\" target=\"_blank\">1975<\/a><\/strong> (includes Beethoven&#8217;s <em>Ah, Perfido!<\/em>, a slew of Strauss <em>Lieder<\/em> and songs by Respighi and Poulenc); <strong><a rel=\"noreferrer noopener\" aria-label=\"1977  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=-b8XebwhfX8&amp;t=2264s\" target=\"_blank\">1977 <\/a><\/strong>(includes Schubert and Strauss <em>Lieder<\/em>, songs of Duparc, and spirituals arranged by Margaret Bonds); and <strong><a rel=\"noreferrer noopener\" aria-label=\"1981  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=vvxqHiU8sik\" target=\"_blank\">1981 <\/a><\/strong>(includes the Brahms <em>Zigeunerlieder<\/em>; songs by Rachmaninov, Debussy, and Barber; and spirituals); and <strong><a rel=\"noreferrer noopener\" aria-label=\"1984  (opens in a new tab)\" href=\"https:\/\/www.youtube.com\/watch?v=CvrBmlWSckQ\" target=\"_blank\">1984 <\/a><\/strong>(including  opera arias, Schubert and Liszt songs, as well as assorted <em>m\u00e9lodies<\/em> and American art songs). It&#8217;s a great opportunity to hear her in some unusual repertoire and in relatively good behavior musically and vocally.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Leontyne-Angel.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1016\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Leontyne-Angel-1016x1024.jpg\" alt=\"\" class=\"wp-image-1736\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Leontyne-Angel-1016x1024.jpg 1016w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Leontyne-Angel-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Leontyne-Angel-298x300.jpg 298w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Leontyne-Angel-768x774.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Leontyne-Angel.jpg 1411w\" sizes=\"auto, (max-width: 1016px) 100vw, 1016px\" \/><\/a><\/figure>\n\n\n\n<p>If time had allowed, I would have paid tribute to even more great African American singers from the past than I had time to feature on this episode. I think I will take a rain check on that, however, with the promise that I will do <em>at least<\/em> two episodes in February for <strong><a href=\"https:\/\/www.ef.com\/wwen\/blog\/efacademyblog\/a-brief-history-of-black-history-month\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Black History Month (opens in a new tab)\">Black History Month<\/a><\/strong>. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Episode 4. Jessye and Her Forebears (Needle Drop I) SOCIAL SHARE SUBSCRIPTION PLATFORM Due to a last minute change of&hellip;<\/p>\n","protected":false},"author":1,"featured_media":1718,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"categories":[420,1626,1075,4894,3132,1263,2260,808,5691,3272,2806],"tags":[395,36,340,338,294,101,25,423,335,336,422,421,339,337],"class_list":["post-1716","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-african-american-opera-singers","category-african-american-singers","category-art-song","category-bhm-2023-wk-1","category-franz-schubert","category-mezzo-madness","category-music-for-a-world-in-crisis","category-needle-drop","category-shirley-verrett","category-singers-of-color","category-twentieth-century-music","tag-camilla-williams","tag-daniel-gundlach","tag-david-savran","tag-dorothy-maynor","tag-elisabeth-soderstrom","tag-franz-schubert","tag-gerard-souzay","tag-great-day-in-the-morning","tag-jessye-norman","tag-martina-arroyo","tag-robert-wilson","tag-rose-caron","tag-serge-koussevitzky","tag-shirley-verrett"],"author_meta":{"display_name":"admin","author_link":"https:\/\/countermelodypodcast.com\/index.php\/author\/admin\/"},"featured_img":"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2019\/10\/Jessye-2-e1579359050932-300x138.jpg","coauthors":[],"tax_additional":{"categories":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-opera-singers\/\" class=\"advgb-post-tax-term\">African American Opera Singers<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/african-american-singers\/\" class=\"advgb-post-tax-term\">African American Singers<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/art-song\/\" class=\"advgb-post-tax-term\">Art Song<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/bhm-2023-wk-1\/\" class=\"advgb-post-tax-term\">BHM 2023 Wk 1<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/franz-schubert\/\" class=\"advgb-post-tax-term\">Franz Schubert<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/mezzo-madness\/\" class=\"advgb-post-tax-term\">Mezzo Madness<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/music-for-a-world-in-crisis\/\" class=\"advgb-post-tax-term\">Music for a World in Crisis<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/needle-drop\/\" class=\"advgb-post-tax-term\">Needle Drop<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/shirley-verrett\/\" class=\"advgb-post-tax-term\">Shirley Verrett<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/singers-of-color\/\" class=\"advgb-post-tax-term\">Singers of Color<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Twentieth Century Music<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">African American Opera Singers<\/span>","<span class=\"advgb-post-tax-term\">African American Singers<\/span>","<span class=\"advgb-post-tax-term\">Art Song<\/span>","<span class=\"advgb-post-tax-term\">BHM 2023 Wk 1<\/span>","<span class=\"advgb-post-tax-term\">Franz Schubert<\/span>","<span class=\"advgb-post-tax-term\">Mezzo Madness<\/span>","<span class=\"advgb-post-tax-term\">Music for a World in Crisis<\/span>","<span class=\"advgb-post-tax-term\">Needle Drop<\/span>","<span class=\"advgb-post-tax-term\">Shirley Verrett<\/span>","<span class=\"advgb-post-tax-term\">Singers of Color<\/span>","<span class=\"advgb-post-tax-term\">Twentieth Century Music<\/span>"]},"tags":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Camilla Williams<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Daniel Gundlach<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">David Savran<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Dorothy Maynor<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Elisabeth Soderstrom<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Franz Schubert<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Gerard Souzay<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Great Day in the Morning<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Jessye Norman<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Martina Arroyo<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Robert Wilson<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Rose Caron<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Serge Koussevitzky<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Shirley Verrett<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">Camilla Williams<\/span>","<span class=\"advgb-post-tax-term\">Daniel Gundlach<\/span>","<span class=\"advgb-post-tax-term\">David Savran<\/span>","<span class=\"advgb-post-tax-term\">Dorothy Maynor<\/span>","<span class=\"advgb-post-tax-term\">Elisabeth Soderstrom<\/span>","<span class=\"advgb-post-tax-term\">Franz Schubert<\/span>","<span class=\"advgb-post-tax-term\">Gerard Souzay<\/span>","<span class=\"advgb-post-tax-term\">Great Day in the Morning<\/span>","<span class=\"advgb-post-tax-term\">Jessye Norman<\/span>","<span class=\"advgb-post-tax-term\">Martina Arroyo<\/span>","<span class=\"advgb-post-tax-term\">Robert Wilson<\/span>","<span class=\"advgb-post-tax-term\">Rose Caron<\/span>","<span class=\"advgb-post-tax-term\">Serge Koussevitzky<\/span>","<span class=\"advgb-post-tax-term\">Shirley Verrett<\/span>"]}},"comment_count":"2","relative_dates":{"created":"Posted 7 years ago","modified":"Updated 2 years ago"},"absolute_dates":{"created":"Posted on 13\/10\/2019","modified":"Updated on 09\/11\/2023"},"absolute_dates_time":{"created":"Posted on 13\/10\/2019 15:09","modified":"Updated on 09\/11\/2023 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